22 10 650 https://digitallis.isg.siue.edu/files/original/f1b2525e22266b37e7e3ed12fe8d9b8e.pdf e061aaa1a568fce2f307af34b9f98724 PDF Text Text SEPTE11BER VoL. II) No.1 30) 1958 C011PILED 110NTHLY BY INFOR11ATION SERVICE) SOUTHWESTERN ILLINOIS RESIDENCE OFFICE) SOUTHERN ILLINOIS UNIVERSITY) FOR THE STAFF 11E11BERS OF THE RESIDENCE CENTERS~ THE NEWSLETTER IS 11ADE POSSIBLE BY THE COOPERATION OF STAFF 11El1BERS WHO HAVE CONTRIBUTED NEWS I TE11S. FACULTY NEWSLETTER Faculty Homen's Club Sponsors All-Faculty Family Picnic A faculty picnic, planned by the Homen's Club, is scheduled for Saturday, October 4, at Rock Springs Park, in Alton, from 4:30 until 6:00p.m. The park is on College Avenue, down the hill from the Alton Senior High School, and to the right, into the park to the Pavilion. A picnic supper is planned for about 5:00p.m. Each family fs asked to bring its own table service, bread (or buns), hot dogs or other meat, and beverages for the family members who do not drink coffee. Each family is also asked to bring one or t'I·JO dishes to be "passed around". This could be salad, vegetable (such as baked beans), or dessert. Board members are bringing extra meat, bread, and table service for the bachelors. Bachelors are asked to ·bring pickles, potato chips, marshmallows, or other picnic items. If a second-year organization can be said to have a tradition, one of the most pleasant of ours is, that no picnic is a success unless Dr. Alfred Harris, library, Alton, makes the coffee. He does turn out a perfect brew~ Rock Springs Park is the municipal park of Alton, and its facilities include rest rooms, play ground equipment, and approved drinking water. Since Kathryn and David Van Horn have a basement full of firewood, the fires will be by courtesy of the Van Horns, and grilling is expected to go on at a great pace. Be sure to come; everyone is eager to know you~ October Calendar off Press The October issue of the monthly calendar for the Residence Centers is off the press. Containing information concerning activities of all university offices, divisions, student organizations, and affiliated organizations, the calendar is edited by Hildred Arnold (Mrs. George), SIU offices, Broadvie'IJ Hotel, East St. Louis, Illinois (Bridge 4-2100, extension 4). Activities scheduled for November must be listed with Hrs. Arnold by October 12. Also being compiled at this time is a calendar listing all university events scheduled for the rest of the academic year, November 1 -June 17. Persons in charge of any activities for the academic year should list the activities, giving at least tentative dates, with Hrs. Arnold, by October 12. She would like to include activities scheduled by the Faculty Homen's Club. The Faculty Ne'lvsletter, sent to staff members' homes the last day of each month, also carries ne'lvs of '\vomen's activities. Clifton Cornwell, supervisor of the evening college at the East St. Louis Center, spoke to the Wood River Rotary Club yesterday (September 29) on Southern Illinois University's Residence Centers. Cornwell, whose academic experience includes two years as director of forensics at the University of Hawaii, came to SIU from a foreign trade post in the course of which he served as foreign trade and development director for the Chamber of Commerce in metropolitan St. Louis. O·!ore) �- 2 - Hare of Knoepfle' s Poems to be Published Poetry has accepted four more of John Knoepfle's poems for publication in a forthcoming issue. The poems, all on one general theme -- the Ohio River -are: "Litte Harpe .'s Head," " Keelboatman's Horn," "On the Passing of a Sternwheel TovJ," and ''Time's Out." Knoepfle (rhymes with woeful), who se meditative poetry has appeared also in Today, Nimrod, Four Qu ar ters, and Yale Review, came here from Ohio, where he started work on a river project t wo years ago while conducting a series of TV programs for \vCET on the Ohio River . A member of the English staff at the East St. Louis Center since last September, he will conduct the weekly contact session at the center for " Introduction to Poetry," which is being televised over I<ETC, Channel 9 on Tuesdays and Thursdays from 6:20 to 7:20p.m. this quarter. \ 1'\vo SIU Courses on TV this ( uarter The university's first televised course in English begins tonight (9-30-58) at 6:00p.m. over Iill TC, Channel 9. Dr. Robert Duncan, language and fine arts division head for the centers, and s up erv isor of the evening college at Alton, conducts the televised lectures over Channel 9 on Tuesdays and Thursdays from 6:00 - 6 :f1S p.m. Persons taking the cour se for credit must attend a "contact" session at one of the SIU centers on Hednesdays. This session meets at the Alton center from 6: 20 - 7: 20p.m. with Duncan, and at the East St. Louis Center from 6:00 - 6:50 vJith Knoepfle. Another SIU Fall qu a rter course, " Introduction to Sociolo gy, " televised on Mondays and Hednesdays, began yesterday (9-29-58) at 6:00p.m. on Channel 9, with Virgil Seymour, East St. Louis Center, doin g the televised lecturing. The contact sessions for this course will meet at the East St. Louis Center on Thursdays from 6:00 - 7:50p.m. \vith Seymour, and at the Alton Center on Hednesdays from 8:20 to 10:10 p.m. with Dr. Hyman Frankel. Seymour was re-elected a member of the executive committee of the Illinois Council on Family Relations earlier this year . Frankel, \vho received his doctorate from the University of Illinois in June, came to SIU last September from Chicago, 1vhere he worked with the American Bar Foundation as a research associate and also served as administrative assistant to Sheriff Joseph B. Lohman of Cook County. The televised lectures may be viewed without registering for the course(s). \Vest Bank Features SIU SIU' s Residence Centers were the subject of KMOX, Channel L1' s "Eye on St. Louis" program last month, \vi.th De an Harold W. See and Clifton Cornwell, East St. Louis Evening College Supervisor , r epre senting the university. Last \veek Dean See took part in a KETC, Channel 9 round table discussion on the televising of univer s ity courses, with the heads of St. Louis University, hlashington University, and Harris Teache rs College. Last Sunday's St. Louis Globe-Democrat featured the SIU Residence Centers in a half-page spread which included a picture and a map of the proposed 2,600 acre campus south-.vest of Ed\vardsvilL?.. (No re) �... 3 ~ Dr. Eversull to Address County Teachers Dr. Frank Eversull, education, East St. Louis, will give the key-note speech at the St. Clair County Teachers' Institute, to be held at the new East St. Louis High School on October 9. Eversull, a Yale Ph.D., \.Jho has spent a good many months in recent years visiting educational institutions in foreign countries, Hill talk on: "What about American Education?" In May he uill give the key-note address at the annual meeting of the Illinois Federation of Homen's Clubs at the Hotel Sherman in Chicago. ,Kuenzli Reads Paper at APA Dr. Alfred E. Kuenzli, associate professor of psychology at the Alton Center, read a paper at the American Psychological Association in Hashington, D.C. on August 30. An Indiana University Ph.D., Kuen:di also studied in the department of social relations at Harvard University and has a special interest in interdisciplinary social research. During coming months he plans to carry out several studies in the Alton area in such fields as mental health, school learning, group conflict, and industrial relations. Kuenzli, member of a national committee of the American Ps ychological Association which is studying applications of psychology to the in-service training of teachers presented his paper on this subject. ., Report Activities to Information Service Information Service, SIU offices, Broadvie'" Hotel, East St. Louis, Illinois, (Bridge lf-2100, extension 3 or 4) \.Jould like to be notified uhenever faculty members attend meetings of professional or ~ ani z ations, read papers at professional meetings, publish books, articles, poemo, short stories, or reviews, or schedule speaking engagements before community organizations, according to 'Dr. Ray Spahn, supervisor. Spahn, responsible for approvinr; all brochures, catalogue s , pamphlets, neHs releases, or other material concerning the Residence Centers (if intended for publication), also serves as associate pro fe ssor of German at the East St. Louis Center. Faculty members who are willing to accept speaking engageme nts may Hish to list with Spahn subjects on which they fe el qualified to speak. Community orr;anizations regularly come to the Universit y for speakers. President's Reception President and Hrs. Morris are holdin r; a reception for the faculty of the Residence Centers at Sunset Hills Country Club on Sunday, October 5, at 2:30p.m. Faculty members and their wives/husbando have been sent invitations. If they have not been received, it is due to their having been delayed in the mails, and the invitation still holds. Sunset Hills Country Club is three miles \.Jest of Edwardsville on Old By-Pass 66. Alton residents may take Route 111 to By-Pas 66; persons coming from Collinsville, East St. Louis, and Belleville may take 157 to By-Pass 66. (l-lore) �.. . - {:. Voters! Rerister before October 6 Illinois voters must be registered 23 days before an election to be eligible to take part in it. Persons who have lived in Illinois for one year, in their present county for 90 days and in their present precinct for 30 days, have until October 6 to register and become eligible to vote on November L:. • One of the propositions to be voted on in this state on November 4 is an Illinois bond issue which would allot 41 million dollars to SIU for its building program. Belleville residents register at the County Court House in Belleville, East St. Louisans at 17 North Main Street, Collinsvillagers at 125 South Center Street, residents of Eduardsville at the County Court House, and Altonians at the voting . precinct closest to their homes. ---------------------------------------Language and Fine Arts Division Expands Significant additions to the faculty have broadened course offerings in the Language and Fine Arts Division of the Residence Centers accordin~ to an announcement made September 15 by Dr. Robert H. Duncan, head of the division. Three additions have been made in the English department. Dr. Nicholas Joost comes to SIU from Assumption College in Oorcester, Mass. Author of several articles on poetry and fiction published in scholarly journals, Dr. Joost \vas on the staff of Poetry, leading American poetry maga<:: ine, for several years. He was associate editor when he resigned. He serves presently as a member of the advisory board of Modern Age. His graduate work was done nt the University of North Carolina. He will teach a course this fall in Eighteenth Century literature. Dr. Hilton Byrd, who comes to SIU from Indiana University, is a product of the University of Hisconsin graduate school. He is co-author of Publication Guide for Literary and Linguistic Scholars, to be published soon by the Hayne State University Press in Detroit. John Ades, Hho taught at the University of Cincinnati, is completing his doctoral studies 1vith a dissertation on Charles Lamb. He lvill read a paper on Lamb before the Hodern Language Association in New York before Christmas. · He and Joost will teach at the center in Alton, I·J hile Byrd 111ill teach at the East St. Louis Residence Center. Another Alton addition is Dr. Ruth Kilchenmann, until last year a citizen of Switzerland. \Vith a background of study 11hich includes the Sorbonne in Paris, the University of Berne, Swit ze rland, and the University of California, she will offer courses in German and French. Dr. Kilchenmann has had published several papers, including recent studies on Hermann Hesse. Last month Der Bund, leading Berne paper, published her article on Hesse research in America. The music department has two nei·J stnff members. They are Dr. Lloyd G. Blakely and Dr. Herrold E. Headley. Blakely has served as director of bands at Northwestern University, Boston Nass., and at Brookline High School, Brookline, Nass. Headley's field is voice and choral music. He is completing his doctoral 1·m rk through North Texas State College. His experience includes directing the university chorus and the collegiate singers at the University of Arkansas. The tlvo Hill teach at both residence centers. Dr. Ernest Lee Boyd, who will instruct in speech at the East St. Louis Center, has returned to teaching after spending several years in advertising and free-lance .writing. His graduate studies in speech and English were at Northwestern University. Mrs. Evelyn Buddemeyer, who -has been teaching art at Alton on a part-time basis, has been appointed to full-time duty. ~~s . Buddemeyer's training includes many phases of art, such as painting, jewelry and ceramics. She has taught at Hanley Jupior High School in University City, Mo . , and at \'lashington University. (This 1vas \vritten before 9/20/58, uhen additional faculty appointments were confirmed). (Nore) �... •I • • - 5 - SIU to Enroll 10,000 this Fall Enrollment at SIU this Fall has passed the 10,000 mark, an increase of more than 30 per cent over last year. Enrollment at the Carbondale campus alo ne has passed 7, 20 0 , more than 1,200 students above last year's count a t this time. Fall quarter enrollment at the Alton and East St. Louis centers, Hhich has passed the 2, 900 mark, shoHs a total increase of more than a thousand students over last Fall. Our faculty has more than doubl ed al s o since last Fall. The faculty-student ratio for the Fall of 1957 was l- 22 . 3, this Fall it will be about l-20.5. Day enrollment at Alton has incr eased from last Fall's !:9L, to more than 1, 000 students. East St. Louis' day enrollmen t has gone up from last Fall's 171 to almost 500. Briefly, day enrollment has more than doubled. Approximately 900 of the day students are freshmen (550, Alton; 350, East St. Louis). Indications are that more th an 95 per cent of this nr oup are 1958 high school graduates. (Last year more than 50 per cent of our freshmen had graduated in years prior to 1957.) Hhen the evening students are added, Alton's enrollment exceeds 1,775, and that of East si:. Louis approache s 1,150. The full time e quival ency comes to 2, 200 this Fall as compared with 1,207 last Fall. ·, � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty News Bulletin September 1958, Vol 2, No. 1 Date A point or period of time associated with an event in the lifecycle of the resource September 1958 https://digitallis.isg.siue.edu/files/original/7f5542cfef88460e1b93d712080859b2.pdf 59b03a5816b027390c84de89c7c5c4f2 PDF Text Text SUMMER 1960 �\ Vol. IV, No.8 _S ummer 1960 NEWS BULLETIN Mildred Arnold, Editor Fangenroth Road Edwardsville, Illinois Southern Illinois University SOUTHWESTERN ILLINOIS CAMPUS UNIVERSITIES BOND ISSUE I As of July 31, SWIC faculty and civil service staff members had pledged $4,719 toward support of the Universities Bond Issue. They are to be congratulated for their enthusiastic support. Bond issue activities have con.tinued throughout the summer, pointed toward Labor Day when an intense campaign will begin to inform the voters of the importance of this issue. Twenty faculty members have accepted the responsibility of organizing citizens committees in nine counties in this area. These faculty members, plus approximately 20 others, will form a speakers bureau, according to H. B. BRUBAKER who is head of the Universities Bond Issue campaign for the Southwestern Campus. ·· Since hundreds of area organizations are to be addressed on the subject, other faculty members may be called upon to help, Mr. Brubaker said. Requirements for eligibility to vote on -this question so vital to the capital improvements of the Edwardsville campus are: One year of residence in the state, 90 days in the county, and 30 days in the precinct. The last day to register is October 10. YOUR VOTE IS NEEDED. REGISTER AT 'ONCE. CREDIT UNION NEWS I The SWICSIU Credit Union completed its first six months of operation on July 31. The results have been much better than anticipated in the formative period, according to ·JOE R. SMALL, treasurer. Forty-two members are enrolled; 20 loans have been made, totaling $3,450. ·Balance Sheet July 31, 1960 Assets Cash in Bank Savings A/C Loans 0/S Total Assets ....·, ... .. . ... ~·- $ 748.80 800.00 1,581.96 $3,130.76 Equities Shares Owned Entrance Fees Profit and Loss Total $3 '114. 00 10.50 6.26 $3,130.76 Profit and Loss Interest Earned $ Expenses : Charter.-,Fees and Recording Bank Charges end Check Printing Bonding Insurance Loan Protection Insurance Total Expenses 48.24 $23.75 4.84 9.00 4.39 Net Profit for Six Months .41. 98 $ 6.26 At present loans may be made to a maximum of $315 per month. If you are not a member, officers of the Credit Union urge you to become one at your earliest convenience. THIRTY-TWO NEW GRADUATES Thirty-two new graduates of SWIC will be added to our roster on August 12. Summer comm.e ncement exercises will be held on the Carbondale campus, with Dr • . E. C. Coleman, professor of English, delivering �- 2 the address. CLIFTON CORNWELL will serve as marshal for our candidates for bachelor degrees. FORMER DIRECTORS HONORED On June 28, the current and former division heads and administrative staff at the Alton center gave a luncheon at the Stratford Hotel in Alton for JOHN GLYNN and presented him with a gift. Mr. Glynn began his job as head of SWIC's Business Division on July 1. JAMES "TURNER began his new duties as assistant to President Morris in charge of institutional research on July 1. Faculty members at the Eas t St . Louis center gave him a farewell gift of silver in recognition of his two years of service as center director. FOR ·SALE OR RENT Available this month is a house south of Wanda on Poag Road. It has four rooms and a bath, plus a utility room and attached garage. The house is frame with asbestos shingle exterior. Other features include deep driven well and septic tank, separate dry well to serve kitchen and utility room drains , wiring for electric stove, forced air automatic oil furnace, and electric hot water heater. The house is situated on a lot 142' x 130'; for appointment, phone CLinton 4-2536. The home of JAMES TURNER, a two-bedroom large frame house with two air conditioning units, situated on one acre of land in Collinsville , is for sale. For information, call Dickens 4-0275. NEW ASSOCIATE DEAN Dean William T. Going has announced the approval for appointment of MILTON B. BYRD as Associate Dean of the Southwestern Campus. Although Mr. Byrd has assumed his duties, no public official announcement can be made until after t he August meeting of the Board of Trustees. Mr . Byrd r eceived h i s A. B. and M. A. degrees from Bos t on Universi t y , his Ph.D. from the Universi t y of Wisconsin . He was on t he s ta ff at I ndiana University before joining the Southwes t ern Campus i n t he fall of 1958. Byrd and his wife and two children live at 204 South Summi t Drive in Collinsville. APPO INTED TO AD HOC COMMITTEE GERALD RUNKLE, .ROBERT DUNCAN and HARRY H. SMI TH have been appointed by Presiden t Delyte W. Mor.r.is ..to., _a n ad hoc commi tt ee t o work out a stat ement of objectives for t he University which would include t he needs and aspirations of the Southwes t ern Campus. A s t atement of objectives for t he University recommended by a committee on the Carbondale campus was drawn .up before t he program in Sout hwes t ern I llinois wa s really underway. Wi t h t he developmen t of the pr ogram in t his area, t he faculty of t he SWI C had to be drawn int o t he picture and the objectives named t o be considered in the light of t he newer and more complicated s truct ure and function of t he University. The Pr esident appointed Runkle chairman of t he a d hoc committ ee, .and relieved him of all other du t ies during t he summer in order that he might concentrate on t he new a ss i gnment. FACULTY WOMEN'S CLUB The annual business meeting of t he Fa culty Women's Club was held May 19 a t the Coll insville American Legion Club. The following officers were elect ed for 1960-61 : Pres i den t, MRS. GEORGE ARNOLD; vice president , :MRS. J OHN .ADES ; secretary, MRS . CHARLES PARISH; treasurer, MRS. JAMES DIEKROEGER; direc tor , MRS. CAMERONMERED ITH. The direc t or holding over from the pr evious year is MRS . HOWARD DAVIS. Mrs. Diekroeger has since found it necessary t o resign a s treasurer and this office will be f illed by MRS. KERMIT CLEMANS. The firs t board meeting of t he new off ic er s was held August 1 at Edwar dsville , at which time a �- 3 - program was outlined for the new year. Program chairman is MRS. JOSEPH DAVIS; the publicity chairman is MRS. C. E. }'EEBLES; the welcoming connnittee chairman is M:RS. CLIFTON CORNWELL. JOINS VICE PRESIDENT'S STAFF CHARLES BUTLER, recorder in President Morris' office at Carbondale since his graduation from SIU in 1950, has moved to Edwardsville. He will divide his time between the President's Edwardsville office and that of Vice President HAROLD W. SEE. MYERS .TO TEACH AT SIU To most of us the name of Dr. Alonzo F. Myers is very familiar. Many of us have met him personally. It was he who made the analysis of higher education needs in southwestern Illinois which was instrumental in establishing SIU facilities in this .area in 1957. Engaged in 1956 by the Southwestern Illinois Council for Higher Education .to make a survey of the extent and nature of needs for higher education in Madison and St. Clair counties, Myers' comprehensive study pointed out that the percentage of college graduates in the two-county area was only half that of the state and n.a tion as a whole; that firms in the two counties could employ 200-250 engineering graduates each year, 120 to 240 business administration majors, and 65 chemists--if they were available; and that the demand for additional teachers would be so great by 1961 that the two-county area would need to generate a supply of up to two-thirds of the number of new teachers it would need. When Myers retires in .September from the chairmanship of New York University's higher education department, he will go to Carbondale to teach .at SIU during the fall quarter. NEWS FROM THE DIVISIONS . BUSINESS • • • LEO COHEN participated in the 27th .a nnual conference on Property Assessment Review and .Equalization held July 12 in Springfield. The conference was sponsored by the Illinois Department of Revenue. Cohen attended the annual Midwestern Economic Association meeting at Minneapolis April 28-30. He addressed the May meeting of the Belleville branch of the American Association of University Women; his topic was "An Analysis of th-e .Illinois Revenue Structure." In comparing Illinois with other states, he said Illinois is unique in that 90 per cent of its taxes comes from the general sales tax and property tax, a highly regressive type of taxation, and that very little taxes are shifted to people living outside the state. An article by Cohen, "A More Recent Measurement of the Built-in Flexibility of the Individual Income Tax,'" appeared in the June issue of the National Tax .Journal ;;;;....;;...;;.""""""• ___ On June 3, D. E. WASSEN delivered the commencement address at the graduation exercises of the Roxana High School. Before an audience of over 1,000 people, Mr. Wassen challenged the seniors on the topic, "The Secret of Leadership." He concluded his address with the statement that "The secret of leadership to lasting and satisfactory success is making the right moral decision, decision always in harmony with the will of God and His natural law of love." During the absence of the regular minister, Mr. Wassen preached at the June 5 morning service at the First Baptist-Presbyterian Federated Church in Carlinville. On June 8 he addressed the American Society of ·Training Directors, St. Louis .Chapter, discussing "The Training Director's Responsibility in an Era of Payola." June 19 he served in the pulpit of the United Presbyterian Church in Staunton; on .June 27 he addressed the Ladies' Night meeting of the Men's Coun- �- 4 cil at the Wood River Methodist Church We extend our deepest sympathy to JOE SMALL in the loss of his sister, Hazel Johnson . · She died early in June • • • An article by ETHEL BLACKLEDGE appeared in the May issue of Journal of Business Education; it was entitled "Help Solve the Problems for the Beginning Worker." • . • A new instructor has been named to the business division. He is KARL A. SAUBER, economics DANIEL BOSSE and his wife are the parents of an eight-pound boy, born July 19 . The new arrival has been named Bruce . Eric • In June MARY M. BRADY served as a consultant for two days at a Workshop in Typewriting and Office Practice held at Iowa State Teachers College in Cedar Falls. She was on the Program at the summer conference of the Illinois Business Education Association held at the University of Illinois in July where she spoke on the subject, "Teaching Aids in Clerical Practice , " The May issue of Business Education Forum printed as its lead feature article Miss Brady's "The Development of Standards for the Key-Driven Calculator." This periodical is a publication of the United Business Education Association MORRIS CARR is a member of the Wood River High School Band Boosters. • • • EDUCATION • KENNETH ESTEY has resigned to accept a position as registrar and instructor in religious education at Keuka College in New York . His new address will be 353 North Main Street, Penn Yan, New York • • • LEO:t{ARD B. WHEAT addressed t he Bethalto Chapter of the National Honor Society at its annual initiation on May 17. He also made the dedicatory talk at t he new Holliday School in the Pontiac District on May 22, and gave the commencement address at the Wesclin High School in Trenton on May 26 0 0 • The new president of the Madison-St . Clair Counties International Reading Association is ROBERT STEINKELLNER. He was elected at the May 14 meeting held at the East St . Louis Center. According t o Steinkellner, "A strong program ·is ··being planned, and there will be a continuous drive to increase membership. Membership is open to all those engaged in the teaching or supervision of reading at any school level. 11 • •• On June 1, THOMAS EVANS participated in · the Careers Day program at Lincoln High School, East St. Louis . Four students at the East St . Louis Center helped him with a panel discussion, followed by a question and answer session . Evans conducted a workshop for college-bound students . Those helping him were Pat Lally, Ledora Allen, Fred Wair, and David Reiser • Last May 20, high school seniors who will attend the Southwestern Campus this fall to study physical education were feted at a picnic sponsored by the freshman physical education .major class , The picnic, an annual affair , featured games, stunts, a campus tour, and discussion .groups with upperclass students . BABETTE MARKS is instructor of t he sponsoring class . Miss Marks was a delegate t o the annual spring conference of t he Midwest Association for Physical Educat ion of College Women held May 13 - 15 at George Williams College Camp in Williams Bay , Wisconsin. Miss Marks participated in the mock debate arguing the point for methods classes in teacher education programs. She took part also in a canoe skills demonstration • • • �- 5 - Two new appointments have been announced for the education division. They are an .a ssistant professor, ALFRED D. CURRY, University of Illinois Ph.D. candidate, and an assistant professor of health education, RICHARD D. SPEAR, who has been serving in the same capacity at Fresno State College in California WILLIAM BANAGHAN and THOMAS EVANS conducted a Student Leaders Workshop .at the Edwardsville Country Club on May 14 . • • HOWARD V. DAVIS was promoted to associate professor of education .in action taken June 15 by the SIU Board of Trustees. The summer issue of the Vocational Guidance Quarterly carried an article by Davis entitled "Who Are Public School Personnel Workers?" The article was a study of the public schools in Illinois with respect to those having assigned guidance and counseling duties. Davis has been appointed state membership coordinator for the American College Personnel Association. He is also a trustee of the American Personnel and Guidance Association. On July 27 he participated in a Workshop on Guidance Practices and Techniques in Today's Schools. The workshop was held at McKendree College. He addressed the general session on ."Articulating Guidance Services in the Schools" and conducted a group meeting on "Compiling and Using Guidance Records." . • . On May 18 LAWRENCE TAL lANA . and Davis participated in a meeting of the Guidance Council of St. Louis County. Guidance representatives from Washington University, St. Louis University and Harris Teachers College were invited, along with the two SWIC representatives. On May 9, Taliana spoke to the Women's Community Service League at a luncheon meeting in the Stratford Hotel in Alton. His talk pertained to the importance of community resources in promoting mental health. . • . FINE ARTS . • • CLIFTON CORNWELL spoke to the Edwardsville Rotary Club June 9 on "Use of Television in Modern Teaching Methods." According to the program chairman of the day, MYRON BISHOP, who introduced Mr. Cornwell, the talk was ent husiastically received . • . LLOYD BLAKELY attended the American .Symphony ·Orchestra League in St. Louis June 15 , 16, 17 . .. . .. - _,_ • HERROLD E. HEADLEY was promoted to associate professor of music .at the June 15 meeting of SIU's Board of Trustees New appointments in fine arts include an associate professor of speech, ANDREW J. KOCHMAN, who comes to us from Alabama College, and an instructor of art, CLEN E. HOWERTON . . • • • • HUMANITIES • • • During August PETER L. SIMPSON is appearing on the radio program Bookshelf which is heard over the FM station, KWIX. The program is broadcast on Sunday afternoons from 5 :.15 to 5:30. Topics to be discussed include John Logan's Ghosts of the Heart, a new book of poems published by the University of Chicago Press; two of the later plays of Tennessee Williams, Suddenly Last Summer and Orpheus Descending; a new edition of the Lewis Carroll masterpieces, The Annotat ed Alice; and .a novel by the psychologist Karl Stern, .Through Dooms of _L ove. . Simpson's poem, "The Lay of Bonnie Greengloves," has been accepted for publication by Choice, a new magazine of poetry published by the Poetry Seminar in Chicago. Another of his poems, "Elegy for John E. Jennings, Sr. , " will .appear in .a forthcoming issue of The Critic. . GERALD RUNKLE has received word that �- 6 - his'Marxism and Charles Darwin" will appear in the February issue of the Journal of -Politics. The article is an expanded version of a paper he read before the American Philosophical Association meeting in Milwaukee last spring ROBERT SAlTZ has resigned to go to Bogota, Colombia, as a Fulbright lecturer and head of the English language program for Colombia • . • EDWIN GRAHAM has been appointed chairman of the Committee on Freshman English for 1960-61 • • • Two short stories written by MARION TAYLOR appeared in print this swmner. "Treasures for Sale ~' appeared in the June issue of Teen magazine; "Three's a Marriage" ;;g-carried in Q. ~· Lady. Mrs. Taylor writes that she had a most interesting trip to the University of Jammu and Kashmir, by way of the Mediterranean and ' Egypt. Mrs. Taylor is in India on a year's leave of absence as a Fulbright lect .u rer • • • The talk given by NICHOLAS JOOST May 15 at the annual Honors Day convocation at Marillac College, Normandy, Missouri, was carried in the college paper. Joost will speak at the college September 13 on an Honors Program in the Liberal Arts. He has had accepted for publication some time in 1961 in The Explica~ a note on Anthony Hecht's poem, "Ostia Antica." • • • CHARLES PARISH has been appointed chairman of the Committee on Sophomore English for the academic year 1960-61; last year he was chairman of the Committee on Freshman English. Parish has had accepted for publication in a 1961 issue of Studies in Philology a long article entitled "Christopher Smart's Kno~ledge of Hebrew in Jubilate Agno." College English has accepted for publication his article entitled "A Table of Contents for Tristram Shandy." • • • BERTRAND BALL was granted the doctor of philosophy degree June 4 at the University of Southern Cali.fornia. Title of his doctoral dissertation was "The Role of Nature in the Novels, Novelettes, and Short Stories of Edouard Estaunie." • • • ALFRED KUENZLI is author of an article entit led "An Objective Basis for Ethics" which appeared in a rec:ent issue of The Humanist. The article is an outgrowth of a paper . he.. read at last year's convention of the Southern Society for Philosophy and Psychology. The paper received an award from the organization • • • The following poems by JOHN KNOEPFLE have appeared or will appear in .print soon: "'P rodigal," The Western Humanities Review; "Poems on , ~spect of the Moon," Poetry; "Actaeon," Modern Age; · "Speculator," "River Wreck," "Fort Hill," ' Choice; ~ "In the Pilothouse," The Critic. With Robert Bly of New York University and Richard Wright of Minnesota, Knoepfle has collaborated in a book of translations from the poetry of Casar Vallejo, Peruvian nat.ional poet, to be published this fall by The Sixties Press • At the ·June 15 meeting of the SIU Board of Trustees NICHOLAS JOOST was given a full professorship. Also promoted at this meeting was MILTON B. BYRD, now associate professor of English • • • CHARLES S. HENSLEY will begin hi,s teaching assignment at SWIC this September. He has been named associate professor of English; he filled a similar assignment at Harris Teache:J:S College before joining the staff at the Southwestern Campus. • R. J. SP"AHN attended the national conference of the American College Public Relations Association which met from July 10 to July 14 at the Sheraton Park Hotel in Washington, D. c. �- 7 - SCIENCE AND MATHEMATICS • . • E. R. CASSTEVENS s erv ed as one of the leaders in a one-day con f erenc e on Coaching and Counsel ing for Mi dd le Management held at the Wes terner Club July .2 8 . The club is a private one for Olin-Mathieson emp loyees . Purpos e of the conference was t o present a capsule course in coaching and counseling , and to give an overview of a 16 -hour course presented to six gr oups of a p proximately 80 superv i sor s at Gran it e City Steel Compa ny _during t h e pas t year . This course has b een described as the most successful t ra i n i ng effort in Granite City Steel's program dur ing the past 12 years • • .• "Granular Fertilizer Formulat ion with IBM 702 Comput er" is t he tit l e o f a recently-published ar t i cle by DAVID G. RANDS . The ar t ic l e was carr i ed in the May-June issue of The J our nal of Agricultural and Food Chemistry . The article outlines another s t e p i n t h e direction of t he sys t emat izing and con trolling the manufac t ur e o f chemical fertilizer, accord ing to Rands . . . • DONAL G. MYER and his fami l y have moved from East Al t on t o 3438 Meri doc i a , Alton . Their new t el ephone numb er i s HOward 2-8346 • • • "Science and t he Modern World" was dis cussed by HOWARD PFE I FER at t he June 7 meeting of the down town Eas t St. Lou i s Optimist Club • J. EDMUND WHITE and h i s f amily ha v e moved from Eas t Al t on t o 312 Pr ospec t Street, Alton . The Whit e 's n ew t ele phone number is HOward 5 - 1692 . Wor k on remodeling t heir home overlooki ng the Mississippi was int err upt ed t h i s summer by his assignmen t at t he Oak Ridge National La boratory . . • PAUL PHILLIPS and his wi f e have moved to 420 Monument St ree t, Al t on . Their t elephone numb er r emains the same as lis t ed i n t he s t aff directory , HOward 5-4398 . . • Two promo t ions i n t he d i vision a pproved J une 15 by the Boar d of Trus t ees were t hos e of WI LL IAM PROBST t o associate profes s or of ch emis try and RAY GWILLIM to ass i stan t professor of ma t hematics A new memb er has been added t o the divi sion . ERNEST L. SCHUSKY , University of Ch i ca go Ph . D. candidate in an t hropology , ha s been appo int ed t o t he SWIC s t aff as an a ssis t ant pro t:es.s.p}:' •.,_ RAY GWILL I M, LYMAN HOLDEN, PAUL PHILLIPS, ARNOLD SE IKEN and ERIC STURLEY a tt ended t h e me e tin g o f t he Illinois section of t he Ma t hemati ca l Associa tion of America which was h eld l a s t May a t Illinois Wesleyan Un i v er si ty . • SOC IAL STUDIES • How to Te ll t he School St ory , a text outl i ning a pub li c rela tions program for public school s , wa s released t h i s spring by Prent ice Hall. Chapter 15 of the book, ent i t led 16Mee t i n g t he Cri ti c , " wa s written by DONALD TAYLOR . Ma t er i al for th i s chap ter was col l ec t ed by Ta yl or while he was s erv i ng a s superv i sor of schoolcommun i ty r elations in Salt La ke City , Utah . Acc or d i ng t o t he author, the pur pos e of the chap t er is t o offer insight int o and proc edur es for handling cri t ici sm On Sep t ember 2 , MARK TUCKER wi ll part i cipat e in a s ympos i um at t he na t ional meeting o f t he Ameri can Psychological Associa t ion . The symposium is en ti tl ed "Problems of Neurolog i cal Def i c it . I I MARY MEGEE is a tt en ding t he In t er national Geograph i ca l Union Con fer ence in St ockholm, Sweden, being held fr om Augus t 6 t o Augus t 12 . She wa s sched - �- 8 - uled to read a paper at the conference "On Measuring the Industrial Character of a Region," a condensation of her book, Monterrey, Mexico : Internal Patterns Over External Relations, based on field work done by the author in Mexico. While in Europe Miss Megee will visit Scotland, Norway, Germany, France, and England • •• entitled "Policy Making at, the Local Level"; it will appear in a volume on New York state politics. Mann's monograph, . "Policy Formulation in the Executive Branch--The Taft-Hartley Experience," will appear in the September issue of the Western Politica ~ . Quarterly. FACULTY AND STUDENTS ENJOY COFFEE BREAK FREDERICK A. FORREST has resigned to accept a position with the Inter American University in Puerto Rico. He and Mrs. Forrest left for Puerto Rico the last of July . • • KURT GLASER and his family have moved to 805 East Airline Drive, East Alton. Their telephone number remains the same, CLinton 4-6378 Roughly 350 students and faculty attended a coffee break on the Alton campus the morning of August 3 • . The successful affair was faculty spons~ored· ; CAMERON MEREDITH arranged to have staff members serve coffee, donuts and Pepsi. Lecture hours were shortened between 9 ~ 55 and 10:30 a.m. in order that students might stop between Science and Loomis Hall for a welcome break from classes. Members of the division who received promotions at the June 15 meeting of the SIU Board of Trustees were HYMAN H. FRANKEL, who was named associate professor of sociology, and VIRGIL SEYMOUR, named assistant professor • A new associate professor of history, PATRICK W. RIDDLEBERGER, has been added to the SWIG staff. Riddleberger has been history professor at the University of Maryland since 1953 . An in.structor in geography, RICHARD GUFFY, has also been named to the division • GUNTER REMMLING will be in New York City the latter part of August to deliver a formal paper at the annual meeting of the American Sociological Society • • • SEYMOUR MANN will attend the Inter-University Seminar on Metropolitan Research to be held August 27-28 at Syracuse University. The seminar will bring together some 27 people from universities over the country· it is being sponsored by the Danforth Fou~­ dation. This fall the Syracuse University Press, under the auspices of the Citizenship Clearing House, will publish an .article by Mann. It is a large-scale study � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty News Bulletin Summer 1960, Vol. 4, No. 8 Date A point or period of time associated with an event in the lifecycle of the resource Summer 1960 https://digitallis.isg.siue.edu/files/original/ac8859fd346c33a628dd574c940f8800.jpg 5e5d8585ab026d51ddf96a21beb6b05e https://digitallis.isg.siue.edu/files/original/f30a5508f2ef717fea15728bf79994ec.jpg 6e4bffe22ad6e1d8f18881dcd5abe655 https://digitallis.isg.siue.edu/files/original/b56fead0a5a946771119bd32c93ff139.jpg aac86771588c785734c207fd40a9bdb2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faculty News Bulletin, October 1957, Vol. 1, No. 3 Date A point or period of time associated with an event in the lifecycle of the resource October 1957 https://digitallis.isg.siue.edu/files/original/94b5a1283a7b38e83beee5710282fc6d.jpg ab595d9b9702e314540af6a3cda4ba6f Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Famous People Players Description An account of the resource This photo shows children posing with a member of the Famous People Players. Date A point or period of time associated with an event in the lifecycle of the resource 1990 Format The file format, physical medium, or dimensions of the resource .jpg Identifier An unambiguous reference to the resource within a given context 90_106_FamousPeople_003 https://digitallis.isg.siue.edu/files/original/50ab28f75876f6a632c0a8b1b5a7db0a.jpg 94322b9053e8f24ac1f043ad6e74fdcd Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Famous People Players Description An account of the resource This photo shows one of the props used by the Famous People Players. Date A point or period of time associated with an event in the lifecycle of the resource 1996 Format The file format, physical medium, or dimensions of the resource .jpg Identifier An unambiguous reference to the resource within a given context 96_020_FamousPeople_003 https://digitallis.isg.siue.edu/files/original/c58eb2f8d3221b99e2884db0c6bb8417.jpg 2feb29ef5c7bf064b824cdfead022403 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jean Kittrell Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Dear Jean Kittrell, After the three-hour love/jazz feast Sunday night I'm taking the first-name initiative! I don't know when in my 73 years I've enjoyed an evening more - and that sentiment is echoes by my husband, the other six at our table, and the entire audience, I'm certain. I expected talent, I expected nostalgia, I expected the music to bounce off the walls, but I really was surprised and thrilled with the sheer enthusiasm and friendliness of your group. It was contagious! Each one of your group was exceptional - but I have never before heard such an array of tones come out of a sousaphone! My husband Bob joins me in thanking you for an absolutely delightful evening at The Hamiltonian - and we're looking forward to your return. Most sincerely, Libby M. Turnbull P.S. I, too, am a former educator - high school level honors English/American Literature - but I still care about commas, good grammar and usage! LMT Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Fan letter Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context JMK_2015_6_3_0023 Title A name given to the resource Fan Letter to Jean Kittrell from Fellow Former Teacher, 1994 Subject The topic of the resource Kittrell, Jean Turnbull, Libby M. Description An account of the resource Personal fan letter written by Libby M. Turnbull, a former educator who attended the September 1994 performance by the St. Louis Rivermen at the Hamiltonian Hotel in Hamilton, Ohio. The letter's author had expected a high quality of performance, but noted that what struck her most was the emotional value Kittrell and her group gave to the performance, and the impressiveness of David "Red" Lehr's talent on the sousaphone. Language A language of the resource English Creator An entity primarily responsible for making the resource Turnbull, Libby M. Date A point or period of time associated with an event in the lifecycle of the resource 09/25/1994 Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Relation A related resource Jean Kittrell Digital Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Hamilton, Ohio Type The nature or genre of the resource Text Hamilton, Ohio Hamiltonian Hotel Jean Kittrell Libby M. Turnbull Little Chicago Jazz Society St. Louis Rivermen https://digitallis.isg.siue.edu/files/original/e5580ce5a8c02619eecb72d8cadc6bd7.pdf 5d8db0d18eb83e8b0a658e97ea540ab7 PDF Text Text ., I / / / / SCRI P? ADAPTATION OF DRUMVO ICES: THE MISSIO N OF AFP.0AM:~RICAN POETRY (a c ri t ical hi s~c ry) / b ,J Eugene B. Redmon d For Presentation at Book Party Oc:ober 3, 1976 : 3 p.m. to 6 p .m., Redwood Room, Univ ersity Uni on California State Unive rsity Sacramento ( �Na rrator: I ru11 the poer.il Chorus: We are the poemJ Narrator: And the poem is mel Chorus: And the poem is usJ :narrator: , :p o e:,: .'J.Tld I came before pen or pencil or paper or printing pressJ - L, p:i;; c c... and cuddled the wisdom of the winds in drum-bosoms of ecstasy 0 Drummer: / A wi-de range of rhythms, movements, multiple movement -rhythms : African, West Indian., Afro-Americano Narrator: I write in dru.:.--:i-language and converse with tomorrow., today and the here- t c fore. Chorus: DRU:MFEET O:N 'l'E2 SO IL, ON Tl{E SANDROA DS OF THE MIND! F:,ESH-PIS':i:'o:;s PRANCING, THE EARTH Is ENGINE l IT IS A cor::n;G FD R'l'H , THE NIGHT WIT :HN us COMING FORTH l Trill NIG:ir_r 1rJI'I'~-J:IN US COHING FORTH! FEET B.:.::ATING, BEATING, BEATING SEEDS INTO THE SOIL! Narrator: I retu rn anC: :ceturn an d reta;-:,n to m.,'_ magni fi cent and reli able archiv es. Chorus: That love we can depEmd on l ·rha t (over ) l ove we can depend ont �Voice (singing): Onoborobol Chorus: Onoborobo! Voice: Onoborobo! Chorus: Onoborobo 1 Voice: Onoborobo I Chorus: Onoborobo! Narrator: In my dependable cultural vault is the Idea-gram.: the natural cinerna tography landscaped by thudding thoughts of my totem-family, the living-dead, the breathin3, the W1born. I run the poetic flesh-temple wlth many forms, earth-daughter and agile inW1dator of history. I am the poem in motion. Dancer: (q{ (c) ,.-¢ii f I \ Rudimentary movements and other ele:ments of traditional African and Afro-American dance: isolation, use of pelvis and torso, leaps, twirls, pulls, yanvalou, vigorous stretches and thrusts.(Drum accompaniment) Narrator: I am the Black and Unknown Bard. America put me on a conveyer belt moving in ~ different directions at the same time. My African Jubilance turned to anger and a song of sabatage. My Indorni..table Echo and Idiom flavored my rndomi table press to be human. As a poem, I became part of-.,wha.t :_I :did, saw and dreamed on these shores: Field Hollers, Vendors' ~houts, Chants, \l ' ' Work Songs, Spirituals, Blues, Gospels , Jazz, Rhythm-and-Blues, S0 ul Musico ' (over) I �Voice: Did yer feed my cow? Chorus: Voice: Will yer tell me ·f how? Chorus: Yes Ms.ml Voice: Oh w'at did y er give , ;; 1 r6..JJ_ er? ~ 5 ~,, , Chorus: Ca'WI1. an hay! Voice: Oh w1 at did y e r give 'er. ' I i ,· ' Chorus: Cawn an hay! Voice: l. Eva....-iwhuh. I, whuh r,.look dis mawnin, Looks lak rain , loo ks lak rain. Vo i ce: "'•h ) \~ I go tta r;ainbow, tied a ll roun mah shouJ_der 2~-,~ Ain gonna rain, ain gonna rain. Chorus: Dis is de hamme r Kilt John Henry; (over) �Voice: -c;;cu1f- - Twon•t kill me, baby 1 Twon't kill me .. ~ho.rus: Take dis hammer, Carry it to de captain; Voice: Tell him I'm gone , baby, '>l' I --- ~toil Tell him I'm gone. Chorus: I got a rainboH Tied !roun my shoulder, Ain.'t gonna rain, baby, Ain't gonna rain. Voice: ~ Dis ole hammer- -huhi Ring lak silver--huh, Shine lak gold--huh. _. --Chorus: gonna rain, gonna rain. Voice f female): c/. ·,~' I 1 m a big fat mamma, got the meat shaking on mah bones, Itm a big fat mamma, got the meat shaking on mah bones, And every time I shakes, some skinny girl loses huh home. Narrator: Yes, as- poem, as cotton-picker, as banj o-player, as preacher and slave-rebellion leader, I emerged as a · new part of the old. IJ',. y African song ushered forth in st~ange new Bib i cal language. (over) �Voice: Go down, Moses, . '\ Way down in Egyptland; Chorus: 11 old Pharaoh ~ ~ let my people go. Voice: sY Deep River ••• Chorus: Deep Deep Deep River •••• Voice: Deep River, my home is over Jordan; , Chorus: ( < Deep River, Lord; I want to cross over into camp ground. '- Voice: A..~d yes, I DREAMED I was riding in that chariot. Chorus: Swing low, swe e t chariot, Coming for to carry me home, Swing low, sweet chariot, Coming for to carry me home. Voice: Green trees a-bending, Po' sinner stands a-trembling The trumpet_., sounds within-a-my sou] J Chorus: I ain 1 t got long to stay here. (over) ·, J �Drumvoic e s, b Voice: You . named me: Lucy Terry! ·'.,, ··~: ,· • Voice, 'I Gustava s Va s sa ~ Voice: Britton & Jupi t0 r Hammon. • Vo ice: f Coon -~ {BocKJ · we- Voice: Phyllis 1tlheatleyi. Alld I mastered Gree~, , La.ti~- and · English in my teens. Lonely Black girl wh om the muses befriended, thousands and thousands rt.'I of miles away from ,;.Wes_t African home. I continued to emerge as the poem. /11 \ . Voice: ~Should you, rrry Lord, whil e you peruse my song , J?c::_, d eiii .- J Wonder from whence my love of Freedom sprung, Whence flow. these wishes for the common good, By feelin g hearts alone best understood, I, young in life, by seeming cruel f a te, Was snatch ~d from Afric's fancy'd h appy seat; What pangs excruciating must molest, What sorrows l a bour in my parents' breast? Steel'd was tha t soul and by no misery mov 1 d That from a f a the r s e i z 1 d hi s babe be lov .'d: \) Such, suchf\.my cas~ And can I th en but pray Others may neve r feel t y rannic sway? Na rrator: You named me George Mo s es Hort on. I did not like t he injust i c e of the cvv~L_:u- -.r:- double s t anda rci ~ And su ch res entment tu rned me into a poem. Ev en t h ough (over) �--' • - - 1.J. II, V ...._ _,, •J , 1 some called me "'l"ne ~lave. 11 Chorus: The Slave. Voice: / Because the brood-sow•s left side pigs were black, ~ ~ Whose sable tincture was by nature struck, . Were you by justice bound to pull them back And leave the sandy-colored pigs to suck? Chorus: Runagatef Runagatel Runagate! Runagate! Runagate! Narrator: f'IIY. My mother cured ills andAfather worked roots. In the bi-cultural constriction the poem became juju-man, the face hidden by the a,r.bi~vov.s minstrel smile. Voice: We have fashioned laughter Out of tears and pain; Chorus: G t the moment after-Voice: Pain and tears again. Voice: Forgive these erring people, Lord; Voice: Who lynch at home and love abroad. Narrator: Still I wrote--thi s time just like I talked, though some made fun of it. But, as maker of song, I could only p roduce heart-rhythms. (over ) �. Dru."'Tivoi c es, 8 Voice: De Cunjah man, de Cunjah man, O chillen, run, de Cunjah man! G Chorus: chill en, run, de Cunjuh man I Voice: •. I ; I Him mouf e z bee g e z fryin' pan ;_ Voice: Him yurs am small, him eyes am raid, ';'' · ·' Him hab no toof een him ol' haid, CJ(!tl1f ~ I \ Him hab him roots, him wu'k him trick, ! 1 :...,'-,'-- \_1 Him roll him eye, him mek you sick-- ~ e Cunjah man, de Cun jah man, ~ h.illen, run, de Cun ~ah man! Narrator: I lmew my rights, my rough-times and my remedies .... . f o - r - w ~ Voice: laud-nu.i.~, liver µills, "Sixty-six, fo I fever an1 chills, 11 Ready Relief, ant A. B. C., An' half a bottle of X.Y.Z. Narrator: You named me Frances El len Watkin~ Harperi,-~Jarnes Edwin Campbell, James ~•i ela.on j'ohnson, Paul Lawrence Dunbar--son of ex-slaves, elevator boy risen to brilliant bard of ~he race. As the poem I S'1rodc in several kinds of English • ...\ Qx' Yr know why Voice: 1 • the caged bird sings, ah me , (f'-- ~ ~ , forth �When his wing is bruised and his bosom sore-When he beats his bars and he would b e free; It is not a carol of joy or glee, But a prayer that he sends from his heart's deep core, But a plea, that upward to Heaven he flings-- I know why the caged bird sings! Narrator: oll..> Abovef\ song exudes from me. I am song. P,.e.pus_e__:me • .i::xarnine Me. Watch Me. My birthright is my anthem. My song is my sword. Voice: -$~ ~ f t every voice and singI Till earth and heaven ringI Ring with the harmonies of liberty I Voice: 1 our rejoicings rise gh as the listening skiesJ -,.::_-, ,· Narrator: ! song-poem , I forge pure flames of rhythms without books. James Weldon Johnson called me the Black and Unknown Bard. And I love to hear Ma.lindy sing. Voice: G'way an 1 quit dat noise, Miss Lucy-Put dat music book away; What 1 s ce use to keep on tryin 1 ? Ef you practise twell you 1 re gray, You cain't sta•t no notes a-flyin' Lak do on es dat rants and rings From de kitchen to de big woods When Malindy sings. (over ) �:tou ain I t got de nachel o I gans Fu I to make de soun I come right, You ain't got de tu 1 ns an' twistin's Fu' :.to make it sweet an I light. Tell you one thing now, Miss Lucy, An 1 I 1 m tellin' you fut true, When hit comes to raal right singin 1 , 'T ain't no easy thing to do. Easy .1 nough fu 1 folks to hollah, Lookin' at de lines an 1 dots, When dey ain 1 t no one kin sence it, An 1 6.e chune comes in, in spo.ts; But fu 1 real melojous music, Dat jesr strikes y o' hear t and cling s, .Jes' you stan r an' listen wif me When Malindy sings. Ain't you nevah hyea.hd Malindy? Blessed soul, tek up de cross! Look hyeah, ain't you jokin',honey?' Well, you don't know whut you los •. y, ought to hyealL dat gal a-wa 1 blin 1 , Robbins, la' k s, an 1 all dem things, Heish dey mouf s an 1 hides dey f !lce When Malindy sings. Narrator: Poem that I am and was, I traveled frc m 11 oasis to oasis. 11 Voice: (ove r) �\. ,; , ,Jeot . _:,,,er< Drumvoices, 11 Man's Sahari c up and down. \ ~ t}""' · J,v'~ Narrator: Riverboats, river towns, chain.gangs~ bar-room toughs, hard-hearted Hanna, Stagolee, ••• t h ey all knew me. Voice: Hard-hearted Hanna-- lJ.1 ---- ,geJJf Voice: ----------------- From .Savannah 2 GEE A. . Voice: She was so cold, yal J. -Chorus: &.sn 1 t she-Voice: She 1 d poor water on a drowing man! Voice: It was eurly one morn.in', When I heard my bulldog bark; Voice: . Stagolee and Billy Lyons Was squablin' in the dark. Chorus: Shine, shine, shine, ••• save po' me. Narrator: You heard me corning from the swollen lips of the bu~le, French horn, trumpet, clarinet and saxophone. Horn: A series of sh ort riffs exemplary o f various forms of music played between the advent of t he spirituals and th e blues-ragtime period. ( ov c r) �Narrator: In Paris they called the ncakewalk" tne "poetry of motion. 11 .!'t'\11,e. crevices of ships I was transported t o global points to make my splendid sound and dance my splendid poetry of motion. Dancer: Executes a series of movements representing such dances as the Cakewalk, or. Charleston, Ji t terbug and the Bop • .t:l emen ts (\'vJest Indian dances should flavor the movements. Narrator: As the poem I blue horns, shot guns in your war, danced dances and came home to face the Ku: IUux Klan,~ Southern Sheriffs and Jim Crow. I got angry. And I got defiant. But I was relatively cool. Voice: ~ the furnace let me go alone; V \stay you 1.vi. tho ut in terror of the he at . I will go naked in--for thus 1 tis sweet-- Into the weird depths of the h ottest zone. Voice: r Desire destroys, consumes m'JV mortal fears,,:.~, Transforming me into a shape of flame o I will come out, back to your world of tears, A stronger soul within a finer frame. Narrator: After race riots in several American cities, I lifted my voice into a searing sha ft of discontent ., Chorus: ~ kinsmen! we must meet the common foe! Voice: ~ ke ...______ ,; /41)-/t · men we' 11 face the murderous, co,-:ardly pack, Pressed to the wall, dying, but fmght i•·-ig back I ~ r ) .• ~ - 4,WA .. ,e,pA ~.-R .. �Narrator: Still, still my past pulled on me. It was as if we were married to each other, glued, locked, welded togeth~r. It was as if those who left us here on this earth never really, really died. Some African sense kept tugging, tugging at my truncated roots. The bridge of my ~ast rested on two shores. Voice: Pour O pour that parting soul in song, pour it in the sawdu st glow of night, 0 Into tho velvet pine-smoke air to-night,; •• Chorus: ~ d let the valley carry it along. ~ d let the valley carry it along. Narrator: Sometimes I w a ~ f there, fi~ting those who wanted to snatch away rrry humanity by day; and fighting hunger and confusion at home by night. As the poem,~ emerged convoluted and wholly new, only to retreat to a some-other-time refrain. Egypt, Ghana, Madagascar, the Pyramids-Voodoo Ceremonies--what did they all mean to me1 Voice: Come with a blast of trumpets, Jesus! Voice: And the beauty of Susanna Jones in red / Burns in my heart a love-fire sharp like pain. Chorus; ~ eet silver trumpets, Jesus I Voice: Well, son, I 1 11 tell you: Life for me ain't been no crystal stai r. (over) I I I �Narrator: The blur of the veil was always relieved by song, by dance, by reading about foreign places and looking forward to the day when Americans would grow up. We were here--in America--but not of it. Simply worryin~ without a plan to change thing)never helped much. We grew stronger, and more beautiful, in the words of Langston Hughes, as we re~embraced our rituals. Chorus: Shake your .b rown feet, honey, Shake your brown feet, chile, Shake your brown feet, honey, Shake 1 Vk:way em swift and wil' -Voice: back, honey, ~\ Do that low-down step. Walk on over, darling, Now! Come out With your left. Warrator: During the watering years, after the Great Depression, I was terrified by lynching and an atmosphere of intimidation. I went to war, as poem and soldier and cook and shining knight of Democracy. 'rhe Swa stika, ( ..,-4 ~ ) i£J The Rising Sun, The Hammer & Sickle, I was told, are your r eal enemy. r Meanwhile you had name d me 01-w- Doc.son and I became a witness to the .};.~alft;i._e_s ~of neighborly enemies. Those who caused unnatural Ileaths. Voic0: . . I up, boy, and tell me how you di ed : sense was alert last, What irnraediate intuition about us (over) '·I ..• ~ �You clutched like a bullet 'When your nails Dug red in your yellow palm. And that map the fortunetellers read Chorus: (this line for money, this for love) Voice: Childish again and smeared •••• Chorus: Wake up,boy, ••• Voice: ••• I go to death tomorrow, Tell me what road you took, ••• Chorus: What hour in the day i s luckiest? Voice: - Did your Adams appl e explodez - Who sewed stitches in 0 your µ;:t\ .,' ~ 5 \ angry heart? ~rtt 4 Chorus: wake••• Na rrator: Yes, yes••• I was sometimes a tattered poem in the thirties, forties and fifites. But I was a poem anyway: gracious, noble, fundamental, fiery, Wa ll<C1L 1 firm, relating td My People~' Someone called me Margaret~ I be came a tapestry of my many selves. Voice: For my people everywhere singing their slave songs repeatedly: their dirges and their ciitties and their b,lues and jubi lees, praying their . pr~.yers nightly to an unknown god, bending their knee s humbly to an un/seen power; ( OVf!' r ) �Voice: For my playmate s in the clay and dust and sand of Alabama backyards playing baptizing and preaching and doctor and jail and soldier an~hool and mama and cooking and playhouse and concert and store and hair and Mi s3 Choomby and company; Voice: Let a new earth rise. Chorus: [ let another world be born. Let ·.a bloody peace be written in the sky. Voice: Let a race of mfn / now rise and take control. Narrator: Frank Marshall Davis, Helvin Beaunorous Tolson, Sterling Brown, Robert Hayden, Gwendolyn Brooks--these are names by which my voice is lmown. Some even call me by the name of HISTORY. Chorus: History, history, history. Runagate J Runagate!RunagateJ Voice: Runs falls rises stumbles on from da rlmess into darlmess and the darlmess thicketed with shapes of terror and the hunters pursuing and the hounds pursuing and the night cold and the night long and the river · to cross and the ja ck-muh-lant e rns beckoning beckoning _ and the blaclmess ahead and when shall I reach that somewhere morning and keep on going and never turn back and keep on going •••• Chorus: Runagatel Runagate! Runagate! (over) �Narrator: I wormed into and won hearts and minds. In 1950, America · gave me the Pulitzer Prize. My name was Annie Allen. I was so ·finely sculpt- .. . ed that no inflection was imprecise. I said what I had to say in a language that dazzled and blinded the world. I stood as a jewel; I talked about a jewel named Satin-Leg s Smith. Voice: He wakes, unwinds, elaborately: a cat \ Tawny, reluctant, royal. He is fat ; And fine this morning. Definite. Reimburs e d. He waits a moment, he designs his reign, That no performance maybe plain or vain. Then rises in a clear delirium. Voice: Let us proceed. Let us inspect, together With his meticulous and serious love, The innards of this close+;. Which is vault Whose glory is not diamonds, not pearls, Not silver plat e with just enough dull shine. But wonder-suits in yellow and in wine, Sarcastic green and zebra-striped cobalt. With shoulder paddine that is wide And cocky and determined as his pride; Ballooning pants that taper off to ends Scheduled to ch oke precisely. Voice: Here are hats Like bri e;ht umbrellas; and hystericaJ. ties Like narrow ba.."lners for some ga theri r..g war. (111ver) �1-~arrato r: I lmew the power of the rap l Chorus: Narrator: I am the power of the rap I Chorus: ~ en! Voice: Bartender, make it straight and make it two-- \ ', Voice(pointing): One for the you in me••• Voice(pointing): • • • and one for the me in you. \' Narrator: I became the Be Bopper; somebody called me the Jfot-suiter; I put on dark glasses and conked my hair. A salesman handed me some bleaching cream and a cad.illac as I sped North to join my Brothers and Sisters in the Promised Land. mchard Wright and James Baldwin cried for l'.ll3 • . John Oliver Killens Heard the 'fhunder and Ralph .l!:11ison called me Invisible, adding that once my leaders figured out tbe riddle of my · style and my rap they could help me save me. Black, I left a white country t to fight yellow men in Korea. :t.:lla, Miles, Monk, Billie, Prez,:. .Chano Pozo, Ornette, Coltrane--they went to war 1.-ri.th me. Chorus: jGood morning heartache I ~ do you do? (over) �Horn: , ' Brief medley of sounds and tunes re~~iJiscent of the period. Narrator: I returned to mys~~ .motion~ 1;:~d! The Stroll Slop I The Madisor!J l'Je ~ st~ ~ The Kansas City e Funky Chicken I The Karate-Boogaloo I They saw me poeting with my hips and my feet. ~-Ctt .. cl_., r ;oet~ngl ~ etingl ?Jarra tor: ;1~ilC J,\~ l ,All An d took it all back to 1~ andstand and other countries. Voice: ; ·q-"' l. l.? There's a thrill upon the hill. . Chorus: Let's go, lot : s go, let 1 s goJ _ Narrator: I came from knrea to meet the ltlan in a new sheet'. And, in Montgomecy, · rited,,,~ cr-&:r: ml).,,•/ \\''~hey wo,ul<ln:,' t let ~y tlp_ther sj- t down .pn a bus. )..s.?. Ko t JoiJ<?,0 H--.ilre Y h ,,cte; o Cn orus: .J~ '• i. }rl'-1.,J._ ,p¢f,~ ,."\_) G,( ..(~I\.J 1 ~ ntgomery, Montgomery, I remember Montgomery. Voice: And Birmingltlarn--the three little girls. Voice: And Selma 1 Voice: '. ) And Philadelphia, Mississippi 1 \ Voice: I recollect Emmett Till! Voice: And Watts! i · £ (Al/1-5' , (0 : ~ - ~ Ct/faw e; / ' 6 11 / �Narrator: My name was Co nra d l\ent Rivers at tha t time. I became a poem called 1 'viatts,'"-hoping that in such disguise I could .fi~d my .;wa.y out of this daily ni ghtma re JVoice: -------- Must I shoot the white man dead to free the ni gger in his head? Must I shoot the white man dead to free the ni gger in his head? And Newark! Voice: 0 And Harlem! \ \ \, -- s cgff- Na rrator: My color felt good to me. I stretched and yawned and walked around m~eigb,borhood. Someonec called me Black and I didn--:;~: i t him. At a rally, I turned into a voice on the podium shouting • Chorus: C::TE ,\ i ) ARE A.~ AFRICAN PEOPLE! Voice: \1 I I i \ all things bl a ck and beautiful, I I '- I '- brown faces you loved so well and long, the 'endless roads l eading back to Harlem. (over) \ \ I ..\,l ll \ IJ ~ ,, ,. \ L ' �Chorus: ~ lu Se Ham.al l.=:lu Se Mamal Voice: Where the stri n g At Some point, Was some umbilical jazz, Or perhaps, . I In memory, A long lost bloody cross, Buried in some steel calvary. In what time For whom do we bleed, Lost notes, fro m some jazzman 1 s Broken needlep Musical tears from los t Eyes, Broken drumstick s, why? Pitter patter, boom dropping Bombs in the middle Of my emotions My father I s sound I My mothert,s sound.o •• Chorus: love, life. Narrator: I turned to philosophy. In the spit and dart of my new self, t here �..L ... ..... • ) were utter~~c es I had to make, blood-thoughts I had to share. I knew this was anotl:er sequel to the dream. I had not believed ' jJ those fairy tales. I needed to take a hand and stand and speak the truth. Speak the truth to the peopl 0 ! Voice: It is not necessary to green the heart Only to identify the enemy It is not necessary to blow the mind Only to free the mind •••• Ch orus: It is the total black! Voice: It is the total black, being spoken From the earth's inside. There are many kinds of open. How a diamond comes into a knot of flame How a sound comes into a word, colored By who pays i:hat . :fo:v speaking •••• Ge Chorus: is another kind of open-Voice: i As a diamond cone s in to a knot of fl ame I am black because I come fro m the earth 's inside : Take my word for jewel in your open light. Narrator: I am the ecstasy of N0 1:v. The fullest r e alization of my ancestors' wishes. I return, even in the alarm; e ven in -~:1e shadow-body I am of ten forced to wear. But e:-iough, enough; I beg you, my dear associates, look Now on our&~ctnd hit'fc>;~y~ ~ int~ , ____ Thea.sv"'e. • __ , _: / " j ,JJ .(11.JJ v �Voice(and Dancer): I am a black woman the nrusic of my song some sweet arpeggio of tears is written in a minor k ey and I can be heard humming in the night Can be heard humming Chorus: Hums first line of 11 Nobody Knows The ·'f rouble I See" Voice: in the night I saw my mate leap screamin g to the sea and I/with these hands/cupped the lifebreath from my issue in the canebrake I lost Nat 1 s swinging body in a rain of tears and I heard my son ,scream all the way fromE:v for Peace he never knew • • • • I learned ·na Nang and Pork Chop Hill in anguish ) Now my nostrils lmow the gas and these tri ?ge red tire/d fingers l'!'l\·~ seek the softness inl\k1rrior I s beard I a"'1 a black wo!"lnn tall as & cyp~e ss strong (ov~r) ) ' . � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_09_34 Title A name given to the resource Fifth draft of Script Adaptation of Drumvoices: The Mission of Afro-American Poetry (A Critical History), typed with handwritten edits, 1976 Description An account of the resource Fourth draft of Script Adaptation of Drumvoices: The Mission of Afro-American Poetry (A Critical History), typed with handwritten edits, 1976. For presentation at book party on October 3, 1976: 3 p.m. to 6 p.m., Redwood Room, University Union, California State University, Sacramento. Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. Date A point or period of time associated with an event in the lifecycle of the resource 1976 https://digitallis.isg.siue.edu/files/original/ebdd342df128b6d11a87a37cfb825ca8.pdf 070f4f3c8a3259e0890523f38bde3a7b PDF Text Text DRUMVOICES : THE MISSION OF AFRO-AMERICAN POETRY* A Readers Theatre/Ritual Drama By Eugene B. * Script Adaptation of DRUMVOICES : THE MISSION OF AFRO-AMERICAN POETRY (a critical history} , by Eugene B. Redmond: Doubleday, 1976. Script copyright @ 1977 by Eugene B Redmond �Note to Directors & Players DRUMVOICES , as a theatricalqc:RJ,Tt , follows .~ 1 -tW- tradition of ritual theater or the 11 ri tualizing"of an event. I deally, for Readers Theater, th.fJ) · ta-ge.r ;;r,el\lrebo.u~ hav~:' i.'<ii'-Q_ {:l'P~ . "Ti<> ·"'.s~r~J~ ,. r-r 4:i:~ ·-s ~and ,· and ~a. ce iar. . Since ritual theater is conceptually and practically adaptable to as few or as many players as are desired, directors/stagers should proceed accordingly. Ritual drama is also qualitative in terms of depth and meaning- -that is it can be as deep o.r as light as one wants it . Hence , in preparing DRUMVOICES for the stage, directors should take pains to determine the levels of intensity or message - delivery · '·a, tff~J" ii.' • These levels can be achieved and/or modified .from performance to performance by shifting (heightening or lessening) tone and thrust . Ideally, for DRUMVOICES , one drummer and one horn -player should make up the cast , along with at least one male and one female dancer. At t~e same time , owing to the nexibility and adaptability of ritual theater , director may use as many dancers or musicians as are desired. The speaking cast sho.µ ld(preferably) consist of a three-member core-chorus . The core-chorus provides unison, harmony and call-and-response while at the same t ime suppl ying the main indivi,dual voices . S.et apart from t .he core-chorus is the narrator, who is atmospherically removed, some-what dispassionate but omnipresent i a vast-voice :bn ge. Another voice , some distance to the other side of the core-chorus is khown ·as a ralief-voiee . This character/player can- be made the focus of attention or go unnoticed while he/she slips into the audience , disappears to change clothes, or prepares for some sudden and -surprise shift in the action of the drrune. . :t'. �l art I: Music & I The stage is bear except for music stands, a podium and the musicians' instruments . A lo~t dancer appears, walks upstage and lmeels in preparation for the oped~~ance-poem. The first sounds are heard off stage at which time the drummer and horn player come on stage and situate themselves at their instruments . The dancer begins to dance when the musicians are assembled. Voice~{of~-stage) Music and !-- Listen f--Yai L:.Y ai ! Listen to the sound of rrry homl Music and I --Listenl--Yaif Yail Listen to the sound of rrry homl Musi c ~and !--Listen 1-- Yai I Yai ! Voice(ofr-atage as dance begins) Listen to the sound of my horn ••• This note you have longed to hear! Voieef2 Listentito ·" the s souiido of- ·w s,s:ong, : I s TJ.Y, FIO"r :,:the music you have hummed by ear. Voice#) I sound the time to rise for, the fields . I moan the rhythm as the congregation lmeels . Voice:/14 For I am the note of air, the catcher of your despair. Voice .5 I cry long nights for you my people . I rise early with my clayed cotton coat . I tote water to sun-baked lips. Voice#l And I sing awm, pain from your chain-whipped hips . (oven· ) �2 Voice#2 But now, my people, I've grown a new song Listen, all ye Americans! Listen with your ear: Voice#3(walking upstate to position) Now the congregation rises-Voice#4(walking upstage to position) Now the new corn sprouts-Voice#5(walking upstage to position) Now the air breathes fresh-Voice#l(walking upstage to position) Now the trodden land sings-Voice#2(walking upstage to position) Now my horn of clay airs a long signal motif. Voiee/13 Listen to the sound of my horn, my people . This rhythm of years long past . Voice#4 Listen to the sound of my horn, I say; Chorus(raising arms) Music and I :. . ·- have come at last J (Dunn s) ( As voices expaade, dancer ~BJid :dmmm~:ropic1~ u-p ,1tempo ; then dancer exits ~ After a slight pause , narrator begins the on~stage ritual program. ) Narrator I am the poem! We are the poem! Narrator And the poem is me ! Chorus And the poem is u s I And the poem is us I And the poem is us I (over) �3 Narrator I am the poem and I caae before pen ,1or pencil or paper or printing press t e~ ! I cupped and cuddled the wisdom of the winds in drum-bosoms of ecstasy. Drunmer Performs a wide range of rhythms , movements , tones , multiple-rhythms African, West Indian, fro-Latin , Afro - American. Narrator Listenl Listen closely and you can hear me , you can hear me writing in drum-language ; you can hear me conversing with tomorrow, today and the heretofore . Chorus DRUMFEEI' ON THE SO IL, ON THE SANDROADS OF THE MIND! FLESH-PISTONS PRANCING, THE EARTH'S ENGINE! IT IS A COMING FORTH, THE NIGHT WITHrN US COMING FORTH'! THE NIGHT WITHIN US COMING FORTH f FEEI' BEATING, BEATING, BEATING SEEDS INTO THE SO IL! Narrator I return and return and return to my magnificent and reliable archives . 'Chorus That J,ove we can depend onJ That Love we can depend on! Voice ( singing; as danc er:,s _s _tJ?l~ ONOBOROBO I Chorus ONOBOROBO ! Voice ONOBOROBo ! Chorus ONOBOROBO f (over) si; ·rch. J. th.a ta·ge )•0nt [•.op �4 Voice ONOBOROBO I Chorus ONOBOROBO! Narrator In my dependable cultural vault is the Idea-gram: that natural clinetagraphy landscaped by thudding thoughts of my totem family, the living-dead, the breathing, the unborn. I am the poetic flesh-temple .with many forms, earth- daughter and agile inundator o- history. I am the poem in motion. Dancer Executes rudimentary movements and other elements of traditional African and nee-African dance: isolation, use of pelvis and torso, leaps, twirls, pulls, the Yanvalou(or a ~indreckmovement), vigorous stretches, lifts and thrusts. (D~t;A:M. accompaniment) Narrator I am the Black and Unkno-wn Bard. American put me on a · conveyer belt moving in two different directions at the same time My African Jubilance turned to anger and a song of sabotage. My Indomi..table Echo and Id.ion flavored my Indomitable Press to be Human. As a poem, I became part of what I did, saw and dreamed on these shores: Field Hollers, Vendors r Shouls, Chants, Work Songs, Spirituals, Blues, Gospels, Jazz, Rhythm-nBlues, Soul Music. ( See attache.d chart of the preceding item~ , which ~ et!1- lustrated with short examples by voices after the list has been given.) Voice Did ye~ feed my cow? Voice Voice · Wi:11 yer tell me how? (over) �yodle •••• hey brother yodle •••• hey brother Vendors• Shouts watermellons, oh ••• sausages, oh ••• · tomatoes, oh ••• I got •em fresh ••• , Chants Om-la-la Om-la-la Work Songs Say I'm working hard on the chaingang Spirituals Ezekiel saw the wheel a-turning(chorus) Way up in the middle of the air Blues Blood, lawd, blood all on the wall Gospels O' happ. day . O happy day When Jesus washed When ~esus washed Washed all my sins away Jazz Riffs from Ike Rhythm-and-Blues Will you still love me tomorrow? Soul Music I ,m a soul man I •m a soul man �5 Voice Oh w' at did yer give 'er? Voice Cawn an hay! Voice Oh w1 at did yer give 1 er? Voice Cawn an hay! Voice(looking up) Evahwhub. I , -whuh I loo]j: dis mawnin, Looks lak rain, looks like rain. Chorus Looks lak rain, looks lak rain! Voice I gotta rainbow, tied all rounl mah shoulder, Ain gonna r ain, ain gonna rain. Chorus Dis is de hammer, Kilt John Henry 1 oice(emphatically} Twon•t kill me , baby, Twon 1 t kill me . Take dis hammer, Carry it to de captain-Voiee Tell him I'm gone , baby, Tell him I 1 m gone . ( ova--, ) �6 Chorus I got a rainbow Tied 1 roun my shoulder, Ain 1 t gonna rain, baby, Ain't gonna rain. · oice(work-song sung) Dis ole hammer--huht(chorus) 1 Ring lak silver--huht (chorus) Shine lak gold--huh chorus) Chorus Ain 1 t gonna rainJ Ain~t gonna rainl Voice(female) I 1m a big fat mamma, got the meat shaking on mah bones, I'm a big fat mamma, got the meat shaking on map. bones, And everry time I shakes some skinny girl loses huh home. Voice Run, nigger run; de patter-roller catch you; Chorus un, nigger, run, it I s almost day. Voice Run, nigger, run; de patter-roller catch you; Chorus Run, nigger, run, and tey to get get away. Voi-c e Dis nigger run, he run his best,-- Stuck his head in a hornet's nest,-Voice Jumped de fence and run fru the paster; (over) �7 Chorus White man run, but nigger run faster . Voice Dat nigger run, dat nigger flew,-Chorus. Dat nigger tore his shirt in two. N~rrator Yes, as poem, as cotton~pfucker, as banjo-player, as fiddler, as preacher, a minstrel-maker and mirror, as slave-rebellion leader, I emered a ne'I/ part of the old My 4friean song ushered forth in strange new Biblical Language. Voice(singing) Go Down, Moses, Way Down in Egyptland; Choru ( talking+pointing) , Tell old haroah To let my people go . Deep River •••• Deep Deep Deep River •••• Voice Deep Bi ver, my home is over Jordan; Deep River, Lord; I want to cross over into camp ground Voice (excitedly) And, yes , I DREAMED I was riding in that chariot. Chorus(or Voice) Swing low, sweet chariot, Coming fort o carry me hon:e1 (over) �8 Swing low, sweet chariot, Coming for to carry me home. Voice Green trees a-bending, Po' sinn.er stands a-trembling The trumpet sounds within-a-my soul; Chorus I ain't got long to stay here . Voice (male) Joshua fit de battle of Jericho,-Chorus Voice Joshua fit de battle of Jericho,-Chorus And de walls came tumbling down . Voice Dat morning •• •• Chorus And decwalls came tumbling Voice My God is a rock in a weary lan 1 - Chorus Weary lan 1 , weary lan' -Voice My God is a rock in a weary lan 1 - Chorus Shelter in de time of storm. Narrator I was Black and curious; I confronted harshness head-on; my struggle meant {over) �I had to learn to write like wh~tes, even though,Ironically, their laws 9 aid I could be punished or jailed for possessing such knowledge and skill . Voice You named me . Lucy Terry! Voice Gustavas Vassa J Voice Britton & Jupiter Hammon! Voice Coon & Buck I Voice Phyllis Wheatley! And I mastered Greek, Latin and English in my teens . Lonely Black girl whom the muses befriended, thousands and thousands of miles away from rrry West African home . I continued to emerge as the poem. Voice Should you, my Lord, while you peruse rrry song, Wonder from whence my love of Freedom sprung, Whence flow these wishes fort he common good, By feeling hearts alone best understood, I, young in life , by seeming cruel fate , }'las snatched from Afric' s fancy• d happy seat , :t an~ 6.xcruci- ting must mole t ., hat c·,Ja la ,cur~~ ~y ~~r&nt~ t r~ ~t? What sor:irows labour in my parents ' -breasts? Steel 1 d was that soul and by no misery mov•d That from a father seiz 1 d his babe belov 1 d: Such , such my case . And can I then but pray Others :may never feel tyranic sway? (whea1lay) Narrator You named me George Moses Horton. I did not like the injustice (over) of the �10 double standard. And so I turned into a poem. Even though some continued calling me "The Slave . " Chorus 11 Th Slave"? Voice Because the brood-sow's left si de pigs were black, - Whose sable tincture was by nature struck, Were you by justice bound to pull them back And leav e the sandy-colored pigs to suck? (Horton) Chorus(ominously) Runagatel Bunagate! Runagate! Runagate! Runagate! Narrator My mother cured ills and my father worked mots . In the bi-cultural constriction the poem became juju-man, the face hidden by the ambiguous minstrel smile . Voice We have fashioned laughter out of tears and pain; Chorus B~t the moment after- Voice Pain and tears again. (Cb. rles Bertram .Johnson) Voice Forgive these erring people, Lordi Yoip-~s Who lynch at home and love abroad. (cloJ,o D~) Narrator Still I wrote--this time just like I talked, though some made :run of it . But, as maker of song, I could only produce heart-rhythms . (over) �Voice 11 De Ounjah man, de Ounjah man, o chillen,run, de Gunjah man! Chorus O chillen,run, the Cunjah man! Voice Him mouf ez beez as fryin' pan; Voice Him yurs am small, him eyes am raid,-Voice Him hab no toof een him ol' haid, -Voice Him hab him roots, him vru.k him tricks,-Voice Him roll him eye, him mek you sick-Chorus De Cunjah man, de Cunjah man, O chillen run, de Cunjah mant(J.E.Campbell) Narrator I knew my rights, my rou@l times and my remedies. Voice(assurning tones ref1Boting physical illne ses) Blue-mass, laudnum, liver pills, "Sixty-six, fo I fever an 1 chills,'' Ready Relief, an 1 A.B.c., An 1 half a bottle of X.Y.Z.(J.W. Holloway) Narrator You nmned me Frances Ellen Watkins Harper, James Edwin Campbell, James Weldon Johnson, Paul Lawrence Dunbar--Son of ex-slaves, elevator boy risen to brilliant bard of the race. s the poem I strode forth in several kinds of English. ( OVell' ) �12 Voice I know why the caged bird sings, Ah me , lfuen bis wing is bruised and his . bosom sor~.,.Wnen he beats his bars and he would be free; It is not a carol 0f joy or glee, But a prayer that he send from his heart 1 s de p core , But a plea, that upward to Heaven he flings-1 know why thecaged bird sings l (Dunb~r} Narrator Above all , song exudes from me . Indeed, I am song. atch and examine me . My birthright is my anthem. My song is my sword. And I l l ift that sword high I Voice ( singing) Lift evfr y voice and sing, Till earth and heaven ring, Ring with the harmonies of liberty . Chorus (talking, pointing upwards) Till our rejoicings rise High as the listening skies!(J. W Johnson} Narrator As song-poem I forged pure flames of rhythms without books James Weldon Johnson called me the Black and Unknown ~ard. And, let me tell you some thing ••• hmmm.mmmm •••• I always loved to hear Malindy sing. Voice G 1 way an 1 quit dat noise , Miss Lucy-- Put dat music book away; What 1 s de use to keep on tryin 1 ? f you practise twell you're gray, You cain 1 t sta 1 t no notes a-flyin' Lak de ones dat rants and rings From de kitchen to de big woods (over} �13 Chorus When Malindy sings. Voice You ain 1 t got de nachel o 1 gans Fu• to make de soun 1 come right, You ~in't got de tu'ns an' twistin•s fur to make it sweet an• light. Tell you one thing now, Miss Lucy, I'm tellin' you fu' true, An. 1 'When hit comes to ra l right singin', '~ _Chor.us 1T " ain't no easy thing to do. Voice Easy 1 nough fu 1 folks to hollah, Lookin' at de lines an' dots, When dey ain't no one kin sence it, An' de chune comes in,in spots; But fu 1 real melojous music, Dat jes strikes yo I hea 1.t and clings, Jes you stan 1 an 1 listen wif me ~ · 1~ r • Chorus When Malindy sings . Voice Ain't you nev,ah hyeahd Malindy? Blessed soul, tek up de crossl Look hyeah, ain 1 t you jokin', honey? Well, you don't know what you los•. Y' ought to hyeah dat gal a-wai' blin,, (over) �Ro bins, la' ks, an' all dem things, Heish dey moufs an' hides dey faces Chorus When Malindy sings. Voice#l Fidlin' man jes' stops his fiddlin', Lay his fiddle on de she 1 f; Voice 2 Mockin 1 -bird quit tryin' to 'Whistle, 1 0ause he jes so shamed hisse r. Voice#3 Folks a-playint on de banjo Draps dey fingahs on de strings-Bless yo' soul--fu 1 gits to move •em, Chorus When Malindy sings. Voice She jes' spreads hu mouf and hollahs, Voice( singing) "Come to Jesus," Voice ••• twell you hyeah Sinnahs' tremblin 1 steps and voices, Timid-lak a-drawin 1 neah; Den she tu•ns to Voice(singing) 11 Rock of Ages, 11 Voice Simply to de cross she clings, (over) �15 Ant you fin yo' teahs a-drappin' .Oh(i>I?US When Malindy sings. Voice Who dat says de humble praises lif de Master nevah counts? Heish yo' mouf, I hyea.h dat music, Ez it rises up an' mounts-Ploatin1 by de hills an' valleys, a:y above dis burryin 1 sod, Ez hit makes its way in glo ry ; . " Chorua To de very gates of God~ Voice Oh, hit re sweetah dan de music Of an edicated band; An' hit 1 s deara.h dan de battle's Song o 1 triumph in de lan•. Voice 1 It seems holier dan evenin' \when de solemn chu'ch bell rings, Voice 2(slowly,searchingly) Ez I sit an' ca 1,m ly listen Chorus While alindy sings. Voice Tows stop dat ba 1 kin, hyeah me! Mandy, , mek dat chile keep still; (over) �16 Don't you hyeah de echoes callin 1 F 1 om de valley to de hill? Let me listen, I can hyeah it, Th·' oo de br-esh of angels I wings , Boft and sweet, Voice 3 ( singing) • • • 11 swing . 1 ow, Sweet Chariot , " Voice(dreamily and ecstatically) Ez Malindy sings . (Dunbar) Narrator Poem that I was and am, I traveled from "oasis to oasis . " Voice Man's Saharic up and down . (M . B. Tolson) Narrator Riverbbats , river towns chaingangs • • Voice(singing as chorus makes work-sounds in background) Well don ' t you know That's the sound of the men, working on the chain-n-n-n gan-ee-ang; Well don 1 t you know That's the sound of the men , working on the chain gang . (Cooke) Narrator Bar-room toughs , hard-hearted Hanna , Stagolee ••• they all knew me . Voice Hard haarted Harm.a- Voice From Savannah, GEE A. Voice She was so cold, yal,1-Chorus Wasn't shel (over) �17 Voice She 1 d pour water on a drowning manJ Chorua(slowly and deliberately) Water, on a drown-ii-nnng man. Voice(attracting the attention of others) It was early one mornin 1 , When I heard my bulldog bark; Stagolee and Billy. Lyons Was squablin 1 in the dark . Voice Frankie and Kohnny were lovers , Lordy , how they could love, Voice Swore to each other , True as the stars up above , He was her man but he done her wrong. Voice(female) Shine , shine , shine , ••• save po ' me . Narrator I was in the constant see-saw of life , wading through hell in search of heaven. Bu t I kept my working philosophy with me . Voice l De stopper get de longest rest in de empty jug. Voice 2 De price of your hat ain 1 t de measure of your brain . VoiceJ3 De graveyard is de cheapes' boardin 1 -house . Buyin 1 Voice-f14 on credit is robbin 1 next year's crop . (Over) �18 Voice 5 Life is short and Voice, 1 De cow-bell can 1 t keep a secret . Voiee#2 Little flakes make de deppest snow. Voice 3 De crawfish in a hurry look like he tryin' to git dar y Voicel/4 Be drinks so much whiskey that he staggers in his sleep. Voice 5 In God we trust , all others cash. Narrator Yes I was lyric-wise . You heard me everywhere . You even heard me coming from the ·swollen lips of the bugle, French horn, trumpet , clarinet and saxophone. Horn A series of short riffs and movements exemplary and ±llustrative of various forms of Afro-American music played between the advent of the spirituals and the ragtime-blues period. Narrator In Paris they called the "Cakewalk'' the '1poetry of motion. tt In the crevices of ships I was transported to global points to make me splendid sound and dance my splendid poetry of motion. Dancer Executes a series of movements and steps representing such dances as the Cakewalk, Charleston, the ,Two~~tep, Jitterbp g and t he Bop . Elerr:ents of West Indian dances should flavor movements . (over) �19 Narrator As the poem I blue horns, shot guns in your Virst World War, danced dances and came home to face the Ku Klux Klan, Southern Sheriffs and Jim Crow. I got Angry . And I got defiant . But , I was relatively cool. Voice( serious) Into the furnace let me go alone; Stay you without in terror of the heat . I will go naked in-:e-:fior -.thus 'tis sweet-- . Into the weird depths of the hottest zone. Voice(serious but resolute and emerging) Desire destroys , consumes my mortal fears , Transforming me into a shape of flame . I will come out, back to your world of tears , A strongger soul within a finer frame . (McKay') Narrator From the dark tower I watched as I 1 pr.~para~, ~.Matcb.ed ·as I prepared, watched as I pre pared, knowing that f.We :were not made eternally to weep . Voice(reflective, meditative) The night whose sable breast relie~es the stark White stars is no less lovely being dark, And there are buds that cannot bloom at all In light, but crumple , piteous , and fall; So in the dark we hide ,t he heart ~. that bleeds , And wait , and tend our agonizing seeds . (Cullen) Narrator After race riots in several American cities , I lifted my voice in a searing shaft o~ discontent . Chorus 0 kinsmen! we must meet the common foeJ (over) 11 �20 Voice Like men we•l1 face the murderous , cowa~dly pack , Pressed to the wall, dying, •• Chorus(slowly and softly) Dying ••• dying ••• dying Voice ••• but fighting back! (M.~~,) Narrator All the while my past kept pulling on me . It was if we were married to each other, glued, locked, welded together. It was as if those who departed never really, really died. An African sense kept tugging tugging at my truncated »oot-s . The bridge of my dwarf-like past . rested on at least two shores. Voice Pour o pour that parting soul in song, O pour it in the sawdust glow of night, Into the velvet pine-smoke air to-night, ••• Chorus(slow and echo-like) And let the valley carry it along . And let the valley carry it along . (tG'onte~) Narrator(confused and desperate} Sometimes I was only half-there , fighting those who wanted to snatch away my humanity by day; and fighting hunger and confusion at home by night . As the poem, I emerged convoluted and wholly new, only to ·)retreat to a some-other-time refrain. Egypt, Ghana, Madagascar, the Pyramids-- Voodoo Ceremonies--what did they all mean ito me? The beauty- pain of it all? Chorus Come with a blast of trumpets , Jesus I (over) �21 Voice(o.:xymoronic) And the beauty of Susanna Jones in red Burns in my heart a love-fire sharp like pain. Chorus weet silver trumpets , Jesust ()\~3~8SJ V'oice Well , son, I'll tell you: Life for me ain't been -no crystal stair. (Hughes) Narrator But the blur of that veil was always tempora~t ly relieved by song, by dance , by reading mr thinking about foreign places and looking forward to the day when Americans would grow up . e were here--in America-- but not of it . Simply worrying, without a plan to change things , didn't help much. We grew stronger, and more beautiful, in tha words of Langston Hughes , as we re-embraced our own rituals . Ch orus(singing and jiving) Shake your brown , feet, honey , Shake your brown feet , chile , Shake your brown feet, honey, Shake em swift and wil 1 - Voice Get way back, honey, Do that low-down step. Walk on over, darling, Nowt Come out With your left . (Hughes) Voice (breaking the fun-frolic' and wanng serious) Yet do I marvel at this curious thing: To make a poet black, and bid him (over} singt ~ vlle~ �22 Narrator Yet must I marvel that I 1 m here at all . Because during the watering years , after the GREAT DEPRESSION, my .. existence was seriliously threatened by lynching and at atmosphere of intimidation. I went to war, as poem and soJ:.dier and cook and shining knight of DEMOCRACY! The SWASTIKA, i:che ISING SUN, The HAMMER & SICKLE, I was told, were my L enemies . wen Dodson and I grew accustomed to the Meanwhile you had named me realities of neighborly enemies , Those who caused UNNATURAL DEATHS . Voice(preaching a funeral sermon) Wake up , boy, and tell me how you died : What sense was alert last, What immediate intuition about m You clutched like a bullet when your nails Dug red in your yellow palm And that map the fortunetellers read Chorus ( this line for money, this for love} ' Voice Uhi.ldish ag~in- ~d.2meared. • • Chorus Wake up , boy • • • Voice • •• I go to death tomorrow, Tell me what road you took, ••• Cho rps What hour in the day is luckiest? Voice Did your Adams apple explode? Who sewed stitches in your angry heart?(O. (over) �23 Chorus 0 wake ••• Narrator Yes, yes , • • • I was sometimes a tattered and beaten poem in the nineteen Thirties, Forties and Fifties . But I was a poem anyway: Gracious, Noble , ·Fundamental , Fiery , Firm, Relating to ;r on ~ of Wtllkb- Common Ground. Someone cal led me Margare ~ eople 11 I became a Tapestry y Many Selves . Voice/11 For my people everywhe:t9'8 singing their slave songs repeatedly; Voice#2 • • • their dirges and their ditties and ~heitb~-.S and jubilees , Voice 3 • • • praying their prayers nightly to an unknown god, Voice#l • • • bending their knees humbly to an un/seen power; Voice#2 • • • washing/ironing cooking scrubbing sewing mending plowing/digging planting pruning patching dragging along never gaining never reapi ng nev er . lmowing and neve~ understand/tng; Voice#) For my playmates in the clay and dust and sand of Alabama backyards playing • • • Voice#l Voice#2 preaching and••• (over) hoeing/ �24 Voice 3 doctor and •• • Voice#l jail and ••• Voice 2 soldier and • . • Voice 3 school and • ••• Voicefl mama and/cooking and playhouse and concert and store and/hair and Miss Choomby and company; Voice#2 For the cramped bewildered yearS' we went to school to learn to know the reasons why and the answers to and the people who and the places where and the days when , in memory of the bitter hours when we discovered we were black and poor and small and different and nobody cared and nobody wondered and nobody understood; Voice 3 For the boys and girls who grew in spite of these things to be . 1__. . . man and woman, to laugh and dance and sing and play and drink their wine and religion and success, to marry their playmates and bear children and then die of consumption and anemia and lynching; Voice 1 For my people thronging 47th Street in Chicago and Lenox Avenue in New York and Rampart street in New Orleans , ••• Voice 2 ~or my people blundering and groping and floundering in the (over) �25 dark of chnrche and schools and clubs and societies , as - sociations and councils and committees and conventions , distressed and disturbed and deceived and devoured by money-hungry glory-craving leeches, preyed on by facile force of state and fad and novelty , by false prophet and holy believer; Voice#) Let a new earth rise . Let another world be born. Let a bloody peace be written in the sky, Voice#J,. • • • Let a second generation full/ of courage issue forth; Voice 2 • • let a people loving freedom come/ to growth . Let a beauty full/ of healing and a strength of f inal clenching be t he pulsing in/ our spirits and<OU.r blood. Voice 3 • • Let the martial songs be written , let the dirges . dis/ appear • Chorus (strongly) • • • Let a race of men now rise and take contro l. M• .Walker) Narrator rank Marshall Davis , Melvin Beaunorous Jolson, terling Brown, Robert Hayden, Paul Vesey, Bob Kaufman, Georgia Douglas t Johnson, Russell Atkins , Leadbelly, Ligb.tnin 1 Hopkins--these are names by which my voice is known . Some even call me by the name of (whispering) HISTORY . Chorus(rising from whispers) Histocy! History! History! RunagateJ RunagateJ Runagatel Voice Runs falls rises stumbles on from darkness into darkness and the darkness thicketed with shapes of terror (over) �26 and the hunters pursuing and the hounds pursuing and the night cold and the night long and the river tocross and the jack-muh-lanterns be ckoning beckoning and the blackness ahead and 'Wb.en shall I reach that somewj):ere morning and keep on going and never turn back and keep on going ••• Chorus(frightened) Runa gatel Eun.agate! Runagatet Voice Some go weeping and some re j oicing ~ome in coffins and some some in silks and some in shac kles Oh that train, ghost-story t r ain through swamp and savanna move r ing movering over trestles of dew, through caves of the wish, Midnight Special on a sabre track movering moveFing , first stop Mercy and the last Hallelujah. Voice Come ride- a my train . Chorus Mean mean mean to be free . (R. Hayden) Narrator I 'ecame a brilliant word-torch shining back against my past and flaming proudly into the future . All the while I wormed into and won hearts and minds . And in 1950, America gave me the coveted Pulitzer Prise . My name was Annie A1len but I was rnsny people . I was so finely sculpted that no inflection was imprecise. I said what I had to say in a language that dazzled and bl inded the world. I stood as a jewel; I talked about a jewel named "Satin-Legs Smith . 11 (over) �27 Voice(as othe~s look on admiringly) He wakes, unwinds, elaborately. a cat Tawny, reluctant, royal. He is fat And fine this morning. Definite. Reimbursed. He waits a momemt, he designs his reign, That no performance mp.y be plain or vain Then rises in a clear delirium. Voice Let 1.~us proceed. Let us inspect, together i th his meticulous and serious love, The unnards of this closet. Which is vault 'Whose glory is not diamonds, not pearls, Not silver plate with just enough dull shine. But wonder suits in yellow and in wine, Sarcastic green and zebra-striped cobalt. i th shoulder padding that is wide And c cky and determined as his pride; Ballooning panms that taper off to ends Scheduled to choke precisely. Voice Here are hats Like bright umbrellas; and hysterical ties Like narrow banners for some gathering war.(G. Narrator Yes, I was immaculately Black. Magnificently Black. And I knew the power of the Rapl Chorus Ament (over) �28 Narr.a tor I became the power of the Rap! Chorus Amen! Voice Bartender, make it straight and make Voice(p6inting) one for the you in me••• Voice(pointing) • • and the me -:in you. (11. Tolson) Narrator After lengthy conversations with my musio, I became the Be-Bopper; somebody called me the Zoot-Suiter; I put on. dark glasses and conked my hair. A double-chinned ~alesman handed me some bleaching cream and a cadillac as I sped North' to join my brothers and siste~s in the .romised Lan Richard Wright and James Baldwin cried for me. John Oliver Killens Heard The Thunder and Ralph Ellison called me Invisible, adding that once rrry leaders ~.e goded the riddle of my style and my rap they could help me save me. Black, I left a Whi e country to fight Yellow men in Korea. Ella, Miles, Monk, Billie, Prez, Chano Pozo, Ornette, Coltrane--they went to war with me. Chorus Good Morning heartachet(sung) How do you do.(said) Horn Medley of tunes and musical mannerisms reminiscent of the period. Narrator I got hip to world events, science and space exploration. I knew wh~ I knew, still I couldn I t go where r wanted to go, or dO what I wanted to do. Arneric~· got nervous whenever I appeared in public. But I knew (over} �29 certain events and developments were dooming all of us t .o an • "Ultimate Reality . 11 Voice You know, Joe, it's a f\u.:;my thing, Joe, You worry most of your life about me, Always afraid I 1 11 get a job with you, Always scared I might get served with you, Always afraid I'd wanna love1your 0r that she might love me Voice Don ,t want me to eat with you, Voice S ared I might live next to Voice But with the Atom Bomb, Joe, It looks like I might die with you . Voice That don:t:p I seem right , does it, Joe? (Ray Durem} Narrator But inspite of all the adversity, the historical strengths kept returning to me, shoring me up , helping me to feep getting up , to keep going. We had our persona] victories in the meantime . We learned everything that it too~ to make it in America, even when no one would let us have equipment or space to work in. We just reached back inside ourselves and crune up with what was needed. Then__;one day, the poem became a baseball in the hands of the legendary Leroy Satchel Paige . Voice Sometimes I feel like I will never stop Just go forever (over) �30 Till one fine mornin• I'm gonna reach up and grab me a handf'ulla tars Swing out my long lean leg And whip three hot strikes burnin• down the heavens And look over at God and say How about thatl(S. 1lav) Narrator Style has always been my signature . So it was not a surprise that I returned to myself in motion. Behold! The tr.oil! Chorus Sings a t,ortion of Gene Chandler ts 11 Duke of Earl" or some other period piege . Narrator The Kansas City Slopt The Madison! · Chorus Sings Jportion of the Five Satins• song from period. n±n the Still of the Night" or another Narrator The Twist! Bri,ef exerpt from Chubby Checker's "Twist" . Narrator The Funky Chicken! The Karate Boogaloot They saw me poeting with my hips and my feet . Chorus PoetingJ Poetingf Narrator And took it all back to American Bandstand and other countries . Voice(singing) There ' s a thrill upon the hil11 Chorus ( singing2 Let's Go! Let's Go! Let•s Go! (over) �Narrator I eaina home from Korea to meet the Klan in a new sheet. And in Montgome;ey they would not let my mother sit down on a bus. As a poem, my name became Lance Jeffers, Raumond:· Pa:tterson, G.C. Oden,Mari Evans, LeRoi Jones and Imamu Amiri Baraka, Audre Lorde. Chorus(questioningly) Montgomery? Montgomery? Montgomery?. • I remembeF Montgomery. Voice And Birmingb.am--the fo~.-~ little, little girls. Voice Four little girls Who went to Sunday School that day And never came back home at l all-Voice But left instead Th~ir blood upon the wall With spattered flesh And bloodied Sunday dresses Scorched by dynamite that hina made aeons ago llirtl not know' .what 6hina made Before China was ever Red at all Would redden with their blood This Birmingham-on-Sunday wall. Four tiny girls Who left their blood upon that wall, InJ littlet g:ra..ves l today await (over) �32 Voice The dynamite that might ignite The ancient fuse ' of Dragon Kings Whose tomorrow sings a hymn, The missionaries never taught In Christian Sunday School To Implement the Golden Rule . Voice Four little girls Might be awakened someday soon By songs upon the breeze Voice As yet unfelt among Magnolia .o:U.. trees. C~v&,es) Voice And Selma! Voice And Phiiadelphia, Mississippi! Voiee(vaguely , hesitatingly) I recollect Emmett Till Voice 1lnd Watts J Narrator My Name was Conrad Kent Rivers at that time . I became a poem called "Watts , " hoping that in such disguise I could find my way out of this daily nightmare . Voice Must I shoot the white man dead to free the nigger (ever) �33 in his head? Voice(pausing, musing) Must I shoot the white man dead to free the nigger in his head? (t •'--' \\Jl~9 Voice And Newarkl Voice And Harlem! Voice And Oakland! Voice And Dallas! Voice And East St . Louis I Voice And Chicago f Voice M' rtin iuther Kingt Voice Malcolm! Voice Stokley! Voice H. .ap Brown! Voice James Bro'WI'l I (over) �34 Narrator Drumbeats enflamed ·tb.ev sky. Liberation became lilyupassionate preoccupation. A warm self- love engulfed me . My woman and I looked at each oth~ through. new-old eyes . We had our ow.n standard of beauty. I stretched and ya-wned and walked around in my own neighborhood. My ~o l or felt good and healthy to me . It looked good to me in the mirror of my Brothers' eyes . Someone called me Black and I didn't hit him. At a rally, I turned into a voice on the podium shouting. Chorus WE ARE AN AFRICAN PEOPLE! Drummer & Dancer Salute the ~oming of the new consciousness with appropriate nee - African rhythms and movements Voice For all things ~lack and beautiful, The brown faces you loved so well and long , ' the endless roads leading back to Harlem. Chorus Kulu Se Mama l Kulu· Se Mama! Kulu Se Mama! Kulu Se Mama Voi ce 1 Where the string At 1...> Some umbilical jazz, Voice#2 Or perhaps , In memory, A long lost bloody cross , Buried in some steel calvary. (over) �35 Voice#3 In what time For whom do we bleed, Lost notes, from some jazzman 1 s Broken needle . VoiceH=4 Musical tears from lost Eyes , Broken drumsticks , whyT Voice ;I.. Pitter patter, boom dropping Bombs in the middle Of my emotions Voice#2 My father ' s s ound Voiee#3 My mother's sound ••• Chorus Is ~love , Is life . (6,to.\)fi ~· Narrator I had watched America. I knew America I could deal with the difference and the sameness , that strange decorated pain that characterizes our existence . I keep coming back to the point of the sythesis and the symbiosis . I am history and future , or, put differently, I am future• history . Sometimes , because of my ma.ny: level fOf vision, I grasp the helm of the struggles of the many colored hands . I might even be in a river that laces the stomach of America. �36 Voice(with dance accompaniment} River of Time: Vibrant vein , Bent , crooked, Older than the Red Men Who named you; Ancient as the winds That break on your Serene and shini ng face; One time western boundary of America From WhQS~h~t'Your broad shoui ders now reach To touch sisters On the flanks . hl>~us River of Truth: Voice • • • Mornings You leap , yawn 2000 miles , And shed a giant joyous tear Over sprouting, straggling Hives of humanity; Nights you weep As the moon , tiptoeing Across your silent silky Face , hears you praying Over the broken backs Of black slaves who rode, rouched and huddled, At your heart in the bel lies Of steamships . (6 cer) �37 Chorus River of Memory. Voice Laboratory for Civil War Boat builders Who left huge . eyes of steel Staring from your sullen depths; Reluctant partner to crimes Of Ku lux Klanarnen; River mov:-ed to waves Of ecstasy By the venerable trumpet Of Louis rmst~ong . River of Bones: River of bones and flesh-Bones and flesh and blood; Voice The nation ' s largest Intestine And longest conveyer belt; Chorus River MISSISSIPPI : River of little rivers; River of rises , Voice Sometimes subdued By a roof of ice , descending finally On your outhward course over) �38 To . spit Into t:tie Gulf And join the wrath Of larger bodies.(Rea.mond) Narrator I mused over rivers and long-gone voices underneath rivers Soo, however, I turned to philosophy. In the spit and dart of my new self, there were utterances I had to make, blood-thoughts I had to share. I lmew this was another sequel to the dream. l had not believed those fairy tales. I needed to take a hand and stand and speak the ~ruth to the people Choru_s Speak the truth to the people! . Voice It is not necessary to green the Only to identify the enemy It is not necessary to blow the mind Only to free the mind. C}iorus It is thetotal black! Voi_ce It is the total black, being spoken From theear1lh. 1 s inside. There are· many kinds of open. How a diamond comes into t knot of flame How a sound comes into a word, colored By who pays what for speaking. Chorus Love is mother kind of openr(overJ �39 Voice As a diamond comes i to a knot of flame I am black because I come from the earth's inside Take my word for jewel in your open light . Narrator I am the ecstasy of NOW! 'fhe fullest realization of my Ancestors 1 wishes . I return , even in the alarm; even in the shadow-body I am often forced to wear . - But enough , enough--I beg you, my dear aqsociate s , look How on our~s and history's finest treasure . Voice(and dancer) I am a black woman the music of my song some sweet arpeggio of tears i_s writ ten in a minor key and I can be heard humming in the night Can be heard hunnning Chorus Hums first line of 11 No body nows the Trouble I See" Voice(continuing poem) in the night I saw my mate leap screaming to the sea and I/with these hands/cupped the lifebreath from my issue in tre canebrake I lost Nat's swinging body in a rain of tears and I heard my song scream all the way from Anzio for Peace he nevt:r knew. • • • I learned Da Nang and Pork Chop Hill in anguish (over} �Now my nostrils know the gas and these trigger tire/d fingers seek the softness in my warrior's beard I am a black woman tall as a cypress strong beyond all definition still defying place and time and circumstance assailed impervious indestructible Look on me and be renewed.(,., E\J~~ Look on me and be renewed. Look on us and be renewed . i'inis ��DRUMVOICES: THE MISSION OF AFRO-AMEIUCAN POETRY* A Readers Theatre/Ritual Drama By Eugene B. Redmond * Script Adaptation of DRUMVOICES: THE MISSION OF AFRO - AMERICAN POETRY (a critical history), by Eugene B. Redmond: Doubleday, 1976. Script copyright @ 1977 by Eugene B. Redmond - ./ . . �Note to Directors & Players DRUMVOICES, as a theatricalQcll·v'ff~;, follows ~ 1 ~ tradition of ritual theater or the "ri tuali zing"of an event . Ideally, for · Readers Theater, t~ ~.s:tase.~.a·re . should hav-e ~.;f>Q~~ cf.O~'tt:i.ro·~~~e,t .s ._pf,\,m-q,1 $,q 1':~ ' ~ds ··and ·a dsnce i· 'r'84o ~ince ritual theater is conceptually and practically adaptable to as few or as many players as are desired, directors/stagers should proceed accordingly. Ritual drama is also qualitative in terms of depth and meaning--that is it can be as deep or as light as one wants it. Hence , in preparing DRUMVOICES for the stage, directors should take pains to determine the levels of intensity or message-delivery tha-'b' tb&"'y 1 -~ "t'• These levels can be achieved and/or modified .from performance to performance by shifting (heightening or lessening) tone and thrust. Ideally, for DRUMVOICES, one drummer and one hom - player should make up the cast, along with at least one male and one female dancer. At the same ~time, owing to the flexibility and adaptability of ritual theater, directors may use as many dancers or musicians as are desired. The speaking cast should(preferably) consist of a three-member core-chorus. The core-chorus provides unison, harmony and call-and-response whi le at the same time suppiying the main individual voices. Set apart from the core-chorus is the narrator, who is atmospherically removed, somewhat dispassionate but omnipresent ·s a vast-voice image. Another voice, some distance to the other side of the core-cho rus is khown as a ralief-voice . This character/player can be made the focus of attention or go unnoticed while he/she slips into the audience , disappears to change clothes, or prepares for some sudden and surprise shift in the action o f the drama. • �1 Part I: Music & I The stage is bear except for music stands, a podium and the musicians' instruments . A log~ dancer appears, walks upstage and kneels in preparation for the ope:d~~ance-poem. 'rhe first sounds are heard off stage at which time the drumm.er and horn player come on stage an d situ ate themselves at their instruments . The dan c er begins to dance wh en the mus i ci ans are assembled. Voices(off-stage ) Music and I--Listenl--Yail Yail Listen to the sound of my homl Music and I--Listenl--Yail Yail Listen to the sound of my homl Music and I--Listenl--Yail Yail Voice(off-stage as dance begins) Listen to the sound of my horn•• • This note you have longed to hear! Voice/12 Listen to the sound of my song, I say, For _·the music you have hunn:ned by ear. Voice #3 I sound the time to rise for ' the fields . I moan the rhythm as the congregation lmeels . Voice#4. For I am the note of air, the catcher of your despair. Voice//5 I cry long nights for you my people. I rise early with my clay e d cotton coat . I tote water to sun-baked lips , Voice ,¥1 And I sing awa'f pain from your chain-whi pp e d hips. (oveu ) �2 Voice # 2 But now, my people, I've grown a new song. Listen, all ye Americans I Li sten with your ear: Voice#3 (walking upstate to position) Now the congre gation rises-Voice#4 (walking upsta ge to positi on ) Now the new corn sprouts-Voice#5 (wal king upsta ge to position) Now the air breathes f r esh -Voice#l(walking upsta ge to position ) Now t h e trodden land sings-Voi c e#2 (walking upstage to po sition ) Now my horn of clay airs a long signa l motif . Voi ce/!3 Listen to the sound of my h orn, my people . This rhythm of years long past . Voice#4 Listen to the sound of my horn , I say; Chorus(raising arms) Mus ic and I • •• have come a t last J( Durms ) (As voices expaode , dancer arid drUll11Jl!~r. Gpick un ,tempo; then dancer exits~ After a slight pause, narrator begins the on~stage r i t ual p ro gram . ) Narrat or I am the poem! We are the poem l Narrator And the poem is me t And t h e po em i s u s! And t h e poem is u s! And the poem is us f (over) �3 Narrator I run ~3 1 the poem and I cruae before pen ·or pencil or paper or printing presst I cupped and cuddled the wisdom of the winds in drum-bosoms of ecstasy. Drummer Performs a wide range of rhythms, movements , tones, multi ple-rhythms : African, West Indian, Afro- Latin, Afro - Ame r ican. Narrat or Listen! Listen closely and you can hear me, you can hear me writing in drum-langu age; you can h ear me conv~rsing with tomorrow, today and the heretofore. Chorus DRUMFEEI' ON THE SO IL, ON THE SANDROADS OF THE MIND I FLESH- PISTONS PRANCING, 'r HE EARTH I S ENGINE I IT IS A COMING FORTH, THE NI GHT WITHI N US COMING FORTH! THE NIGHT WITH I N US COMING FOR'r H 1 FEEr BEATI NG, BEATING, BEATING SEEDS INTO THE SOIL! Narra tor I return and return an d return to my magnifi cent and reliable archives. Chorus That l.ove we can depend on J That Love we can depend on! Voice ( singing; as ·danc er·s st!}:lR!"seareh.'.'the stage ),r:nt .: ONOBORO BO ! Ch orus ONOBORO BO ! Voice ONOBOROBo I Chorus ONOBOROBO I (over) �4 Voice ONOBOROBO ! Chorus ONOBOROBO t Narra tor In my dependable cultural vault is the Idea-gram: that natural cinetagraphy landscaped by thudding thoughts of my totem family , the living-dead, the breathing, the unborn. I am the poet ic flesh-temple with many forms, earthdaughter and agile inundator oP history . I am the poem in motion. Dancer Bxecutes rudimentary movements and other eleme nts of traditional African and nee -A frican dance: isolation, use of pelvis and tor s o, leaps, twirls, pulls , the Yanvalou(or a kindred movement} , vigorous stretches, lift s and thrusts. {Dr'-lm. accompaniment) Narrator I am the Black and Unknown Bard. American put me on a conveyer belt moving in two different directions at the same time . My African Jubi lance turned to anger and a song of sabotage. My IndomiLable Echo and Idion flavored my Indomitabl e Press to be Human . As a poem, I became part of what I did , saw and dreamed on these shores: Field Hollers, Vendors ' Shouts, Chants, Wo rk Song s , Spiritua ls , Blues , Gospels, Jazz, Rhythm-nBlues, Soul Music.( See attached cha rt of the preceding items : which ~e~!1- lustrated with short examples by voices after the list has been given .) Voice Did ye~ feed my cow? Voice Yes Manf Voice Will yer te·ll me how? (ov er) �- 4-A Field Hollers yodle •••• hey brother yodle •••• hey brother Vendors' Shouts watermellons, oh ••• sausages, oh ••• tomatoes, oh ••• I got 'em fresh ••• , ohl Chants Om-la-la Om-la-la Work Songs Say 1 1 m working hard on the chaingang Spirituals Ezekiel saw the wheel a-turning ( chorus ) · Way up in the middle of the air Blues Blood, lawd, blood all on the wall Gospels 0 ) happp: day _ 0 happy day When Jesus washed When Resus washed Washed all my sins away Jazz Riffs from Ike :Rhythm-and-Blues Will you still love me tomorrow? Soul Music I tm a soul man I 1m a soul man ... - �5 Voice Oh w1 at did yer give 1 er? Voice Cawn a.n hay! Voice Oh w•at did yer give 1 er? Voice Cawn an hay! Voice(looking up) Evahwhuh I, whuh I loolj: dis mawnin, Looks lak rain, looks like rain. Chorus Looks lak rain, looks lak rain! Voice I gotta. rainbow, tied all roun\ ma.h shoulder, Ain gonna rain, ain gonna rain . Chorus Dis is de hammer, Kilt John Henry! Voice(emphatically) Twon 1 t kill me, baby, 'l1won 1 t kill me. Take dis hammer, Carry it to de captain-Voice Tell him I'm gone, baby, Tell him I 1 m gone . ( OVEr ) �6 Chorus I got a rainbow Tied 1 roun my shoulder, Ain ' t gonna rain, baby, Ain 't gonna rain. Voice(work-song,sung) Dis ole hammer--huh!(chorus) Ring lak silver--huh!(chorus ) Shine lak gold--huhl(chorus) Chorus Ain't gonna rain J Ain't gonna rain! Voice(female) I 1 m a big fat mamma , got the meat shaking on mah bones, I ' m a bi g fat mamma , got the meat shaking on map. bones , And eve:rr.ry time I shakes, some skinny girl loses huh home . Voice Run, nigger run ; de patter-roller catch you; Chorus Run , nigger, run, it's almost day . Voice Run , nigger , run; de patter-roller catch you ; Chorus Run, nigger , run, and try to get get away. Voice Dis nigger run, he run his .best ,- •-· I Chorus Stuck his h ead in a hornet's nest,- Voice Jumped de fence and run fru the paste r; (over ) �7 Ch orus White man run, but ni gger run f a ster. Voice Dat nigger run, dat ni gge r flew,-Chorus Dat nigger tore his shirt in two. Narrator Yes , as poem, as cotton-pfucker, as banjo-player, as fiddle r, as preacher, as ili:dnstrel-maker and mirror, as slave-rebellion leader, I emered a ne'fl part of the old. My African song ushered forth in strange new Biblical Language . Voice(singing) Go Down, Moses, Way Down in Egyptland; Cho rus(talking~pointing) Te l l old Pharoah To let my people go. Voice(s!inging) Deep River ••• • Ch orus (talking) Deep Deep Deep River .. 0. Voice Deep River , my home is ove r Jordan; Deep River, Lord; I want to cross over into camp ground . Voice (exci t edly) And , yes, I DREAMED I was riding in that chariot . Cho rus(or Voice) Swi ng low, sweet ch ariot, Comin g for to carry me horr.e1 ( over) �8 Swing low, sweet chariot, Coming for to earry me home . Voice Green trees a-bending, Po ' sinner stands a-trembling The trumpet sounds within -a-my soul ; Chorus I ain I t got long to stay he re . Voice (male) Joshua fit de battle of Jericho,-- Jeri cho, Jericho-hG-ho-hol Voice Joshua fit de battle of Jericho ,-Cho rus And de walls came tumbling down . Voice Dat morning •••• Chorus And de: walls came tumbling down Voice My God is a rock in a weary lan 1 - Ch orus Weary lan 1 , weary lan 1 - Voice My God is a rock in a weary lan 1 - - Shelt er in de time of storm. Narrator I was Black and curious; I confronted harshness head-on; my struggle meant (over) �9 I had to learn to write like whites, even though ,Ironically, their laws Said I could be punished or jailed for possessing such knowledge and skill. Voice You named me : Lucy Terry I Voice Gustavas Vassal Voice Britton & Jupiter Hanmonl Voice Coon & Buck I Voice Phyllis Wheatley ! And I mastered Greek, Latin and English in rrry teens . Lonely Black girl whom the muses befriended, thousands and thousands of miles away from rrry West African home. I contimued to emerge as the poem. Voice Should you,my Lord, while you peruse my song, Wonde r from whence my love of Freedom sprung, Whence flow these wish es fort h e common good, By feeling hearts alone best understood, I, young in life, by seemin g cruel fate, snatched from Afrjc 1 s fancy 1 d happy seat; wti-~t pa.ng·s- ~xcruci~ting must mo+est, ~Jt.tD.t -.;··r~.. ~L J.~' , ✓-~1.:.:(" : _::. ·, - - ~-·~~( :.-;t,r.; · ,:.,t~·~· What sor~ows labour in my parents' breasts? Steel 1 d was that soul and by no misery mov 1 d ~~s l .~•-,< That from a father seiz 1 d his babe belov 1 d: Such, such my case. And can I then but pray Others may never feel tyrani c sway? (vJhfQtley) Narrator You named me George Moses Ho rton. I did not like the injustice (over) of the �10 double standard. And so I turned into a poem. Even though some continued calling me "The Slave." Chorus "Tha Slave"? Voice Because the brood-sow' s left side pigs were black, Whose sable tincture was by nature struck, Were you by justice bound to pull them back And leave the sandy-colored pigs to suck? (Horton) Chorus(ominously) Runagate! Runagatel Runa ga tel Runagate l Runagatel Narrator My mother cured ills and my father worked root-s. In the bi-cultural constriction the poem became j~ju-man , the face hidden by the ambiguous minstrel smile. Voice We have fashioned laughter Out of tears and pain; Bqt the moment after- Voice Pain and tears again.(Charles Bertram Johnson) Voice Forgive these erring people, Lord! Voip_e Who l ynch at home and love abroad.(~ D~) Narrator Still I wrote--this time just like I talked, though some made fun of it . But,as maker of song, I could only produce heart-rhythms. (over) �Voice 11 De Ounjah man, de Ounjah man , O chillen,run, de Gunjah man! Chorus 0 chillen , run, the Cunjah man! Voice Him mouf ez beez as fryin 1 pan; Voice Him yurs am small, him eyes run raid, -- Voice -- Him hab no toof een him ol 1 ha.id, Voice Him hab him roots , him wuk him tr.i. cks, -Voice Him r oll him eye, him mek you sick-Chorus De Cunjah man , de Cunjah man, O chillen run, de Cunjah manl(J . E.Campbell) Na rrator I knew my rights, my rougp times and my remedies . Voice (assuming tones reflB.oting physical ill n e a ses) Blue-mass , laudnum, liver pills , "Sixty-six, fo I fev er an ' chills , 11 Ready Relief , an' A. B. c . , An 1 half a. bottle of X. Y. Z. (J . W. Holloway) Narrato r You named me Frances El l en Watkins Harp er, James Edwin Campbell , James Weldon Johnson, Paul Lawrence Dunbar--Son of ex-slaves , elevator boy -· r i sen to brilliantbard of the race . As the poem I strode forth in sever al kinds of English. ( OVeJ? ) �12 Voice I know why the caged bird sings , Ah me, When his wing is bruised and his bosom soreyWh_en he be a ts his bars and he would be fr ee ; It is not a carol of joy or glee , But a prayer that he sends from his heart 's deep core, But a plea, that upward to Heaven he flings -I know why thecaged bir d sings l(Dunbar) Narrator Above all , song exudes from me . Indeed, I am song . Watch and examine me . My birthright is my anthem. My song is my sword. And I ~li ft that sword high! Voice( singing) Lift evff'y voice and s ing , Till earth and heaven ring, Ring with the harmonies of liberty. Chorus (talking, pointing upwards) Till our r ejo icings rise High as t he listening skies! (J . W. Johnson ) Narrato r As song-poem I _forged pure flames of rhythms without books . James Weldon Johnson called me the Black and Unknown gard. And, let me tell you something • •• :hmmrnmmmm • ••• I always loved to hear Ma lindy sing. Voice G1 way an 1 quit dat noise, Miss Lucy-Put dat music book away; What ' s de use to keep on tryin 1 f Ef you practise twell you're gray, You cain 1 t sta 1 t no notes a-flyin 1 Lak de ones dat rants and rings From de kitchen to de big woo ds (ovor ) �13 Chorus When Malindy sings . Voice You ain 1 t got de nachel o 1 gans Fu 1 to make de soun 1 come right , You ain 1 t got de tu 1 ns an 1 twistin 1 s fut to make it sweet an ' light . Tell you one thing now, Miss Lucy , An' I'm tellin ' you fu 1 true , When hit comes to raal ri ght singin 1 , Chorus IT ain 1 t no easy thing to do . Voice Easy 1 nough fu' folks to hollah, Lo okint at de lines an' dots , When dey ain 1 t no one kin senc e it , An ' de chune comes in, in spo t s ; But fu 1 real melo j ous music , Dat jes strikes yo 1 hea't and clings , Jes you stan 1 an ' listen wif me .Chorus When Malindy sings . Voice Ain 1 t you nevah hyeahd Halindy? Bl essed soul , tek up de cross I Look hyeah , ain 1 t you jo kin 1 , honey? Well, you don I t know what you lo s 1• Y1 ou ght to hyeah dat gal a-wa ,1 blin 1 , (over) �Robins, la 1 ks, an' all dem things, Heish dey moufs an' hides dey faces Chorus When Malindy sings. Voice#l Fidlin' man jes 1 stops his fiddlin 1 , Lay his fiddle on de she 1 f; Voice#2 :Mockin 1 -bird quit tryin' to -whistle, 1 0ause he jes so shamed hisse1_f. Voice#3 Folks a-playin 1 on de banjo Draps dey fingahs on de strings-Bless yo' soul--fu 1 gits to move 1 em, Chorus When :Malindy sings. Voice She jes 1 spreads hu mouf and hollahs, Voice( singing) "Come to Jesus, 11 Voice ••• twell you hyeah Sinnahs 1 tremblin 1 steps and voices, Timid-lak a-drawin 1 neah; Den she tu 1 ns to Voice (singing) "Rock of Ages, 11 Voice Simply to de cross she clings , (over) �15 An' you fin yo' teahs a-drappin 1 .Chorus When Malindy sings. Voice Who dat says de humble praises Wif de Master neva.h counts? Heish yo 1 mouf, I hyeah dat music, Ez it rises up an 1 mounts-Floatin 1 by de hills an' valleys, Way above dis burryin 1 sod, Ez hit makes its way in glory Chorus To de very gates of God, Voice Oh, hit ts sweetah dan de music Of an edicated band; An 1 hit's dearah dan de battle 's Song o 1 triumph in de lan•. Voi ce#l It seems holier dan evenin 1 When de solemn chu 1 ch bell rings , Voice #2 (slowly,searchingly) Ez I sit an I ca 1·m ly listen Chorus While Malindy sings . Voice Tows a.h;,, stop dat ba 1 kin, hyea.h me 1 Man~y, 1 :mek dat chile keep still; (over} �16 Don ' t you hyeah de echoes callin 1 F 1 om de valley to de hill? Let me listen, I can hyeah it , Th 1 oo de brash of angels' wings, Sof,_. and sweet, Voice#3 (singing ) •• o 11 swing . 1 ow , Sweet Chariot, 11 Voice(dreamily and ecstatically) Ez Mal indy sings . (Dunbar) Narrato r Poem that I was and am , I travel ed from "oasis to oasis . 11 Voice Man's Saharic up and down . ( M. B o Tolson) Narrato r Riverboats, river towns chaingangs • • • Voice(singing as chorus make s work - sounds in background) Well don ' t you know That's the sound of the men, working on the chain -n-n-n gan-ee - ang; We ll don 1 t you know That's the sound of the men , working on the chain gang . (Cooke) Narrator Bar-room toughs, hard-hearted Hanna, Stagolee • • • they all knew me . Voice Hard~hearted Hanna-Voice From Savannah, GEE A. Voice She was so cold, yall - Chorus Wasn ' t she I (over ) �17 Voice She ' d pour water on a dr owning man ! Cho rus(slowly and deliberately ) Water , on a drown-ii-nnng man. Voice(attracting the attenti on of oth ers) It was early one morni n 1 , When I h e a r d my bull dog bark ; Stagolee and Billy Lyons Was s quabli n 1 in the da r k . Voi c e Frankie and liohnny were l overs , Lordy , how they could love , Voi c e Swo re to each oth er , True as t h e stars up abo ve , Cho rus He was h er man but h e done her wrong . Voice ( f cmale ) Sh ine, shine , shin e , ••• save po ' me . Na rrator I was in the constant s e e - saw of life , wading thr ough h e ll in sea rch of h e aven. But I kept my working philosophy with me . Voice# l De stoppe r get de l ongest res t i n de emp ty jug . Vo i ce#2 De price o f you r h at ain't de measure of your brain. Voic et/3 De grav eya rd is de ch e apes 1 bo a rdin 1 -house . Vo i ceff4 Buyin 1 on cre di t is ro bbin ' next ye a r's c rop . Over} �18 Voice#5 Life is short and full of blisters. Voice #l De cow-bell can 't k eep a secret. Voice#2 Little flakes make de de~pest snow. Voice#3 De crawfish in a hurry look like he tryin 1 to git dar yesterday . Voicef/4 Be drinks so much whis key tha t he staggers in his sleep. Voice-#5 In God we trust, all others cash. Nar rator Yes I was lyric-wise. You heard me everywhere . You even heard me coming from the swoll en lip s of the bugle , French horn, trumpet , clarinet and saxophone . lio rn A series of short riffs and movements exempiary and illustrative of various forms of Afro-Ameri can mus ic played between the advent of the spirituals and the ra gtime-blues period. Narro.tor In Paris they calle d the "Cakewalk 11 the 11poetry of motion o" In the crevices of ships I was trans ported to global points to make me splendid sound and dance my splendid poetry of motion . Dancer Executes a series of movements and s teps r ep r esenting such dances as the Cakewalk , Charl es ton, the Two '- Step , Ji tterbµg and the Bop. i:!;lerehts of West Indian danc e s sl1ould fl avor mo vements. (over) �19 Narrator As the poem I blue horns, shot guns in your First World War, danced dances and came home to face the Ku Klux lClan , Southern Sheriffs and Jim Crow. I got An gry. And I got defiant. But, I was relatively· cool . Voice(serious) Into the furnace let me go alone; Stay you without in terror of the heat. I will go naked in-~for thus 'tis sweet- Into the weird d epths of the hottest zone. Voice(serious but resolute and emergin g) Desire destroys, consumes my mortal fears, Transforming me into a shape of flame . I will come out, back to your world of tears , A strongger soul within a finer frame . (McKay) Narra tor From the dark tower I watched as I pr.~pare9, Matched as I prepared, watched as I pre pared, knowing that !!We were not made eternally to weep . Voice(reflective, meditative) The night whos e s able b rea st r eli e v e s t h e stark White stars is n o l e ss l ov e l y being dark, And there are buds t hat c annot bloom at all In light , but crumpl e, pit eou s, and f a ll; So in the da r k we h ide the h e art t ha t bleeds , And wait, and t end our a gonizing seeds . (Cul1en) Na r rator After race riots in s ev e r a l American cities, I lifted my voice in a searing shaft of discon t ent . Chorus 0 kinsmen! we must meet the common foel (over) 11 �20 Voice Like men we 1 11 face the murderous , cowardly pack, Pressed to the wall , dying , ••• Ch orus ( slowly and softly) Dying ••• dying ••• dying Voice ••• but fight ing b a ck ! (M"'f-,-) Na r rator All the while my p a s t kept pu llin g on me . It was if we were married to each other, glue d, loc ke d , welded to gether. It was a s if those who dep art ed n ev e r r eally , really died . An African sense kept tugg ing tu gging a t my trunc a t e d roots . The bridge of my dwarf-lilte past rested on at le a st two shores . Voice Pour o pour tha t parting soul in song , O pour it in the s awdust glow of night , Into the velvet pins-smoke air to-night , ••• Chorus (s low and echo -li ke ) And l et the vall ey ca r r y it along . And l et the valley carry it along . (t6orner) Narrator ( confused and desperate ) Sometimes I wa s only half-the r e, fighting those who wanted to snatch away my humanity by day;and fi;jlting hunger and confusion at home by night. As the p oem, I emer ge d convo luted and who lly new, only to ,re treat to a some-other-time r e f r ain . ~gypt , Ghana, Mada gasca r, th e Py_ramids-- Voodoo Ceremonies--what d id th ey all me an -to me? The beauty-pain of it all? Chorus Come with a blast of trumpets, Jesus! (over) �21 Voice(oxymoronic) And the beauty of Susanna Jones in red Burns in my heart a love-fire sharp like pain. Chorus Sweet silver trumpets , Jesusl(}\~s~e..s) Voice Well , son , I ' ll tell you: Life for me ain ' t been no crystal stair . (Hughes) Narrator But the blur of that veil was always temporar-f.ly relie v ed by sorig , by dance , by reading or thinking about forei gn places and looki ng forward to the day when Americans would grow up . We were here - -in America- but not of it . Simply worrying, without a plan 1x> change things , didn ' t help much. We grew stronger, and more beautiful , in the words of Langston Hughes , as we re-embraced our own rituals . Ch orus ( singing and jiving) Shake your brown,feet, honey , Shake your brown feet , chile, Shake your brown feet , honey, Shake I em swift and wil' -Voice Get way back , honey , Do that low- down step. Walk on ove r, darling, Now ! Come out With your left . (Hughes) Voice (breakin g the fun-frolic and wa.ci..ng seriou s ) Yet do I marvel at this curious thing : To make a poet black,ond bid him (ov e r) singl (ev({erD �22 Narrator Yet must I marvel that I'm here at all . Because during the watering years, after the GREAT DEPRESSION, my existence was ser·i ously threatened by lynching and at atmosphere of intimidation. I went to war, as poem and soldier and cook and shining knight of DEi'10C RACY I The SWASTIKA , the RISING SUN, The HAMMER & SICKLE, I was to l d , were my REAL enemies. Meanwhile you had named me Owen Dodson and I grew accustomed to the realities of nei ghborly enemies: •rho se who caused UNNATURAL DEATHS. Voice(preaching a funeral sermon ) Wake up, boy , and tell me how you died : What sense was alert last , What immediate intuition about m You clutched like a bullet when your nails Dug red in your yellow palm And that map the fortunetellers read Chorus (this line for money , this for love) Voice Child.5.:sh ag~in and.smeared . • • • Chorus Wake up , boy . • •• Voice • • • I go to death tomorrow, Tell me what road you took , • • • Chory.s What hour in the day is luckiest? I Voice Did your Adams a pple explode? Who sewed stitches in your angry (over) heart?(O•Dad..S0'1J �23 Chorus 0 wake ••• Narrator Yes , yes, • • • I was sometimes a tatt e red and beaten poem in the nineteen Thirties , Forties and Fifties . But I was a poem anyway: Gracious, Noble, Fundamental, Fiery , Firm, Re lating to ~ People" Wttl~~ on ~uh Common Ground. Someone called me Ma r ga re1' I became a Tapestry of My Many Selves. Voice #l For my people~everywhere singing their slave songs repeatedly; Voic e#2 • • • their dirges and their ditties and theittbliueJ' and jubilees, . V oice il"3 • • • praying their p r ayers nightly to an unknown god, Voice#l • • • bending their lmee s humbly to an un/seen power; Voice#2 • • • washing/ironin g cooking scrubbing s ewing mending plowing/digging planting pruning patching dragging along never gaining never reaping neveF knowing and nev er understand/;i.'ng ; Voice #J For my playmates in the clay and du s t and sand of Alabama backyards playing • • • Voice #l 'bapti zi-ng : and ••• Voice#2 preaching and••• (over) hoeing/ �24 Voiceff3 doctor and ••• Voicef/1 jail and••• Voice;/2 soldier and••• Voicel/3 school and •• • • Voi ce,fl mama and/cookin g and playhouse and concer t and store and/hair and Miss Choomby and company ; Voic e/12 For the cramped bewildered year s we went to s ch ool to learn to know the reasons why and the answers to and the people who and the pla ces wh ere and the days when , in memory of the bitter hours ,men we discovered we were black and poor an d small and different and nobody cared and nobody wondered and nobody understood ; Voice 1f3 For the boys and girls who e;rew in spit e of th.e se t hings to be • ' .i man and woman, to laugh and dance and sing and play and drink their wine and relig~on and success, to marry their playmat es and bear children and then die o f consumption and anemia and lynching ; Voice//1 For my people thronging 47th Street in Chicago and Lenox Ave nu e in Ne w Yo r k and Rampart street i n New Orleans , ••• VoiceH-2 For my people blundoring and Groping nnd floundering in the (over) �25 dark of churches and s choo ls and clubs and societies , as sociations and councils and committees and conventions, distressed and disturbed and deceived and devoured by money-hungry glory-craving leeches, preyed on by facile force of state and fad and novelty , by false prophet and holy believer; Voice#) Let a new earth rise. Let another world be born. Let a bloody peace be written in the sky, Voice#). • • • Let a second generation full/ of courage issue forth ; Voice#2 • • • let a people loving freedom come/ to growth . Let a beauty full/ of healing and a strength of final clenching be the pulsing in/ our spirits and(our b lood. Voice#) • • • Let the martial songs be written, let the dirge s dis/ appear . Chorus ( st rongly) • • • Let a race of men now rise and take control . (M. Walker) Narrator Frank Marshall Davis, Me lvin Beaunorous ~olson , Sterling Brown , Robert Hayden, Paul Vesey, Bob Kaufman, Georgia Douglas ~ Johnson, Russell Atkins, Leadbel ly, Lic;l1tnin 1 Hopkins--these are names by which my voice is known . Some even call me by the name of (whisp ering) HISTORY . Chorus(rising from whispers) Histo!'1J History! History ! RunagateI Runagate l Runagate l Voice Runs falls rises stumbles on from darkness into darkness and the darkness thicketed with shap e s of terror (over) �26 and the hunters pu rsuing and the hounds pursuing and the ni ght cold and the nigh t long a nd the river tocross and the j ack - muh-l an t e rns beckoning beckoning an d the bl a ckn e s s ahe a d and when sha ll I reach th a t somewhere morning and ke ep on go i n g a nd ne v er turn back and keep on going••• Chorus ( frigh tened) Runagatel Runagatel Runagate l Vo ic e Some go weeping and s ome r ej oicing some in coffins an d s ome i n ca rriages some in s ilks and some i n sha ckl e s ••• Oh that train, ghost-story train through swamp and s avanna mov e r ing movering over trestl e s of dew, thro ugh c aves of the wish, Midnight Special on a sabre t r a ck mov e rin g movering, first stop Mercy and the l as t Ha ll e luj ah . Voice Come ride-a my t r a in. Chorus Me an mean me an to be fr c e .( R. Hayden) Na r rator I became a b r illiant word- tor ch shining back against my past and flaming proudly into the f u ture . All th e whil e I wormed into and won hearts and minds. And in 1950 , Ame ri c a gav e me the coveted Pulitzer Prise . My name was Annie A1len but I was man y peopl e . I was so finely sculpted that no inflection was imprecise . I sai d what I had to say in a language that dazz.led and blinded the world. I s tood as a jewel; I talk~d. about a jewel named "Satin-Leg s Smith." (ov er) �27 Voice (as othe.rs look on admiringly) He wakes, unwinds, elaborately: a cat Tawny, reluctant, royalo He is fat And fine this morning. Definite . Reimbursed. He waits a momemt, he designs his reigµ, That no performance m~y be plain or vain~ Then rises in a clear delirium. Voice Let .·us proceed. Let us inspect, together With his meticulous and serious love, The unnards of this closet. Which is vault Whose glory is not diamonds, not pearls, Not silver plate with just enough dull shine. But wonder suits in yellow and in wine , Sarcastic green and zebra-striped cobalt . With shoulder padding tha t is wide And cocky and determined as his pride; Ballooning panits that taper off to ends Scheduled to choke pre cisely . Voice Here are hats Like bright umbrellas ; and hysterical ties Like narrow banners for some gathering war . (G. Narrator Yes, I was immaculately Black. Magnific ently Black . And I knew the powe r of the Rap I Chorus Amen! (over) �28 Narrator I became the power of the Ra.pl Chorus Arnenl Voice Bartender, make it st rai ght and make it two- Voice(pointing) Otie for the you in me••• Voice(pointing) ••• and the me : ·in you. ( H . Tolson) Narrator After lengthy conver sations with my music , I became the Be - Bopper; somebody called me the Zoot-Suite~; I put on dark glasses and conked my hair. A double-chinned salesman handed me some bleaching cream and a cadillac as I sped Horth to join my brothers and sisters in the Promised Lan d. Richard Wri ght ru1d James Baldwin cried for me . John Oliver Killens Heard The Thunde r and Balph Ellison called me Invisible , adding that once my leaders decoded the riddle of my style and my rap they could help me save me . Bla ck, I left a White country to fight Yellow men in Korea. El la, Miles, Monk, Billie, Prez , Chano Pozo , Ornette, Coltrane--they went to war with me. Chorus Good Morning heartache l(sung) How do you do . (said) Horn Medley of tunes and musical mannerisms reminiscent of the period. Narrator I got hip to world events , science and space exploration . I knew wh~ I knew, still I c ouldn 1 t go where I wanted to go, or d() what I wanted to do . Americ~ got nervous wheneve r I ap peared in pub lic . But I knew (over) �29 certain events and deve lo pments were do oming all of us to an "Ultimate Reality . " Voice You know, Joe, it 1 s a fup.ny thin g, Joe, You worry most of your life about me , Always afraid I'll get a job with you, Always scared I mi ght get served with you, Always afraid I'd wanna love your sister Or that she might lov e me. Voice Don~t want me to e a t with you, Voic e Seared I mi gh t live n ext t o you-- Voi ce But with the Atom Bomb, J oe, It looks li k e I mi ght di e with you . Voice That don 1 t:seem ri ght , does it, Joe?( Ray Durem) Na rrator But inspite of all the a dversity , the hi sto rical s tren gths kept returning to me , shoring me up , helping me to ~eep getting u p , to keep going. We had our persona] victories in the meantime . We learned everything that it too~ to make it in America , even when no one would let us have equipment or space to work in . We jus t reached back inside ourselves and crune up with what was needed. Then one day , the poem becrune a baseball in the hands of the legendary Leroy Satchel Paige . Voic e Sometimes I feel li ke I will never stop Just go on forever ( over) �30 Till one fine mornin 1 I'm gonna reach up and grab me a handfulla stars Swing out my long lean leg And whip three hot strikes burnin 1 down the heavens And look over at God and say How about thatt(S. Allep) Narrator Style has always been my signature. So it was not a surprise that I returned to myself in motion . Behold! The 8troll! Chorus Sings a porti on of Gene Chandler I s "Duke of Ea rl II or some other period pie~e. Harrator The Kan sas City Slop! 1he Madison! Chorus Sings J ·portion of the Five Satins 1 song fr om period. 11 ±n the Still of the Nigh t" or another Narra tor The Twist! Bri•ef exerp t from Chubby Checker's 11 •rwist 11 • Narrator The Funky Chicken! The Karate Bo ogalool They saw me poeting with my hips and my feet. Chorus Poeting l Poetingl Narrator And took it all back to Ameri can Bandstand and other countries . Voice(singing) There's a thrill upon the hill! Chorus(singi ng) Let 1 s Gol Let's Go! Let 1 s Go! (over) �Narrator I oatne home from Korea to me et the Klan in a new sheet. And in Montgomepy they would not let my mother sit down on a bus. As a poem, my name became Lance Jeffers, Raymond Patterson, G. C. Oden,Mari Evans, LeRoi Jones and Imamu Amiri Baraka, Audre Lorde. Cho rus( que stionin~ly) Montgomery? Montgomery? Montgomery? • • • I remember Montgomery . Voice And Bi rmingham--the fo\l \f' little, little girls . Voice Four little girls Who went to Sunday School t h at day And never came back home at all-Voic e But left instead Their blood upon the wall With spattered flesh And bloodied Sunday dre s ses Scorched by dynamit e tha t Ghina made aeons a go Dfufi not know' 'What Chi n a ma de Before China was eve r Re d at a l l Would redden with the i r blood This Birmingham-on-Sun day wall. Four tiny girls Who left their blood upon th a t wall , In1; li ttle ;, gra.ves l today await (over) �32 Voice The dynamite that might ignite The ancient fuse of Dragon Kings Whose tomorrow sin~s a h~nn The missionaries never tau ght In Christian Sunday Scho o l 'r o Implement the Gol den Hu le. Voice Four little girls Might be awakened someday soon By songs upon the breeze Voice As yet unfelt among Magnolia trees. (t.\v&>EJ') Voice And Selma I Voice And Philadelphia, Mississippi! Voi ce(vaguely, hesitatingly) I recollect Emmett Till! Voice Jind Watts! Narrator My Name was Conrad Rent Rivers at that time . I became a poem called "Watts, 11 hoping that in such disguise I could find my way out of this daily nightmare . Voice Must I shoot the white man dea d to free the nigger (Over) �33 in his head? Voice(pausing, musing) Must I shoot the white man dead to free the nigger in his head? (t 1~\"t\-Jtf'~ Voice And Newark I Voice And Harlem! Voice And Oakland t Voice And Dallas t . Voice And East St. Louis! Voic e And Chicago I Voice Martin ~uther King! Voi ce Malcolm! Voice Stokley! Voice H. itap Brown ! Voice James Brown I (over) �Narrator 34 Drumbeats enflamed the " sky . Libe ration became ltl.y.Jpassiona.te preocoupation. A warm self-love engulfed me . My woman and I looke d at ea.ch othor through new- old eyes . We had our own standard of beauty. I stretched and yawned and walked around in my own neighborhood. My ~olor felt good and heal thy to me . It looked good to me in the mirror of my Brothers' eyes . Someone called me Black a.nd I didn't hit him. At a rally, I t u rned into a voice on the podium shouting. Chorus WE ARE AN AFRICAN PEOPLE l Drummer & Dancer Salute the coming of the new consciousness with appropriate nee - African rhythms and moveme nts. Voice For a.11 things Plack and be autiful , The brown faces you loved so well and long , the endless roads leading back to Harlem. Chorus Kulu Se Mamal Kulu Se Marna! Kulu Se Marna! Kulu Se Mama Vbice #l Where the string At i , Some umbilical jazz, Voice if2 Or perhaps, I n memory, A long lost bloody cross, Buried in some steel calvary. �35 VoiceJJ In what time For whom do we bleed, Lost notes , from some jazzman 1 s Broken needle . Voice,¥4 Musical tears fro m lost Eyes , Broken drumsticks , whyT Voicet/-1 Pitter patter, boom dropping Bombs in the middle Of my emotions Voicerf2 My father ' s s oun d Voice/13 My mother's sound • • • Cho rus I s love , Is life . (O,to.\)rlt\0-Vl} Narrator I had watched America . I knew Ameri c a . I could deal with the diff e r ence • and the samene ss, that stran ge de cora t ed pain that character i zes our existence . I keep coming b ac k to the point of the sythes i s and the symbiosis . I am history an d fut ure, or , put differently, I am fu ture• history . Sometimes, because of my many levels · of vision, I grasp the helm of the stru8g]e s of the many colored hands . I might even be i n " a river that lac es the stoma ch of Ameri ca . �36 Voice(with dance accompan i ment) River of Time : Vibrant vein, Bent , crooked, Older tha.n the Red Men Who named you; Ancient as the winds That break on your Serene and shining face; One time western boundary of America From whDJ,tr.eehlet', Your broad shoulders now r each To touch sisters On the flanks. -Ch orus River of Truth : Voice • • • Mo rnings You lea.p, yawn 2000 mil e s, And shed a gi ant joyou s tear Over sprouting , straggling Hives of humanity; Nigh ts you we ep As the moon , tiptoeing Across your silent silky Face, hears you prayin g Over the broken backs Of black slaves who rode , Grouched and hudd led, At your he a rt in the belli e s Of ~teamship s . (6cer) �37 Chorus River of Memory: Voice Laboratory f or Civil War Boat builders Who left huge eyes of steel Staring from your su l len depths; Reluctant partner to crimes Of Ku Klux Klansmen; River moved to waves Of ecstasy By the venerable trumpet Of Louis Armstron g . River of Bones: River of bones and flesh-Bones and flesh and blood; Voice The nation ' s l a r ge st Intestine And longest conveyer belt; Chorus River MISSISSIPPI: River of little rivers; River of rises, Voice Sometimes subdued By a roof of ice , descendine finally On your Southward course �38 To . spit Into the Gulf And join the wrath 0 f large r bodie s . ( He dmond ) Nar r a tor I mused ov er riv ers and long- gone voic es underneat h rivers. Soon, however, I turned t o philosophy . In t he sp it and da rt of my new self, there were utterances I ha d to make , blo o d- thoughts I had t o share. I lmew this was another s equel t o the dream. I h a d not believed those fairy tales . I needed :to take a hand and stand and speak the truth to the people . Ch orus Speak the truth t o the pe opl e! Voice It is not nec e ssary to g r e en t h e heart Only to identify the en emy It is not nec e ssary t o blow t he mind Only to free t h e mind. C}iorus It is thetotal black! Voi ce It is the total b l ack , bein g spok en From theearth 1 s inside. There are many kinds of open. How a diamond comes into t knot of flame How a sound comes into a word, colored By who pays what for s peaking. Choru s Love is another kind of op enw(over) �39 Voice As e. diamond comes ipto a kno t of flame I a.m black because I come from the earth 1 s inside Take my word for jewel in your open light. Na rrator I am the ecstasy of NOW! 'fhe fullest realization of my Ancestors' wishes. I return, even in the alarm; even in the shadow-body I am often forced to wear . But enough , enough--I beg you, my dear aijsociates, look How on our.1 s and hi story I s finest treasure. Voi ce(and dancer) I am a black woman the music of my song some sweet a rpe ggio of tears is written in a mino r key and I can be heard hummin g in the ni cJ:it Can be heard hummin g Chorus Hums first line of "lll o bocly .r,no ws the Trouble I See 11 Voice(cont inuing poem) in the night I saw my mate leap screaming to the sea and I/with these hands/cuppe d the lifebreath from my is sue in tre c ane brake I lost Nat ' s swinging body in a rain of tears and I heard my song scream all t he way from Anzio for Peace he n ever> kn ew. • • • I learned Da Nang and Pork Cho p Hill in anguish (over) �40 Now my nostrils lmow the gas and these tri gger tire/d fin gers seek the softness in my warrior ' s beard I am a black woman tall as a cypress strong beyond all definition still defying place and time and circumstance assailed impervious indestructibl e L0ok on me and be renewed .(M, E)JOJ'lS) Ch orus Look on me and be renewed. Look on us and be renewed. lHnis ��DRUMVOICES : THE MISSION OF AFRO-AMERICAN POETRY* A Readers Theatre/Ritual Drama By Eugene B. Redmond * Script Adaptation of DRUMVOICES : THE MISSION OF AFRO - AMERICAN POETRY (a critical history}, by Eugene B. Redmond: Doubleday, 1976. Script co pyright@ 1977 by Eugene B. Redmond .. ;,.' y �Note to Directors & Players DRUMVOICES, as a theatricalQcllJa-1, follows ~ 1 ~tradition of ritual theater or the "ri tuali zing"of an event. Ide ally, for Readers Theater, th.~-~-s:tage_·· ia.'rea should bav,e ~;i'G>'Ql!l i:.fo~-::tl!fo·--:s~ts -.~ r~·.=.-mll$i:~ T-1:!~imds ·and ·a dance i~r0-4QSince ritual theater is conceptually and practically adaptable to as few or as many players as are desirea, directors/stagers should proceed accordingly . Ritual drama is also qualitative in terms of depth and meaning--that is it can be as deep or a s light as one wants it. Hence, in preparing DRUMVOICES for the stage, directors should t ake pains to determine the levels of intensity or message-delivery iha-t' t1:'fey i These levels can be achieved and/or modified .from performance to performance by shifting (heightening or lessening) tone and thrust. Ideally, for DRUMVOICES , one drummer and one horn -player should make up the cast, along wi th at least one male and one female dancer. At t~e same,time, owing to the flexibility and adaptability of ritual theater, direc t ors may use as many dancers or musicians as are desired. The speaking cast should( preferably) consist of a three-member core-chorus. The core-chorus pro vides unison, harmony and call-and-response while at the same time suppiying the main individual voices. Set apart from the core-chorus is the narrator, who is atmospherically removed, some-what dispassionate but omnipresent aa a vast-voice image . Another voice , some distance to th e other side of the core-ch orus is khown as a ralief-voice . This character/player can be made the focus of at tention or go unnotic ed while he/she slips into the audience , di sappears to change cloth es , or prepares for some sudden and surprise shift in the action of the drama. w~-t-. �1 Part I: Music & I The stage is bear exce pt for music stands, a podium and the musicians' instruments. A lou~ dancer appears , walks upstage and kneels in preparation for the opeJ~~ance-poem. 'r he first sounds are heard off stage at which time the drummer and horn player come on stage and situate themselve s at their instruments . The dancer begins to dan ce when the musicians are assembled. Voices(off-stage ) Music and I--Listenl--Yail Yail Listen to the sound of my hom l Music and I--List enl--Yail Yait Listen to the sound of my homl Musi c and I--Listenl--Yail Yai l Voice(off-stage as dan ce begi._ns) Listen to the sound of my horn• •• This note you have longed to hear! Voicef2 Listen to the sound of my song, I say, Fo'r :. ·the music you have hurm:ned by ear. Voice#3 I sound the time to rise for the fields. I moan the rhythm as the congregation kneels. Voice#4 For I am the note of air , the catcher of your despair. Voice#5 I c ry long nights for you my people . I rise early wi th my clayed cotton coat . I tote water to sun-baked lips , Voice #l And I sing awa" pain from your chain-whi ppe d hips . ( OVeII ) �2 Voice#2 But now , my people , I 1 ve grown a new song. Listen, all ye Americans! Listen with your ear: Voice#3(walking upstate to position ) Now the congregation rises-Voice#4(walking upsta ge to position ) Now the new corn sprouts-Voice#5 (walking upstage to positi on) Now the air breathes fresh-Voice#l(walking upstage to po si tio n) Now the trodden land sings-Voice #2 (walking upstage to positi on) Now my horn of clay airs a long signal motif. Voice/13 List en to the sound of my h orn , my people. Thi s rhythm of years long past . Voice#4 Listen t o the sound of my horn , I say; Chorus ( raising arms) Music and I ~•• have come at last J (Durm.s ) ( As voices expaade , dancer and drumm:~rcpi ck un .;t empo; t hen dancer e xits~ After a slight pause , narrator begins the on~ s tage ritu al program.) Narrator I am the poem! We a r e the po em ! Narrator And the poem is me! And the poem is us! And the poem is usl And the poem is us! (over ) �3 Narrator I am the poem and I ca.me before pen ~or pencil or paper or printing press• 0a l I cupped and cuddled the wisdom of the winds in drum-bosoms of ecstasy. Drummer Performs a wide range of rhythms, movements , tones, multiple-rhythms: African, West Indian, Af ro-Latin, Afro-American. Narrator Listen! Listen clo se ly and you can hear me, you can hear me writing in drum-language; you c an h ear me conv~rsing 'With tomorrow, today and the heretofore. Chorus DRUMFEEr ON THE SO IL , ON 'r HE SAND ROADS OF THE MIND I FLESH-PISTONS PRANCIN G, 'r HE EAH'l'H I S ENGINE I IT IS A COMING FORTH, THE NI UHT WITHIN US COMING FORTH ! THE NIGHT WITHIN US COMING F'OR'rH I FEEr BEATING, BEATING, BEAT I NG SEEDS INTO THE SOIL l Narrato r I return and return an d return to my magnificent and reliable archives . Chorus That 1.ove we can depend on J That Love we can depend onl Voice ( singing; as danceI!.'·s s _t_?ll!,.search .'.'the sta:ge }· 1:.t '0 ONOBOROBO I Chorus ONOBOROBO I Voice ONOBOROBo I Chorus ONOBOROBO ! ( over ) �4 Voice ONOBOROBO ! Chorus ONOBORO BO ! Narrator In my dependable cultural vault is the Idea-gram: that natural cinetagraphy landscaped by thudding thou ghts of my totem family, the . living - dead, the breathing, the unborn. I am the poeti c flesh-temple with many f orms, earthdaughter and agile inundator o, history . I am the poem in motion . Dancer Executes rudimenta r y movements and other elements of traditional African and neo-Afric an dance: isolation, use of pelvis and torso, leaps, twirls , pulls , the Yanvalou( or a kindred movement) , vigorous stretches, lifts and thrusts . {Dr.um accompaniment) Na rra tor I am the Black nnd Unknown Ba rd . American put me on a conveyer belt moving in two different directi ons at the same time . My African Jubilance turned to anger and a song of sabotage . My Indomi~able Echo and Id.ion flavored my Indomitabl e Press to be Human . As a poem, I became part of what I did, saw and dreamed on these shores: Field Ho llers , Vendors' Shout s , Chants, Work Song s , Spirituals , Blues , Go spels, Jazz , Rhythm-n Blues , Soul Music . ( See attache d cha rt of the preceding item~ : which ~e~i1 - lustrated with short examples by voices after the list has been given .) Voice Did y e~ feed my cow? Voice Voice Will y er te·ll me how? (ov er) �4-A Field Hollers yodle •••• hey brother yodle •• • • hey brother Vendors' Shouts watermellons, oh ••• sausages, oh ••• tomatoes, oh ••• I got 'em fresh ••• , ohl Chants Om-la-la Om-la-la Work Songs Say I•m "WOrking hard on the chaingang Spirituals Eze~iel saw the wheel a - turning( chorus) · Way up in the middle of the air Blues Blood, lawd, blood all on the wall Gospel s 0 1 happ'J day . 0 happy day When Jesus washed When Resus washed Washed all my sins away Jazz Ri fls from Ike Rhythm- and-Blues Will you still love me tomorrow? Soul Music I •m a soul man I ' m a soul man - �5 Voice Oh w1 at did yer give 1 er? Voice Cawn an hay! Voice Oh w1 at did yer give 1 er? Voice Cawn an hay! Voice(looking up) Evahwhuh I, whuh I loolj: dis mawnin, Looks lak rain, looks like rain. Chorus Looks lak rain, looks lak rain! Voice I gotta rainbow, tied all rount mah shoulder, Ain gonna rain, ain gonna rain. Chorus Dis is de hammer, Kilt John Henry l Voice(emphatically) Twon't kill me, baqy, Twon 1 t kill me. Take dis hammer, Carry it to de captain-Voice Tell him I'm gone, baby, Tell him I'm gone. �6 Chorus I got a rainbow Tied 1 roun my shoulde r, Ain't gonna rain, baby, Ain 1 t gonna rain. Voice(work-song,sung) Dis ole hammer--huhl(chorus) Ring lak silver--huh!(chorus) Shine lak gold--huhl(chorus) Ain 1 t gonna rain J Ain~t gonna rain! Voice(female ) I 1 m a big fat mamma , got the meat shakin g on mah bones , I'm a bi g f at mamma, got the meat shaking on m.a..p. bones, And evmry time I shakes, some skinny girl loses huh home . Voice Run, nigger run; de patter-roller catch you; ~un , nigger, run, it 1 s almost day . Voice Run, nigger, run; de patter-roller catch you; Chorus Run, nigger, run, an d try to get ge t away . Voice Dis nlgger run, he run h i s best ,-- Stuck his head in a hornet ' s nest, -Voice Jumped de fence and run fru the p a ster; (over) �7 Chorus White man run, but ni Q;ge r run f a ster. Voic e Dat nigger run, dat ni gge r flew,-Chorus Dat nigger tore hi s shirt in two. Narrator Yes, as poem, as cotton-picker, as banjo-player, as fiddler, as preacher, as ,m instrel-maker and mirror, as slave-rebellion leader, I emered a new part of the old. My 4frican song ushered forth in strange new Biblical Language . Voice( singing ) Go Down , Moses , Way Down in Egyptland; Chorud(t alking ~pointing) Tell old Pharoah To let my people go. Voice ( s~mging) Deep Ri. ver •••• Chorus ( talking) Deep Deep Deep River •• 0. Voice Deep River, my home is ove r Jordan ; Deep River, Lord; I want to cross over into camp ground . Voice (excitedly) And , yes , I DREAMED ! was riding in that chariot . Chorus(or Voice) Swing low, sweet chariot, Coming for to carry me hoill:31 ( over) �8 Swing low, sweet chariot, Coming for to earry me home . Voice Green trees a-bending, Po' sinner stands a-trembling The trumpet sounds within-a-my so ul; Chorus I ain't got long to stay here . Voice (male) Joshua fit de battle of Jericho,-- Jericho, ·J ericho-hG-ho-ho ! Voice Joshua fit de battle of Jericho ,-Chorus And de walls came tumbling down . Voice Dat morning •••• Chorus And de: walls came tumbling down Voice My God is a rock in a weary lan' -Chorus Weary lan', weary lan 1 - Voice My God is a rock in a weary lan'-- Shelter in de time of storm. Narrator I was Black and curious; I confronted harshness head-on ; my struggle meant (over) �9 I had to learn to write like whites, even thougp.,Ironically, their laws said I could be puni she d or jailed for possessing such knowledge and skill . Voice You named me:Lucy Terry I Voice Gustavas Vassal Voice Britton & Jupiter Hamm.on ! Voice Coon & Buck I Voice Phyllis Wheatley! And I ma stered Greek , Latin and English in my teens . Lonely Black girl whom th e muses befriended, thousands and thousands of miles away from my We st African home. I contim.ued to emerge as the poem. Voice Should you , my Lord, while you peruse my song, Wonder from whence my love of Freedom sprung, Whence flow these wish es fort he common good, By feeling hearts alone best understood, I, young in life, by seeming cruel fate, ~as snatched from Afric 1 s fancy 1 d happy seat; wJia:. t pang· ~x~ruci~ting must ·,-;;:-. molest, , ~Jt1D. t -~:-•r,.·: ~ J--, ,r, 1..:.:(i :.::. -, - · 1 :•·,# ·; ·:, '~• What sorrows labour in my pa rents' breasts? Steel 1 d was that soul and by no misery mov 1 d •N•( That from a father seiz 1 d his babe belov 1 d: Such , such my case . And can I then but pray Others may never feel tyranic sway? (wheQ1tey) Narrator You named me George Moses Horton . I did not like the injustice (over) of the �10 double standard. And so I turned into a poem. Even though some continued calling me "The Slave." Chorus "Tha Slave"? Voice Because the brood-sow 1 s left side pigs were black, Whose sable tincture was by nature struck, Were you by justice bound to pull them back And leave the sandy-colored pigs to suck? (Horton) Chorus (ominously ) Runagate! Bunagatel Runagatel Runagatel Runagate! Narrator My mother cured ills and my father worked roots . In the bi-cultural oonstriction the poem became juju-man , the face hidden by the ambiguous minstrel smile . Voice We have fashioned l aughter Out of tears and pain; Bqt the moment after-Voice Pain and tears again.(Charles Bertram Johnson) Voice Forgive these erring people, Lordi Voip_e .. Who lynch at home and love abro a d . ( ~ D ~ ) Narrator Still I wrote--this time just like I talked• though some made fun of it. But,as maker of song , I could only produce heart-rhythms . (over) �Voice 11 De Ounjah man, de Ounjah man , 0 chillen,run, de Cunjah man ! Chorus 0 chi ll en , run, the Cun jah man! Voice Him mouf ez beez as fryin' pan; Voice Him yurs am small, him eye s am raid,-Voice -- Him hab no toof een him 01 1 haid, Voi ce Him hab him roots , him wuk him trick s, -Voice Him roll him eye, him mek you s ick-Chorus De Cunjah man, de Cunj ah man, O chillen run, de Cunjah man!(J . E. Carnpbell) Na rrat or I knew my rights, my rough times and my remedies. Voice(assuming tones reflaoting physical illneases) Blue-mass, laudnum, liver pills , "Sixty-six, fo I fev er an I chi lls, 11 Ready Relief, an 1 A. B. c ., An' half a bottle o f X. Y. Z.(J. W. Ho J.loway ) Narrator You named me Frances ~llen Watkins Har p er, James Edwin Campbell, James Weldon Johnson, Paul Lawrence Dunbar--Son of ex-slaves, elevator boy , risen to brilliantbard of the race . As the poem I strode forth in several kinds of English. (over· ) �12 Voice I know 'Why the caged bird sings, Ah me, When his wing is bruised and his bosom soraT Wh.en he beats his bars and he would be free; It is not a carol of joy or glee, But a prayer that he sends from his heart's deep core , But a plea, that upward to Heaven he flings -- I know why thecaged bir d s ings! (Dunb~r} Na rra tor Above all, song exudes from me . Indeed, I am song . Wat ch and examine me. My birthright is my anthem. Hy song is my sword. And I : lift that sword high I Voic e (singing) Lift evfry voice and sing , Till earth and he aven ring, Ring with the harmonies of liberty . Chorus(talking, pointing upwards) Till our rejoicings rise High as the listening skies!(J . W. Johnson) Narrato r As song-poem I forged pure fl ames of rhythms without books. James Weldon Johnson called me the Black and Unknown Bard. And, let me tell you something ••• h.mmmmmmm ••• • I always loved to hear Malindy sing. Voice G 1 way an 1 quit dat noise, Miss Lucy-- Put dat music book away; What's de use to keep on tryin 1 Y Jf you p ractise twell you're gray, You cain•t sta•t no notes a-flyin' Lak de ones dat rants an d rings From de kitchen to de big woods (over} �13 Chorus When Malindy sings. Voice You ain't got de nachel o 1 gans Fu• to make de soun 1 come right, You ~in 1 t got de tu 1 ns an ' twistin 1 s fu • to make it sweet an• light . Tell you one thing now , Mi s s Lucy, An' I'm tellin' you fu 1 t rue, When hit comes to raal right singin •, Chorus T ain't no easy thing~to do . 1 Voice Easy 1 nough fu 1 folks to hollah , Lookin 1 at de lines an ' dots , 'When dey ain ' t no one kin sence it , An' de ch une comes in , in spots ; But fU 1 real melo jous music , Dat jes strikes yo 1 hea 1 t and clings, Jes you stan' an ' lis ten wif me .Chorus When Malindy sings. Voice Ain 1 t you nevah hyeahd Ma lindy? Bl esse d soul , tek up de cros s! Look hyeah, ain ' t you jo kin ' , honey? Well, you do n't know what you los• . Y1 ought to hyeah da t gal a -wa .1 blin 1 , (ov er) �14 Robins, la 1 ks, an 1 all dem things, Heish dey moufs an 1 hides dey faces Chorus When Malindy sinEs• Voice//1 Fidlin 1 man jes 1 stops his fiddlin 1 , Lay his fiddle on de she 1 f; Voice#2 Mockin 1 -bird quit tryin 1 to whistle , 1 6ause he jes so shamed hisse1.f. Voice#3 Folks a-playin 1 on de banjo Draps dey fingahs on de strings -Bless yo' soul--fu' gits to move 1 em, Chorus · When Malindy sings . Voice She jes' spreads hu mouf and hollahs, Voice( singing) "Come to Jesus, 11 Voice ••• twell you hyeah Sinnahs 1 tremblin 1 steps and voices, Timid-lak a-drawin 1 neah; Den she tu 1 ns to Voice(singing) "Rock of Ages, 11 Voice Simply to de cross she clings, (over) �15 An 1 you fin yo 1 teahs a-drappin' .Chorus When Malindy sings. Voice Who dat says de humble praises Wif de Maste r nevah counts? Heish yo 1 mouf, I hyeah dat music , Ez it rises up an 1 mounts-1loatin1 by de hills an 1 valleys, Way above dis burryin I sod, Ez hit makes its way in glory Chorus To de very gates of God~ Voice Oh, hit 'e sweetah dan de music Of an edicated band; An 1 hitfs dearah dan de battle's Song 0 1 triumph in de lan 1 • Voice#l It seems holier dan evenin 1 When de solemn chu 1 ch bell rings, Voice #2 ( slowly,s earchingly) Ez I sit an 1 ca 1mly liston Chorus While Malindy sings . Voice Towsah,, stop dat ba 1 kin, hyeah me! Man~y, 1 .m.ek dat chile keep still; (over) �16 Don't you hyeah de echoes callin 1 F 1 om de valley to de hill? Let me listen, I can hyeah it , Th 1 oo de br~sh of angels ' wings , So f', and sweet, Voice #3(singing ) •• o 11 swing · 1 ow, Swee t Chariot ," Voic e (dreamily and ecstati cally) Ez Malindy sin gs .( Dunbar ) Narrator Poem t hat I was and am, I t r a veled from "oasis to o asis." Voice Man 's Saharic up and down. ( H . B . Tolson ) Narrator Riverboats , river towns chaingangs ••• Voice(singing as cho r us makes work-sounds in background ) Well don't you know That's the sound of the men, working on the chain-n-n-n gan-ee-ang; Well don't you know That 's the sound of the men, working on the chain gang . (Cooke) Narr ator Bar-room toughs, hard- hearted Hanna , Stagolee ••• they all knew me. Voice Hard•ha arted Hanna-Voice From Savannah, GEE A. Voice She was so cold, yall -Chorus Wasn 1 t she 1 (ov er ) �17 Voice She ' d pour water on a drowning man! Chorus(slowly and deliberately ) Wate r, on a drown- ii-nnng man. Voice(at t racting the attention of others) It wa s early one mornin•, When I heard my bulldog bark ; Stagolee and Billy. Lyons Was s quab lin' in the dark . Voice Frankie and Hohnny were lov ers , Choru s Lordy , how they could love , Voice Swore to each other , True as the stars up abo ve , He wa s h er man but he done her wrong . Voice(femal e) Shine, shine, sh ine, ••• sav e po ' me . Narrato r I was in t h e constant see -s aw of l ife , wading t hro u gh h ell in search of heaven. But I kept my working philo sophy wi th me. Voi c e#l De stopp er get de longest rest in de empty j ug . Voice#2 De price of your hat ain ' t de measure of your b rain. Voicei/3 De graveya rd i s de cheapes 1 boar din 1 -house . Voiceff4 Buy in _ on credit is robbin 1 next year ' s crop. (Over) 1 - ---- ._ �18 Voice#5 Life is short and full of blisters. Voice#l De cow-bell c an 1 t k eep a secret. Voice#2 Little flakes make de def:)pest snow. Voice#3 De crawfish in a hurry look like he tryin 1 to git dar yesterday. Voice,'/4 Be drinks so much whiskey that he stae;gers in his sleep. Voice#-5 In God we trust, all others cash. Narrator Yes I was lyric-wise. You heard me everywhere . You even heard me coming from the swoJ.len lips of the bugle, French horn, trumpet, clarinet and saxophone. Horn A series of short riffs and movemen ts exempJ.ary and illustrative of various forms of Afro-American music p l ayed between the advent of the spirituals and the ragtime-blues period. Narrator :i;n Paris they called the "Cakewalk 11 the 11poetry of motion o II In the crevices of ships I was transported to global points to make me splendid sound and dance my splendid poetry of motion . Dancer Executes a serie s of movements and step s representing such dances as the Cakewalk , Charleston, the Two'-Step, Ji tterbµg and the Bop . Blen:e:ht.s of West Indian dances should flavor movements . (over) �19 Narrator As the poem I blue horn s , sho t guns in your First World War, danced dances and came h ome to face the Ku Klux Klan, Southern Sheriffs and Jim Crow. I got Angry . And I got defiant. But , I was relatively· cool. Voice (s erious) Into the furnace let me 80 alone; Stay you without in terro r of the heat. I will go naked in-:-for thus 'tis sweet -Into the weird depths of the hottest zone. Voice ( serious but resolute and emerging) Desire destroys, consumes my mortal fears , Transforming me i nto a shape of flame . I will come out, ba ck to you r world of tears, A strongger soul within a f iner frame.( McKay) Narra tor From the dark tower I wat che d as I p:r.~pare<)., .watched as I prepared, watched as I pre pared, knowing that ·!!We were not made eternally to weep . Voice(reflective, medita tive) The night whose sable breast relieves the stark White stars is no less lov e ly being dark, And there are buds that c annot bloom at all In li ght , but crumple , piteous , and fall; So in the dark we hide the hea r t that bleeds , And wait, and tend our agonizing seeds .( Cullen) Narrator After race riots in several American citi e s , I lifted my voice in a searing shaft of discontent. Chorus 0 kinsmen! we must meet the common foel (over) 11 �ao Voice Like men we'll face the murderous , cowardly pack , Pressed to the wall, dying , ••• Ch orus ( slowly and softly) Dying ••• dying ••• dyin8 Voice ••• but fi ghting b a ck I (M."'r(°'t) Na r rato r All the while my p a st kept pu lling on me . It was if we were married to each other, glue d, l o cke d , welde d to gether. It was as if tho se who dep arted n ev e r re ally , really died . An African sense kept tugging tugging a t my trunc a t e d ro ot s . 'rl1e br i dge of my dwar f -lilte past rested on at le a st t wo shore s . Voi c e Pour o pour th8 t pa r ti n g s oul in so n g, O pour it in t he s awdust glow of ni gh t , Into th e velvet pine- smo ke air to-ni ght , ••• Chorus(slow and echo -li ke ) And l et the valley carr y it along . And l et the valley ca rry it along . (t6'omer) Na rrator(confus ed a nd desperate) Sometimes I was only ha lf - t here , fightin g those who wanted to snatch away my humanity by day;and f'i [sh tin g hun ger and confusion at home by night . As the poem, I emer ge d convo luted and wholly new, only to ,, retrea.t to a some-othe r-time refrain. ~gyp t , Ghana , Madagasc a r, the Pyramids- - Voodoo Ceremonies--what did they all mean ,to me? The beauty- pain of it all? Chorus Come with a blast of trumpets , Jesus ! (over) �21 Voice(oxymoronic) And the beauty of Susanna Jones in red Burns in my heart a love -fire sharp like pain. Chorus Sweet silver trumpets, Jesust<)\~s~as) Vo ice Well , son , 1 1 11 tell you: Life for me ain 1 t been no crystal stair.(Hughes) Narra tor But the blur of that veil was always temporaFtly relieved by song, by dance, by reading or thinking ab out foreign places and looking forward to the day when Americans would grow up. We were here --in America-but not of it . Simply worrying, without a p lan to change things, didn 1 t help much. We grew stronger , and more beautiful, in the words of Langston Hughes , as we re-emb raced our own ritun.ls . Chorus(singing and jiving) Shake your br01m. , feet, honey , Shake your brown feet, chile , Shake your brown feet, honey, Shake ,J em swift and wil' -Voice Get way back, honey , Do that low-down step 0 Wal,k on over,darling, Now! Come out With your left. (Hughes) Voice(breakin g the fun -frolic and wanng serious) Yet do I marvel at this curious thing : To make a poet black,and bid him sing l~v(le~ (over) �22 Narrator Yet must I marvel tha t I' m here at al l. Be cause during the watering years , after the GREAT DEPRESSION , my existence was seriously threatened by lynching and at atmosphere of intimidation. I went to war, as poem and s oldi er and cook and shining knight of DEMOCRACY ! The SWASTIKA, 'rhe RISING SUN , The HAMMER & SICKLE, I was told, were my REAL enemies. Meanwhile you had n amed me Owen Dodson and I grew accustomed to the realities of nei ghborly enemie s, 'rhose who caused UNNATURAL DEATHS . Voice(preaching a funeral sermon) Wake up, boy , and tell me how yo u died : What sense was alert last , What immediate intuiti on about m You clut ched like a bullet when your nails Dug red in your ye llow pa lm And that map the for tunetell e r s read Cho rus (this line for mon ey , this for love) Voi ce Uh.ildish ag~in - a~d.imeared . • • • Cho rus Wake up , boy . ••• Vo ice • • • I go t o death tomorrow, Tel l me what ro a d you took , • • • What hour in the day is luckiest? Voice Did your Adams apple explode? Who sewed stitches in your angry (over) heart?(O.Dod,.so.-,J �23 Ch orus 0 wake•• • Narrator Yes, yes, • • • I wa s sometime s a tatt e red and beaten poem in the nineteen Thirties, Forties and Fifties. But I was a poem anyway: Gracious, Noble, Fundamental, Fiery, Firm, Relating to ;~ People" W~L~ on ~ur Comm,o n Ground. Some one cal led me Margare1t I became a Tapestry of My Many Selves. Voice#l For my people , everywhere singing their slave songs repeatedly; Voi ce#2 • • • their dir ges and the i r ditti es and theifll:•~~J' and jubile es, • • • praying the ir pray ers ni ghtly to an unknown god, Voice#l • •• bending their knees humbly to an un/seen power; Voice#2 • • • washing/ironin g cooking scrubbing sewing mending I i i & hoeing/ plowing/digging planting pruning patching dragging along never gaining never reaping never !mowing and never understand/fng; Voice#J For my playmates in the clay and du s t nnd sand of Alabama backyards p laying • • • Vo i ce #l 't>aptizing :,and • •• Voic e//2 preaching and••• (over) �24 Voiceff3 doctor and ••• Voicei/1 jail and • •• Voice-/12 soldier and••• VoicelfJ school and • •• • Voice,IJ. mama and/cooking and playhouse and concert and store and/hair and Miss Choomby and company; Voice#2 For the cramped bewildere d y ears we went to school to learn to lmow the r easons why and the answers to and t h e people who and the places whe re and the days when, in memory of the bitter hours ,m en we discovered we were black and poor and small and different and nobody cared and nobody wondered and no bo dy underst ood; Voice1f3 For the boys and girls who grew in spite of these things to be • • .1 man and woman, to l o.u gh and dance and sing and play and drink their wine and religion and success , to marry their playmates and bear children and then die of consumption and anemia and lynching; Voi ce-//1 For my people thronging 47th Street in Chicago and Lenox Avenue in New York and Rampart stre et in New Orleans , ••• Voice-H2 For my people blund oring und (j ro ping and floundering in the (over) �25 dark of churches and schools and clubs and societies , associations and councils and committees and conventions, distressed and disturbed and deceived and devoured by money-hungry glory-crav ing leeches, preyed on by facile force of state and fad and novelty, by false prophet and holy believer; Voice#) Let a new earth rise . Let another world be born. Let a bloody peace be written in the sky , Voice#l. • • • Let a second generation full/ of courage issue forth ; Voice//2 • • • let a people loving freedom come/ to growth. Let a beauty full/ of healing and a strength of final clenching be the pulsing in/ our spirits and(OUrblood. Voice /1-3 • •• Let the martial songs be written , let the dirges dis/appear . Chorus (strongly) • • • Let a race of men now rise and take control.( M. Walker) Narrator ~rank Marshall Davis , Melvin Beaunorous ~olson , Sterling Brown , Robert Hayden, Paul Ve sey, Bob Kaufman, Georgia Douglas~ Johnson, ~ussell Atkins, Le a db elly, Livitnin 1 Hopkins--these are names by which my voice is known . 0ome even call me by the name of (whispering) HISTORY . Chorus(rising from whispers) History I History 1 History 1 Runagate 1 Runagate I Runagate l Voice Runs falls rises stumbles on from darkness into darkness and the darkness thic keted with shapes of terror (over) �26 and the hunters pursuing and the hounds pursuing and the night cold and the night long a nd the river tocross and the j a ck - mul~-lanterns beckoning beckoning and the blackness ahead and when shall I reach that somewhere morning and keep on go in g and never turn back and keep on going ••• Chorus(frightened) Runagatel Runagatel Runagate l Voice Some go weeping and some rejoicing some in coffins and some in carriages some in silks and some in shackl es ••• Oh that train, ghost-story train through swamp and savanna mov c ring movering over trestles of dew, thro ugh c aves of the wish, Midnight Special on a _sabre track movering movering, first stop Mercy and the last Hallelujah . Voice Come ride - a my train. Chorus Mean mean mean to be free .( R. Hayden) Narrator I became a brilli~t word-torch shining back against my past and flaming proudly into the future . All the while I wormed into and won hearts and minds. And in 1950 , America gave me the coveted Pulitzer Prise . My name was Annie A1len but I was many people . I was so finely sculpted that no inflection was imprecise. I said what I had to say in a language that dazzled and blinded the wo rld. I stood as a jewel; I talk~a abou t a jewel named "Satin-Le gs Smith . 11 (over) �27 Voice(as others look on admiringly ) He wakes, unwinds, elaborately: a cat Tawny , reluct ant, royalo He is fat And fine thi s morning . De finite . Reimbursed. He waits a momemt , he designs his reign , That no performance m~y be plain or vainp Then rises in a clear delirium. Voice Le t :·us pro c eed. Let us inspect , together Wi th his meti culous and serious love , The unnards of this closet . Which is vault Whos e glory i s not diamonds, not pearls , Not silver plate with just enough dull shine . But wonder suits i n y ellow and in wine, Sarcastic green an d zebra-striped cobalt . With shoulder padding t ha t is wide And co cky and det e rmined as his pride ; Ballooning pants that taper off to ends Sch eduled to choke precisely . Voice Here are hats Li k e bri ght umbr ellas; and hysterical ties Like narrow banners for some gathering war .( G. Narrator Ye s, I was immaculately Black . Magnificently Black . And I knew the powe r of the Rap I Chorus Amen! (over) �28 Narrato r I became the power of the Rap I Chorus Ament Voice Bartender, ma ke it strai ght and make it two- Voice (po in t ing ) One for the y ou in me ••• Voice (point ing ) ••• and the me : in you . (Iii . Tolso n) Narrator After lengthy conversat ions ~dth my music, I became the Be -Bopper; somebody called me the Zoot-Suiter; I put on dark gl a sses and conked my hair. A do uble-chinned salesman h anded me some bl ea ching cream and a cadillac as I sped Horth to join my brothers and s isters in the Promised Land. Richard Wright and James Baldwin cried for me . John Oliver Killens Heard ·r he Thunde r and Ralph Ellison called me Invisible, adding that once rrry leaders decoded the riddle of my style and my rap they could help me save me . Black, I left a White country to fight Yellow men in Korea. Ella, Miles , Monk, Billie, Prez, Chana Pozo, Ornette, Coltrane-- they went to war with me. Chorus Good Morning heartachel (sung) How do you do . (said) Horn Menley of tunes and musical mannerisms reminiscent of the period. Narrator I got hip to world events, science an d space explorat ion. I lmew wh~ I lmew, still I couldn 1 t go where I wanted to go , or dQ what I wanted to do . Americ~ got nervous whenever I appea red in public . But I knew ('over ) �29 certain events and developments were dooming all of u s to an "Ultimate Reality. 11 Voice You know, Joe, it I s a fupny t h ine;, Joe , Yo u worry most of your life about me , Always afraid I ' ll ge t a job with you , Always scared I mi [Jlt ge t s e rv e d with you , Always afraid I ' d wlill na l ove your sister Or t h at she might love me . Voice Don ·~t want me to e a t with you , Voice Seared I might live next t o you -- Voice But with the Atom Bomb , Joe, It looks li k e I might die with you . Voice That don 1 t :seem ri c;ht , does it, Joe?(Ray Durem) Na rrator But inspite of all the adversity , the hi s torical strength s kept returning to me , shoring me up , h elpi n g me to ~ee p get ting up, to keep going . We had our personal victori es in the meantime. We learned everything that it too~ to make it in America, even when no one would let us have equipment or space to work in. We just reached back insi de ours elves and came up with what was n ee ded . Then one day, the po em became a baseball in the hands of the legendary Leroy Sat chel Paige . Voice Sometimes I feel like I will never stop Just go on forever (over ) �30 Till one fine mornin' I'm gonna reach up and grab me a handfulla stars Swing out my long lean le g And whip three hot stri kes burnin 1 down the heavens And look over at God and say How about thatt(S. Allep) Na rra tor Style has always been my si ,snature . So it was not a surp ri se that I returned to myself in moti on . Behold! The St roll! Cho rus Sings a portion of Gene Chandl er I s "Duke of Earl" or some other period piece . Ha1·rato r The Kans as City Slop 1 l'he 1-Iadi s on I Sing s ¥- portion of t he Fi v e Satins 1 song f r om pe rio d . 11 ±n the Still o f the Night II or another lla rra t or The Twist! Bt~ef exerpt from Chubby Checker's "Twist" . Narrator The Funky Chicken I The l~arate Bo ogaloo I They saw me poeting with my hips and my feet . Chorus Poeting l Poetingl Na rra tor And took it all ·ba ck to Ame rican Bandstand and other countries . Voice( singing) There ' s a thrill upon the hill! Ch orus (singing~ Let 1 s Go! Let ' s Go! Let's Go! (over) �Narra tor I oame home from Ko re a to meet th e Klan in a new sheet. And in Montgome:ry they would not let my moth e r sit down on a bus . As a poem, my name became Lance J e ffers, Raymond Patterso n, G.C. Oden, Mari Evans, LeRoi Jones and Imamu Amiri Baraka, Audre Lo rde . Choru s ( ques tionin~ly) Montgomery? Montgomery? Montgome ry? • • • I remember Montgomery . Voic e And Birrningham--the f.o\l\" little, little girls . Voice Four little girls Who went to Sunday School that day And never came back h ome at all-Voice But left instead Their blood upon the wall With spattered fl esh And bloodied Sunday dr ess es Scorched by dynami te t ha t Ghina made aeons a go Dfutl not know' what China made Before China was eve r Re d at a l l Would redden with the ir blood This Birmingham-on-Sun day wall . Four tiny girls Who left their blood upon that wall, In.Jlittle ·. graves l today await (ov er) �32 Voice The dynamite that might i gnite The ancient fuse of Dragon Kings \\'hose tomorrow sings a hymn The missionaries never tau ght In Christian Sunday School 'E o Implement the Go lden Hu.le . Voice Four littl e girls Might be awakened someday so on By songs upon the bree ze Voi c e As yet unfelt among Magnolia trees. (t\v&ies) Voice And Selma! Voice And Phiiadelphia, Mi ssissippi I Vo ice(vaguely, hesitatingly) I recollect Emmett Till! Voice Jlnd Watts! Narrator My Name was Conrad Kent Ri v e rs a t that time . I became a poem called "Watts, 11 hoping that in su ch disgui se I could find my way out of this daily nightmare . Voice Must I shoot the white man dead to free the nigger (av er) �33 in his head? Voice( pausing, musing ) Must I shoot the white man dead to free the ni gge r in his head? Ct .~,l,-.;er9 Voice And Newark I Voi ce And Harlem! Voice And Oakland! Voice And Dallas! Voice And Eas t St . Louis! Voice And Chicago I Voice Martin ~uther King! Voice Malcolm! Voice Stokley! Voice H. flap Brown ! Voice James Brown I (over ) �Na r r ato r 34 Drumbeats en fla.me d the--., sky . Li be ration became ltl.y.;pas si onate preoccupation. A wa r m se lf-love engulfed me . My woman an d I look ed at each oth r t hrough n ew-old eyes. We ha d our own standard of b eauty. I st r etched and yawned and walke d aro und i n my own neighborhood. My ~olor felt good and healthy t o me . It loo ked good to me in the mi rror o f my Brothers'eyes . Someone called me Bl ack and I di dn I t h it him. At a r ally, I t urned into a voice on th e podium shouting. Chorus WE ARE AN AFRICAN PEO PLE! Drumme r & Dancer Sal ute the coming of t he new cons ciousn e ss wi th approp riate n eo-Afri c an rhythms and mov eme nts . Voice For all t h ing s Pl a ck and beautifu l , The b ro wn f a c e s you lov ed so well and long , th e endl e s s ro ads leading back to Ha r l em . Ch o rus Kulu Se Mama l Kulu Se Mama ! Kulu Se Mam.al Kulu Se Mama Vbice-#1 Where the string At : ) Some umbilical j a z z , Voice #2 Or perhaps , In memory, A long lo st bloo dy cross , Buried i n some steel c alvary . �35 Voice/13 In what time For 'Whom do we bleed , Lo st note s , from some j o. z zman ' s Broken n eedle . Voicet/4 Music al tears from lost Eyes, Broken drumsticks , whyT Voicer-Jl Pitter patter, boom dropping Bombs i n the middle Of my emotions Voic e11·2 My fath e r ' s s oun d Voi c e ,f3 My mo ther I s s ound ••• Chorus rs : love, Is life. (B' to.\)rtt\0-v.) Narr ator I had watched America . I knew Amer ica . I could deal with the difference and the sameness, that stran ge decora t ed pain that character izes our existence . I keep comi ng bac k to the point of the sythe sis and the symbio s is. I am history illL d futu re, or, put differently , I am future• history. Sometimes , because of my many levels · of vision, I grasp the helm of the strugg]es of the many colored hands . I might even be in ' a river th at lac es the stomach of Ameri ca. �36 Voice(with dance accompaniment) River of Time: Vibrant vein , Bent, c rooked , Older than the Red Men Who named you; Ancient as the win ds That break on your Serene and shining face; One t i me western bo undary of America From who.sercehTh~ Your broad shouide rs n ow r each To touch sisters On the flanks . Ch orus River of Truth: Voice •• • Mornings You leap, yawn 2000 miles , And shed a giant joyous tear Over sprouting , straggl ing Hives of humanity; Nigh ts you weep As the moon, tiptoeing Across your silent s i l ky Face, hears you prayin g Over the broken backs Of black s l aves who rode, Grouched and hudd led, At your he a rt in the belli e s Of steamshJ p s , (Ocer) �37 Chorus River of Memory: Voice Laboratory for Civil Wu r Boat builde rs Who left huge eyes of s te el Staring from your sullen dep t h s ; Re luc tant partner to crime s Of Ku Klux Klanamen ; River moved to wav es Of ecstasy By the venerable t rump e t Of Louis Armstron g . River of Bones: River of bones and fl esh -Bones and flesh an d blood ; Voice The nation's l argest Intestine And longest conveyer belt ; Ch orus River MISSISSI PPI : River of little rivers ; River of rises , Voi ce Sometimes subdued By a roof of ice, de sc endine finally On your Southward course �To . spit Into th e Gulf And join the wrath Of larger bodies . ( Hedmond ) Nar r a tor I mused ov er river s and long- gon e voic e s underne a th rivers . Soon, however, I turned to philosophy . I n l~he sp it and da rt of my new self, th e re were utterances I ha d to make , blood- thoughts I h a d to share. I lmew this was another se quel to the dr eam . I had not believed those fairy tales . I needed ;to tak e a hand a nd stand and s pe a k the truth to the peopl e . Chorus Speak the truth to the people! Voice I t i s not n e c essary to green the hea r t Only t o i denti fy the en emy I t i s not nec essary to blow the mi nd Only t o f r e e the mind . Crioru s It is the total bl ac k ! Voice It is the total black, bein g spoken From theearth 1 s inside . There are many kinds of open. How a diamond comes into t knot of flame How a sound comes int o a wo rd, colored By who pays what for s peaking . Chorus Love is another kind of open r (over) �39 Voi ce As a diamond comes ipto a knot of flame I am black because I come from the earth's inside Take my word for j ewel in your open li gh t . Narrator I am the e cstasy of NOW ! 'fhe fullest realization of my Ancesto rs 1 wishes . I return , even in the alarm; ev en in the shadow- body I am often forced to wear . But enough , enough - -I beg you , my d ear a~soc i ates , look How on our~s and history ' s finest treasure . Voice(and dancer) I am a black woman the music of my s ong some sweet a rp eggi o of t e a r s is wri t t e n in a mino r k e y and I can b e heard hummin g in t h e ni crit Can be heard h ummin g Ch orus Hums first line of 11 .1: obo dy .t,nows the Tro uble I See" Voice(continuing poem) in the n ight I saw my mate leap scre aming t o the sea and I / with these hands/cupped the lifeb rea th f r om my is sue in tre c ane brak e I lo st Nat ' s swin ging body in a rain of tears and I heard my song scream all t he way from Anzio f or Peac e he n eva-- kn ew • • • • I l ea rn ed Da Nang and Pork Chop Hi ll i n anguish ( o ver) �Now my nostrils know the gas and these tri gger tire/d fin gers seek the softness in my warrior ' s beard I am a black woman tall as a cypress strong beyond all definition s till defying place and time and circumstance assail ed i mper vious i ndestruc tib le L0ok on me and be renewed.(M, Evo.n!>) Chorus Look on me and be ren ewed. Look on us and be renewed. 11inis � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_09_35 Title A name given to the resource First draft of Drumvoices: The Mission of Afro-American Poetry, A Readers Theatre/Ritual Drama, typed with handwritten edits, 1977 Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. Date A point or period of time associated with an event in the lifecycle of the resource 1977 https://digitallis.isg.siue.edu/files/original/d6db4aadc1fa30531adf79a5b3a4817f.pdf a9d3cdff8e2acdb544a999fb04a98fea PDF Text Text SCRIPT AD PTATION OF DRUMVOICES: THE MISSION OF AFROAMERICAN POE.rRY (a' cr{tical hist,o ry) by Eugene B. Redmond For Presentation at Book Party October 3, 1976: 3 p.m~ to 6 p.m., Redwood Room, University Union California State University Sacramento �MOVEMENT fl I Narrator: I am the poemJ Chorus: We are the poeml Narrator: And the poem is me l Ghorus: And the poem is us j Narrator: I am the poem and I came before pen or pencil or paper or printing press l I cupped and cuddled the wisdom of the winds in drum-bosoms of ,ecstap7. Drummer: A ·l d,de range or rhythms, m~vements, multiple movement-rhythms: African, - , West Indian, Afro-American. Narrator: I write in drum-language and converse with tomorrow, today and the here- tofore . Chorus: DRUMFEET ON THE SOIL, ON THE SAN:DROADS OF THE MINDI FLESH-PISTONS PRANCING, THE EARI1H 1 S ENGINE! IT IS A COMING FORTH, THE NIGHT WITHIN US COMING FORI1H I THE NIGHT WITHIN US COMING R> RTH I FEET BEATING, BEATING, BEATING SEEDS INTO THE SOIL! Narrator: I retum and return and return to JQ'., magni fi cent and reliable archives. Chorus: That love we can depend on! That love we can depend on! (over) �Voice (singing): Onoborobol Ghorus: Onobarobo I Voice: OnoboroboJ Chorus: Onoboro-boJ Voice: Onoborobol Chorus: Onoborobol Narrator: In my dependable cultural vault is the Idea-gram;: the natural cinema. tography landscaped by thudding thoughts of my totem-family, the living-dead, the breathing, the unborn. I am the poetie flesh-temple with many forms, earth-daughter and agil.e inundator of history. I am the poem in motion. Dancer: Rudimentary movements and other eleSnents or traditional African and Afro-American dance: isolation, use of pelvis and torso, leap, twirls, pqlls, yanvalou, vigorous stretches and thrusts.(Drum accompaniment) rrator: I am the Black and Unlolown Bard. America put me on a conveyer belt moving in two diffferent directions at the aame time. My African Jubilance turned to anger and a song of sabatage. My Indomitable E~ho end Idio flavored '41Y rndomi table press to be human. As a poem, I became part of-.. wh$.t .I ·did, saw and dr a.med on these shores: Field Holle~s, Vendors' Shouts, hants, Work Songs, Spirituals, Blues, Gospels, Jazz, Bhythm-and-Blues, (over) S0 ul Music~ �Voice: Did yer feed my cow? Chorus: Ye Mam! Voice: Will yer tell me how? Chorus: Voiee: Oh w' at did yer give 'er? Qhorus: Cawn an hay r Voice: Oh w'at did yer give •er. Chorus: Ca~ an hay! oice: 1. Evahwhull I, whuh ~look dis ma:wnin, Looks lak rain, looks lak rain. Voice: I gotta ~~inbow, tied all rol.m mah shouider, Ain gonna rain, ain gonna rain. horus:. Dis is de hammer Kilt John Henry a • (over) • �4 Voice: Twon•t kill me, baby, Tworl •t kill me. ho_rus: Take dis hammer, Carry it to de captain; Voice: Tell him I'm gone, baby, Tell him I'm gone. Chorus: I got a rainbow fl'ied "roun my shoulder, AinJt gonna rain, baby, Ain't gonna rain. Voice: Dis ole hammer--huh, Riµg lak silver--huh, Shine lak gold--huh. Chorus: Ain't gonna rain, Ain't gonna rain. Voiceffemale): I'm a big fat mamma, got the meat shaking on mah bones, I•m a big fat ma.mma, got the meat shaking on mah bones, And every time I s~,-kes, some skinny girl loses huh home. Narrator: Yes, as poem, as cotton-picker, as banjo-player, as preacher and slave-rebellion leader, I emerged as a new part of the old. My African song ushered forth in strange new Biblical language. (over) �Yoioe: Go down, Moses, Way down in Egyptland; Chorus: Tell old Pharaoh To let my people go. Voice= Deep River ••• Chorus: Deep Deep Deep River •••• • o:bce: Deep River, rrr, home is over Jordan; Chorus: Deap River, Lord; I want to crosa over into camp ground. Voice: And yes, I DREAMED I was riding in that chariot. Chorus: ~wing low, swe t chariot, Coming for to carry me home, Swing low, sweet chariot, Gomin for to carry me home. Voice: Green trees a-bending, Po' sinner stands a-trembling Tb.e trumpet sounds within-a-my soul l Qhorus: I ain't got long to stay here. (over) �Voice.: You ::: nalbee 111~: Lucy Terry! ,__ . Voice: Gustavas Vassa~ Voice: Britton & Jupiter Hammon. Voice: Voice: l?hyll.is WheatleyL .A.Jad I mli:s.t~red~{l11e:S¥, 1. ' t:i!.il- ·an,d 1 ,Englisli in my teens. Lonely Black girl 'Whom the muses friended, thousands and thousands ~ of· miles away fromA_·esp African home . I continued to emerge as the poem. Voice, Should you, my Lord, while you peruse my song, onder from whence my love or Freedom sprung, Whence flow these wishes for the common good, By feeling hearts alone best understood, I, young in life, by seeming cruel fate, Was snatch~d from Afric•s fancy 1 d happy seat; What pangs excruciating must molest, What sorrows labour in my parents' bre~st? steel'd was that soul and by no miijery mov•d That from a father seiz 1 d his babe belov~d: ·s Buch, auch\ my caa~ And can I then but pray Others may never feel t y rannic sway? Narrator: YQ~ named me G~orge Moses Horton. I did not lik the injustice of the double standard. And such resentment turned me into a poem. .... ' " _) (over) en though �some called me "The Slave," Chorus: The Slave. Voice: Because the brood-sow•s left side pigs were black, 'Whose sable tincture was by nature struck, Were you by justice bound to pull them back And leave the sandy-colored pigs to suck? Ch'ol?US: Runaga.tel Runagatel Runagatel Runagate! Runagatel Narrator: t.'(_ , My mother cured ills an Arather "'°rked roots. In the bi-cultural constriction the poem became juju-man, the lace hidden by the .,,.,,uocu minstrel smile. Voice: We have fashioned laughter out of tears and pain; Chorus: . But the moment after-Voice: Pain and tears again. Voice-., ,, : Forgive these erring people, Lord; Voice: Who lynch at home and love abroad. Narrator: Still I ~ote--this time just like I talked, though some made run of it. But, as maker of song, I could only produce heart-rhythms. (over) �Drumv· ices, 8 Voice: De Ounjah man, de Cunjah man, O chillen, run, de Cunjah man! Chorus : 0 chillen, run, de Cunjuh manl Voice: Him mouf ez beeg ez fryin' pan; Voice: Him yurs am small, him eyes am raid, Him hab no toof een him ol' haid, Him hab him roots, him wu'k him trick, Him roll him eye, him mek you sick-Chorus: De Cun.jab. man, de Cunjah man, o chillen, run, de Cunjah man I Narrator: I knew my rights, my rough-times and my remedies . for what ailed me. Voice: Blue -mass, laud-num, liver pills, "Sixty-six, fo' fever an' chills," Ready elief, an. 1 A. B. o., An' half a bottle of X.Y.Z. Narrator; You named James me Frances Elien Watkinp Ha.rper~~James Edwin Campbell, eldon Johnson, Paul La.wrence Dunbar--son of ex-slaves, ele- vator boy risen to brilliant bard of the race. As the poem I in several kinds of English. Voice: I know why the caged bird sings, ah me, (Over} 6.-&de..f.rth �9 ~en his wing is bruised and his bosom sore-When he beats his bars and he would be free; It is not a carol of joy or glee, But a prayer that he sends from his heart's deep core, But a plea, that upward to Heaven he flings-I lmow why the caged bird sings& Narrator: o.Ll., Abov song exudes from me. I am song. Peruse -me. ~xamine Me. Watch Me. My birthright is my anthem. My song is my sword. oicei Lift evecy voice and sing! Till eart h and heaven ringl Ring with the harmonies of liberty! oice: Till our rejoioings: rise High as the listening skiesJ Narrator: As song-poem, I forge pure flames of rhythms without books. James on Johnson called eld- the Black and Unknown Bard, . And I love to hear Malindy sing. oice: G1 way an• quit dat noise, Miss Lucy-Put dat music book away; What's de use to keep on tryin•? Ef you practise twell you•re gray, You cain•t sta•t no notes a-flyin' Lak de ones dat rants and rings From de kitchell to de big woods When Malindy sings. (over) �10 You ain 1 t got de nachel o 1 gans Fu• to make ae soun• come right, You ain 1 t got de tu•ns an' twistin•s Fu• :, to make it sweet an• light. Tell you one thing now, Miss Lucy, An• I 1m tellin 1 you fut true, When hit comes to raal right singin 1 , 1 T. ain 1 t no easy thing to do. Easy ~ nough fu 1 folks to hollah, Lookin 1 at de lines an' dots, When dey ain 1 t no one kin sence it, An• :.. de t~uil.e ·._ mes in, in spo.ts; But fut real melojous music, Dat jes 1 strikes yo• hea•t and clings, J-es • you stan, an' listen wii' me 'When Malindy sings. Ain't you nevah hy,eahd Malindy? Blessed soul, tek up de cross I Look hyeah, ain't you jokin 1 ,honey? Well, you don't know whut you los•. Y1 ought to hyeah dat gal a-wa' blin'?, Robbins, la 1 ks, an• all dem things, Heish dey moufs an 1 hides dey face When Malindy sings. Narrator: Poem that I am and was, I traveled from "oasis to oasis." Voice: (over) �Drum.voices, 11 Man's Saharic up and do'Wll. Narrator: Riverboats, river towns, chaingangs, bar-room toughs, hard-hearted Hanna, Stagolee, ••• they all knew me. Voice: Hard-hearted Hanna-Voice : From·- :Savanm..ah, GEE A. Voice: She was so cold, yall-Chorus: Wasn•t she-oice= She'd poor water on- .a drowing man! Voice l It was eArly one morn.in', When I heard rrry bulldog bark; omee• ; Stagolee and Billy Lyons Was Squablin' in the dark. Chorus : Shine, shine, shine, ••• sa~e po' me. Narrator: You heard me coming from the swollen lips ot the bugle, French horn, trumpet, clarinet and saxophone. Horn: A series c,.:r short rif~·s exemplary of various forms of music played between the advent of the spirituals and the blues-ragtime period. (over) �Narrator: Iri Paris they called the akewalk" the "poetry of' motion. 11 ~1'h-_ e. crevices of ships I was transported to global points to make my splendid sound and dance my splendid poetry of motion. Dancer: Executes a series of' movements representing such dances as the Ca~ewalk, oP Charleston, Jitterbug and the Bop. Elements ~West Indian dances should flavor the movements. Narrator: As the poem. I blue homs, shot guns in your war, danced dances and came home to face the Ku '_,,Klux Klan, .:aouthern Sheriff's and Jim Grow. I got angry. And I got defiant . But I was relativelf cool. Voice: !~to the furnace let me go alone; Stay you w.i. thout in terror of the heat. I will go naked in-- for thus 1 tis sweet-- nto the weird depths of the hottest zone . Voice~ 'Si re destroy$, bonsumes-vm,:-r'ID.orta.[ !fears; , !rans~orming me into a shape of flame . I will come out, back to your world of tears, A stronger soul within a finer frame . Narrator: After race riots in several American cities. I lifted my voice into a searing shaft of' discontent. 0 kinsmenl we must meet the common foe! Voice: Like men we 1 ll face the murderous, cowardly pack, Pressed to the wall, dying, but fighting baekl (over) �arrator: Still, till my past pulled on me. It was as if we were married to each other, glued, locked, welded togeth~r. It was as if those who left us here on this earth never really, really died. ome friean sense kept tugging. tugging at my truncated roots. The bridge of my past rested on two shores; Voice: Pour O pour that parting soul in song, 0 pour it in the sawdust glow of night, Into the velvet pine-smoke air to-night; ••• Choruss And let the valley carry it along. And let the valley carry it along. Narratori ometimes I was half there, fighting those who wanted to snatch away my hum.ani ty by day; and fighting hunger and confusion at home by night. As the poem, I emerged convoluted and 'Wholly new, only to retreat to a ome-other-time refrain. gypt, Ghana, Madagascar, the Pyramids-- Voodoo Ceremonies--what did they all mean to mei Voice: Come with a blast of trumpets, ijesusl Voice: And the beauty of Susanna Jones in red Bums in rrry heart a love-fire sharp like pain. Cb.o..l!us I Sweet silver trumpets, Jesust Voice: Well, son, ! 1 11 tell you: Life for me ain•t been no crystal stair. {over) �arrator: The blur of the veil was always relieved by song, by dance, by reading about foreign places and looking forward to the day when Americans would grow up. We were here--in America--but not or it. Simply worrJing without a plan to chftnge <i.things never helped ?l'nlcb.. We grew stronger, and more beautiful, in the words of Langston Hughes , as we re-embraced our rituals. Shake your ~l>rown feet, honey, Shake your brown feet, chile, Shake your brown. feet, honey, Shake 'em swift and wil'-- • Voice2 Get way back, honey, Do that low-down step. Walk on over, d~rling, Nowt Come out With your left. Narrator: During the watering years, after the Great Depression, I was terrified by lynching a.pd an atmosphere of intimidation. I went to war, as poem and soldier aµd cook and shining knight of Democracy. The Swastika, The Rising Sun, The Hamm:.er· &~ ickle, I was told, are your real ~nemy-. Meanwhile you had named me Own Do son and I became a witness to the ealjti~~.i,Of neighborly enemies. Those who caused unnatural :deaths. Voice: Wake up, boy, and tell me how you died: What sense was alert last, Wb,.$.; immediate intuition about us (over) �You clutched like a bulle t men your nails Dug red in your y ellow palmf. And that map the fortune tellers r ead Chorus: {this line for money, this for love) Voice : Childish again and smeared •••• Chorus: Wake up , boy, ••• Voice: i •• I go to death tomorrow, Tell me what road you took, ••• Chorus : What hour in the day is luckiest? Voice: Did your Adams apple explode? Who sewed stitches in your angry heart? Chorus: O wake ••• Narrator: Yee, yes ••• I was sometia es a tattered poem in the thirties, forties and fifites . But I was a poem anyway: gracious , noble, fundamental, fiery, ftrm, relating to Wtlk"" People . Someone called me Margare\- I became a t pestry of my many selves . For my people everywhere singing their slave songs repeatediy : their dirges and their ditties and their blues .and jubile s, praying their pr,J: 1'8'-nightly to an unwn god, bending their lmees humbly t o an (over} uni• 71 p er; �:voices, 16 · or my playmates in the clay and dust and and o:f labama backyards playing baptizing and preaching and doctor and jail and soldier and school and mama and cooking and playhouse and concert and store and hair and Miss Choomby and company; oice: Lt a new earth rise. Chorus 1 Let another. wori· ·,be born. ',Let.: bloody peace be written in the sky. Voice: Let a race of ~ / now rise and take control. Narrator: Prank Marshall Davis, Melvin Beauno:rous Tolson, Sterling Brown, Rebert ayden, Gwendolyn Brook --these are names by whiab. sy · oice is known. Some even call me by the name of HISTORY. Choriis: ·History, history, · history, agatel RunagateJRunagateJ Voice: Runs falls rises stumbles on :from darlmess into darkness and the darlmess thicketed w.i.th shapes or terror and the hun,te:rs pursuing and the hounds pursuing , and the night cold and the night long and the river · to cross and the jack-mull-lantems beckoning beckoning and the blaclmess ahead and when shall I reach that somewhere moming and keep on going and never turn back and keep on going •••• Chorus: Runagatel Runagate! Runagate! (over} 'la......;_ �17 Narrator: I worm~d into and won hearts and minds. In 1950, · erica · gave -me the Pulitzer Prize. My name was Annie Allen. I was jc, . ·fine'!.y cnl:,it- ed that no inflection was imprecise. I said what I had to say in a.· language that dazzled and blinded the world. I stood as a jewel; I talked about a jewel named Satin-Legs Smith. Voice: He wakes, unwinds, elaborately: a cat Tawny, reluctant, royal. He is fat And fine this morning. Definite. Reimbursed. He waits a momeat, he designs his reign, That no perfonnance may . be plain or vain. Then rises in a clear delirium. Voice: Let us proceed. Let us inspeet, together Wi his meticulous and serious love, The innards of this closet. rfu.ich is vault Whose glory is not diamonds, not pearls, Not silver plate with just enough dull shine. But wonder-suits in yellow and in wine, Sarcastic green and zebra-striped cobalt. With shoulder padding that is wide And cocky and determined as his pride; Ballooning pants that taper off to ends Scheduled to choke precisely. Voice: Here are hats J.ike bright umbrellas; and hysterical ties Like narrow banners for some gathering wap. (vver) �Narrator: I knew the power of the rap I Chorus: Am.enl Narrator: I am the power of the rap I Chorus: Amen I Voice: Bartender, make it straight and make it two-Voice(pointing): 6 One for the you in me ••• Voice (pointing): •• • and one for the me in you . Narrator• I beeame the Be Bopper; somebody called ark glasses and conked my hair. me the joot-suiter; I put on si. esman handed me some bleaching eream and a cadillac as I sped North to join my Brothers and Sisters in the Promised Land.. chard right and James Baldwin cried for na . John Oliver Killens Heard the thunder and Ralph Ellison called me Invisible, adding that once my leaders figured out tm.i riddle of my style and my rap they could help me save me. Black, I left a 'White country to fight yellow men in Korea. Ella, Miles, Monk, Billie, P~ez, Chano Pozo, Ornette, Coltrane--they went to war with me . Chorus: Good morning heartache! How do you do? (over) �19 Hom: Brief medley of sounds and tunes reminiscent of the period. Narrator: I returned to myself in motion. BeholdJ The Stroll! The Kanaas City B1opt The Madison! Th Twis~J :The Funky Chicken! The Karate-Boogaloo! They saw me poeting with my hips and my feet. Chorus: Poetingl Poetingl Narrator: Att.e.-.cut And took it all back toA13andstand and other countries. Voice: There 1 s a thrill upon the hill. Chorus: Let's go, let's go, let's go, Narrator: I came from knrea to me t the lflan in Cl rw.thief'. they wouldn't let my mother sit down on a bus. Chorus: Montgomery, Montgomery, I remember Montgomery. Voice: And Birminghsm--the three little girls. Voice: And elmaf Voice: And Philadelphia, Mississippif Voice: I recollect Emmett TillJ Voice: And WattsJ (over) i.· And, in MontgomerJI, �Ntlrrator: My na:me was Conrad Kent Rivers at that time. I became a poem called "Watts;,. : hoping that in such disguise I could ..i'i:gd···my iws:y out of this daily nightmare. Voice: Must I shoot the white man dead to free the nigger in his head? Voice: Must I shoot the white man dead to free the nigger in his head? Voice: And N(3warkt oice: And Harlem! Narrator: My color felt good to me. I stretched and yawned and walk ed around my neigh;borhood. Someon~ called me Black and I didn't hit him. At a rally, I turned into a voice on the podium shouting. Chorus: WE ARE AN AFRICAN PEOPLE! Voice: For all things black and beautiful, The brown faces you loved so well and long, the endless roads leading back to Harlem. (over) �Chorus: Kulu Se Mama J Kulu Se Mam.at Voice: Where the string At Some point, Was some umbilical jazz, Or perhaps, In memory, A long lost bloody cross, Buried in some steel calvary. In what time For whom do we bleed, Lost notes, from some jazzman•s Broken needle 0 Musical tears from lost Eyes, Broken drumsticks, 'Why? Pitter patter, boom dropping Bombs in the middle Of' rrry emotions My father's sound My mothe ,s sound•••• Chorus: Is love, Is life. Narrator: I turned to philosophy. In the spit and dart of rrry new self, there (over) �22 were utterances I had to make , blood-thoughts I had to share . I knew this was another sequel to the dream. I had not believed those fairy tales . I needed to take a hand and stand and speak the truth . 'Cho a: Sp ak the truth to the p eop*el Voice : It is not necessary to green the heart Only to identify the enemy It is not necessary to blow the mind Only to free the mind •••• Chorus: It is the total black! Voice: It is the total black, being spoken From the earth•s inside . There are many kinds of open. How a diamond comes into a knot of flame How a sound comes into a word, colored By who pays what i a~ sp eaking •••• Chorus : Love is another kind of open- Voice: As a diamond comes into a knot of flame I am black because I come from the earth's inside ~ Take my word for jewel in your open light . Narrator: I am the ecstasy of NOW. The fullest realization of my ancestors• wishes . I return, even in the alarm.; even in the shadow-body I am often forced to wear. But enough, enough; I beg you , my dear associates , look Now on ourf f0cMnir◄ ~~aen "fiieca.sva-c. • (over) �oice(and Dancrer): I am a blaek woman the music of my song some sweet arpeggio of t ears is written in a minor key and I can be heard humming in the night Can be heard humming Chorus: Hums first line of "Nobody Knows he -·1rouble I 3ee 11 Voice : in the night I saw my mate leap screaming a the sea and I/with these hands/cupped the lifebreath from my issue in the canebrake I lo1Jt-Nat's swinging body in a rain of tears and I heard my son scream all the way from Anzio for Peace he never knew • • • • I learned Da Nang and Pork Chop Hill in anguish Now my nostrils lmow the gas and these triggered tire/d fingers "'" seek the softness inf\. . ~ arrior'a beard I am a black woman tall as a cypress strong (over) �still defying place and time and circumstance assailed impervious indestructible Look on me and be renewe. Chorus: Look on me and be renewed. ----30---- �State of California Sacramento State College Memorandum To : , Date : Subject: \ From : \ � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_09_33_01 Title A name given to the resource First draft of Script Adaptation of Drumvoices: The Mission of Afro-American Poetry (A Critical History), typed with handwritten edits, 1976 Description An account of the resource First draft of Script Adaptation of Drumvoices: The Mission of Afro-American Poetry (A Critical History), typed with handwritten edits, 1976. For presentation at book party on October 3, 1976: 3 p.m. to 6 p.m., Redwood Room, University Union, California State University, Sacramento. Includes list of actors. Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. Date A point or period of time associated with an event in the lifecycle of the resource 1976 https://digitallis.isg.siue.edu/files/original/48079398318f5a1eb6fd6f6589714d3b.pdf 711348a2c311df0695774b166c52f6ef PDF Text Text BIBLIOGRAPHICAL INDEX This bibliography is designed to serve the needs of beginning and advanced students of Black Poetry. It is not intended to be ex- so hostt,e.-.e.beenany haustive since~many biblio graphies repeat the same items. Nor/\8-ttempt to cite the numerous single collections of poems because checklists and specialized bibliographies are available. Moreover , most anthologies, critical studies and histories, list such collections --in selected bibliographies and biographies. Since many Bla ck poets publish privately or with small and relatively unknown publishing houses, the student will want to examine regular listings and reviews in periodicals such as Black World, Journal of Black Poetry, Freedomways, Black Books Bulletin, CLA Journal, Black Creation, Obsidian: Black Literature in Review, and others. Some of the small Black publishers list titles on inside cov ers of their books; and scores of records and tapes of readings, films, breadsides(single poems), pamphlet publications and tracts can be obtained from individual poets and the small houses . Recently, larger recording companies like Folkways, Flying Dutchman and Motown, have begun to record and distribute Black poetry. However, the task of locating and developing a checklist for the myriad publications and publishing activities of Black poets still awaits some serious student of Black literature. In the meantime there are a number of important bio-bibliographical works which one can consult: Afro-American 1~riters(Turner), Living B )/ Black American ib , A Bio-~iographical Dictionary of Black Writers of the u.s.A.(Jackson and Page), Index AMer1co. n to Black Poetry(Chapman) and Black A::vJriters Past and Present: A BioBiblio grphic al Directory(Rush, Meyers and Arrata). �J :r. GENERAL RESEARCH AIDS Adams, Russell L. Great Negroes, Past and Present. The Arthur B. Spingarn Collection of Neg ro Authors. Bailey, Leaonead. Broadside Authors: Baskin, Wade and Richard rL Runes . Bontemps, Arna. Chicago, 1964. Washing ton, D.C., 1948 . A Biographical Directory. Dictionary of Black Culture. Detroit, 1971. New York, 1973. "The James Weldon Johnson Memo rial Collection of Ne gro Arts Yale University Library Gazette, XVIII (October 1943), 19-26. and Letters." ----· - "Special Collection of Negfoana." Library Quarterly, XIV Circa, (1944), 187-206. Brignano, Russell C. Black Americans in Autobiography: An Annotated Biblio- graphy of Autobiographies and Autobiographical Books Written Since the Civil War. Durham, North Carolina, 1974 . Burke, Joan Martin. and Events. Civil Rights; a Current Guide to t he People}Organization New York, 1974. Chapman, Abraham. The Negro in American Literature and a Bibliography of Literature by and about Negro Americans. Chapman, Dor othy H. , /omp. Index to Black Poetry. Boston, 1974. Great American Ne groes in Verse, 1723-1965 . Culver, Eloise _Crosby . D . C;J Stevens Point, Wis., 1966. Washington, c. 1965. Davis, Lenwood G. cals, Articles." "Pan- Africanism: A Tentative Check List of Books, Periodi- Black Wor l d, XXII (December 1972), 70-96. Deodene, Frank and William P . French . Preliminary Checklist. Black American Fiction Since 1952: A Chatham, N.J., 1970 . Black American Poetry Since 1944, A Pre--1:::11=-=a• - - - - - - - - - - - - - ---......... liminary Checklist. Chatham, 1971. Dictionary Catalog of the Jesse E. Moorland Collection of Negro Life and History. �2- 9 Vols. Boston, 1970. Dictionary Catalog of the Schomburg Collection of Negro Literature and History. 11 Vols. Boston, 1962, 1967. Drzick, Kathleen, John Murphy and Constance Weaver. Annotated Bibliography of Works Relating to the Negro in Literature and to Negro Dialects. Kalamazoo, Mich./ 1969. DuBois, W.E.B., and Guy B. Johnson. ___ ______... .._ Volume. Rev . Ed. Encyclopedia of the Negro: Preparatory New York, 1946. A Select Bibliography of the Negro American. 3rd ed. Atlanta, 1905. Guzman, Jessie P., ed. Negro Year Book, Tuskegee, Ala'l 1947. Houston, Helen Ruth. 11 Contributions of the American Negro to American Culture: A Selec ted Checklist." BulleJtin of Bibliography, Vol. 26, No. 3 (July - September 1969), 71-83. Index to Periodical Articles by and About Negroes (formerly A Guide to Negro Periodical Literature and Index to Selected Periodicals). International Library of Negro Life and History. 10 Vols. Washington, D.C., 1967-1969. Irvine, Keith, ed. Encyclopedia of the Negro in Africa and America. Shores, Mich., c. 1973. Jackson, Agnes .,, M. and James A. Page, comp,. tionary of Black Writers of the U.S.A. J1$in, Janheinz. A Biobibliographical Die- New York, 1975. A Bibliography of Neo-African Literature from Africa, America, and the Caribbean. New York, 1965. Johnson, Harry A. Multimedia Kaiser, Ernest. ' St. Clair aterials for Afro-American Studies. "The History of Negro History." 1968), 10-15, 64-80. New York, 1971. Negro Digest, XVII (February �Kaiser, Ernest "Recent Books." Major, Clarence. Freedomways, in each issue. Dictionary of Afro-American Slang. McPherson, James, et al, eds. Blacks in America: New York, 1970. Bibliographical Essays . New York, 1972. Miller, Elizabeth and 2nd ed. ary L. Fisher. The ~egro in America: A Bibliography. Cambridge, Mass., 1970. µurphy, Beatrice f., et al, eds. Bibliographic Survey: The Ne 0 ro in Print. Washington, D.C., Vols. 1-7 (1965-1971). Porter, Dorothy B. "Early American Negro Writings: A Bibliographical Study." Paoers of the Bibliographical Society of America, XXYIX (1945), 192-268. ----· J. ___ _ _ _ _ _ Early Negro Writing 1760-1837. Boston, 1971. • ~ North American Negro Poets: of Their Writings, 1960-1944. Hattiesburg, 1iss ., 1945. Puckett, Newbell Niles . (ed. by _urray Heller) History and eaning. Black Names in America: Boston, 1975 . Querry, Ronald and Robert E. -Plemin~. Periodicals." A Bibliographical Check List "A 1 or king Bibliography of Black Studies in Black Literature, Vol. 3, No . 2 (Summer 1972), 31-36. Rowell, Charles H. "A Bibliography of Bibliographies for the Study of Black American Literature and Folklore." Journal. Black Exper ience, A Southern University LV (June 1969) 95-111. Rush, ThereJf, Carol Meyers ad Esther Arrata, com~ s . Writers Past and Present: Black American A Bio-Bibliographical Directory. Scarecrow Press, 1975. C. Sho~kley, Ann Allen and Sue P. Chandler, eds. A Biographical Directory. New York, 1973. Living Black American Authors: �)chomburg, Arthur A. New York, 1916. A Bibliographical Checklist of American Negro Poetry. (Schomburg Collection). Smith, Jessie Camey. "Developing Collections of Black Literature." Black World. XX (June 1971), 18-29. Toppin, Edgar A. A Biogra hical Histor of Blacks in America Since 1528. New York, 1971. Turner, Darwin T. Williams, ola. Afro-American Writers. comp. New York, 1970. "A Bibliography of Works Written by American Black Women." CLA Journal Vol. XV, No. 3 (March 1972), 354-377. Work, Monroe N. A Bibliography of the Negro in Africa and America . Yellin, Jean Fagan . New York, 1928. "An Index of Literary Materials in The Crisis, 1910-1934: Articles, Belles-Letters, and Book Reviews . " CLA Journal, XIV (1971), 452-465. �5 J[ • PERIODICALS Amistad The Anglo-African Bandung - It! Black Academy Review Black Books Bulletin ihl llM:k-CeU•,i&n Black Creation Black Dialogue 1h~LA.c.k. t,,.t'LCbC.e. B l ; Orpheus: Te Blac A Journal of African and Afro-American Literature. Position Black Review The Black Scholar Black Theatre Black World (formerly Ne~ro Digest). 8Qf (8l.M~& 61'\ l)Q.ff ►) _g__ica~o Defender Chicory CLA Journal Confrontation: The Crisis: A Journal of Third World L/terature A Record of the Darker Races Dasein Douglass' Ebony Encore Essence onthly �Fire Freedom's Journal Freedomways Harlem Quarterly Hoodoo Black Literature Series Impressions The Journal of Black Poetry The Journal of Black Studies The Journal of Negro Education The Journal of Negro History ~ berator The Messenger b\W8MO Negro American Literature Forum Negro History Bulletin The Negro Quarterly New York Amsterdam News Nkombo Nommo Obsidian: Black Literature in Review Opportunity: Phylon: A Journal of Negro Life The Atlanta University Review of Race and Culture Players Presence Africaine: Cultural Revue of the Negro World RenA?--ssance II Roots: A Journal of Critical and Creative Expression Soulbook �7 The Southern Workman Studies in Black Literature Tuesday Ex-Umbra Umbra Yardbird Reader �I .fil.ANTHOLOGIES Abdul, Raoul, ed. The :Magic of Black Poetry. New York, 1972. Abdul, Raoul and Alan Lomax, ed: 3000 Years of Black Poetry. Adams, William, Peter Conn and Barry Slepian, eds. Poetry. New York, 1970. Afro-American Literature: Boston, 1970. Afro-Arts Anthology. Newark, 1966. u ,-... Alhamisi, Ahmed and IarAn K. Wanfgara, eds. Black Arts: An Anthology of Black .y Creations. Detroit, 1970. Ambrose, Amanda . An Anthology pf Black Poets. My Name is Black: New York, 1974. ATJO'""IVS..J l.i,_o:'4,1-d~ EtJNJCtii"-, 1-/o...,,.,..d 441a' ala.dy$ m.;f4J1.,~s,e:lf, De• f A"., v(; l-,S ,._ -1',, .. tfo/i,,, ,BO Co.11fe.mporAr1_ _§J!,sl[ /'1mcr,c4:, {!p.4 4'e-r,..,,;r, t.~f-q s l97~. ( 7<:"'~""-S Cui<le ~y #11,on,/ J,, Jl!),-g3r.,1'f'.) t doff, Arnold, ed. I Am the Darker Brother: An Anthoiogy ot Moaern Poems by ~j ( ~~t~ Black Americans. New York, 1968. J---- It Is t he Poem Singing Into Your Eyes. New York, 1971. -----· Black Out Loud: Anthology of Modern Poems by Black - - - - ~l3L<,..c.~ ~ A~egh,nin,%~!2..~~~oeTt-y. NewVo.-.K;ltf1'4-· Americans. New York, 1970. ----· The Poetry of Black America. New York, 1973. Arnold, David, Ahmos zu-Bolton and J. Shifflet, eds. The Last Cookie. Vol. I, No. 1., San Francisco, Calif. 1 1972. Baker, Houston A., Jr., ed. Black Literature in America. ".\ Barksdale, Richard and Kenteth Kinnamon, eds. lew York, 1971. Black Writers of America . ,:J New York, 1972 s Battle, 'Aol , ed . CD. Ghetto ' 68. Soul Session . Beniq, Irvinf , ed. New York, 1968. ewark, 1969 . The Children. Bell, Bernard W. , ed ~ ., ew Yor , 1971. Modern and Contemporary Afro- Amer ic an Poetr_y. The nest of 40 Acres Poetry. New York, c. 1972. Boston, 1972. �(6l.ulc. \.\,i't.--, M~e.,....) Black Poets Write On! An Anthology of Black Philadelphian Poets . Philadelphia,\ 1970. Bontemps, Arna, ed. -----, omp. ., New York, 1941. Golden Slippers. Hold Fast to Dreams . Booker, Merrel Daniel, Dr. , et . al., eds. Boyd, Sue Abbott, ed . Poems by Blacks . 1970-1972.,lqJ'/ .. Brenan, Paul, ed. New York, 1963. American Negro Poetry. New York, 1969 . Cry at Birth. Vol. 1 -lII. (st(U•lli>~ ~.tk 1/oL,lll t)\Y\k.,e You Better Believe It. Fort Smith, Arkansas, ~o...db'1 Early Negro American Writers. Brooks, Gwendolyn, ed. Jump Ba : Burning Spear: A Broadside Treasury . and Uiysses Lee, eds. Calverton, Victor F ., ed. Washington, D.C . , 1963. An Anthology. ew York, 1970. Anthology of American Negro Literature. Whispers from a Continent: New York, 1929. The Literature of Contemporary ew York, 1969. Black Africa. Chambers, Bradford and Rebecca 1-oon, eds. Literature. The Negro Caravan. Arno, 1969. The Black Woman: Cartey, Wilfred. Detroit, 1971. Detroit, 1971. An Anthology of Afro-Saxon Poetry. Cade, Toni, ed . Chapel Hill, N.C. , 1935. A New Chicago Anthology . Brown, Sterling A., Arthur P . Davis New York, 1941: L~YlfJed.J ~nnoa.Ledt) Baltimore, Md . , 1973. Brawley, Benjamin, ed. ed. ew Yor c, 1971. Right On! Anthology of Black New York, 1970. Chapman, Abraham, ed. , ,,,-----.... ed . Afro-American Slave Narratives. Black Voices: New York, 1970. An Anthology of Afro-Ameri can Literature. New York, 1968 - --, ed. New Black Voices. Chometzky, Jules and Sidney Kaplan, eds. Anthology from the Massachusetts Review. New York, 1971. Black and White in American Culture: e Amh~rst, Mass ., t969 . J �JO Clarke, John Henrik, ed. Harlem: Voices from the Soul of Black America. New York, 1970. Collins, Marie, ed . Coombs, Orde, ed. Black Poets in French. New York, 1972. We Speak as Liberators: Cornish, Sam and Lucian W. Dixon . Young Black Poets. Chicory! New Yo r k, 1970. Young Voices from the Black Ghetto . New York, 1969. D a, Cromwell, OteliA, Lorenzo )t. Turner Negro Au t hors. Caroling Dusk: An Anthology of Verse by Negro Poets . New (K•\SS'1ed \ctlef) Cunard, Nancy, ed. Negro Antholo gy . Cuney, Haring, Langston Hughes Poets . Readings from New Yor k, 1931. Cullen, Countee, ed . York, 1927. and Eva B. Dykes, eds. London, 1934 . and Bruce L Wright, eds. Lincoln University New York, 1954. Danner, Mar garet eJ•The Brass House . 1 -----., eel. ..--.... David, Jay, ed. Regroup . Black Joy. Richmond, Va . 1968 . "Richmond, Va., 1969. New York, 1971, - Davis, Arthur P . and Saunriers Reddinr;, eds . ing from 1760 tote Present . Cavalcade: Roston, 1971. Davis, Charles T. and Daniel Walden, eds . On Being Black: Americans from Frederick Douglass to the Present . Dee, Ruby, eel . Glowchild . Dreer, Her man, ed. Edwards, Gregory, New York, 1970 . American Literature by Negro Authors . Wayt•Ce Writings by Afro- tew York, 1972.· Loftin and Gregory Ware, eds . Feeling, Thinkin~, Reacting .... New York, 1950. The Black Community Circa, 1971. The Editors of Vantage Press, comp~s. New York, 1972. Negro American Writ - New Voices in American Poetry, 1972. �Ellma~ Richard and Robert O'Clair, eds. The rorton Anthology of l odern Poetry. 1ew Yor '-• 197 3. Emanuel, James A. and Theodore Gross, eds. America. 0 New York, 1968. Feldman, Eugene and Eug ene Perkins , eds . Prisoners . Poetry of Prison: Poems by Black Chicaso (Du Sable Museum of African American History), c. 1971. Ford, Tick Aaron, ed . Black Insights: - 1760 to the Present . of Black Literature . Gersmehl, Glen, ed. Giovanni, Nikki . Significant Literature by Afro-Americans Wattham, Mass . , 19 71. Freed~an, Frances S. , ed . The Black American Experience: Night Comes Softly . Iary Anne, ed. A New Anthology . ew York, 1970 . Words Among America. Goldstein, Richard, ed . Gross, _D_a_r_k_S-ym ~ _h_o_n~y~ : __1_e~g_r_o_ L_i_t_e_r_a_t_u_r_e_ 1_·n_ New York, 19 71. ewark, 1971. The Poetry of Rock . New York, 1968. Oh, Man, You Found Me Again . Boston, 1972. Gross, Ronald, Geor ge Quasha, Emmett Williams, John Robert Colombo and Walter Lowenfels, eds . Haslam, Gerald W., ed . Forgotten Pages of American Literature . Hayden, Rober t, David Burrows Li terature . Hayden, New York, 1973 . Open Poetry . and Frederick Lapides, eds. Boston, 1970. Afro-American New York, 1971 . obert, ed . Kaleidoscope: Poems by American Negro Poets. New York, 1967. Henderson, Stephen . Understanding the New Black Poetry; Black Speech and Black Music as Poetic References . Hill, Herbert, ed . 1940- 1962 . New York, 1973 . Soon, One Horning: New Writing by American Negroes, New York, 1963 . Hollo, Anselm, ed . Negro Verse . London, 1964 . 570 �Hopkins, Lee Bennett, comp. ---- ·------- Hughes, Langston, ed. On Our Way; Poems of Pride and Love. The Book of Negro Humor . New York, 1966. La Poesie Negro Americaine. __.........-- New York, 1974. Paris: Editions Seghers, 1966. New Negro Poets U.S.A. Hughes, Langston and Arna Bontemps, eds. Rev . ed. Bloomington, Ind., 1964. The Poetry of the Negro, 1946-1970. Garden City, New York, 1970. Hunter, Paul, Patti Parson and Tom Parson, eds. Revolut ionary Poems. Images: Seattle, Washington, 1970. An Anthology of Black Literature. Jackson, Bruce, ed. The Whites of Their Eyes: Brooklyn, New York, c. "Get Your Ass in the Water and Swim Like Me": 1972. Narrative Poetry from Black Oral Tradition.Cambridge, Mas sachusetts, 1974. - - - -') ~ Prisons . ed. Wake Up Dead 1aft: Afro-American Workson3s from Texas Cambridge, 1972. Johnson, Charles S., ed. Ebony and Topaz: Johnson, James Weldon, ed . A Collect ion.. , The Book of American New York, 1927. egro Poetry. Rev. ed . ew York, 1931. The Boo'- of American Je3ro Spirituals. 1 1925; The Second Boo Jones, LcRoi an Writing . of Negro Spirituals. Larry Neal, eds. Black Fire: New New York, ork, 1926. An Antholo~y of Afro-American 1 ew York, 1968. Jordan, June, ed. Soulscript: Kearns, Francis F. . , ed. ture for the 1970's. Keegan, Frank L., ed. Afro-American Poetry. T~e Black Experience: An Anthology of American Litera- New York, 1970. Bl~cktown, U.S. A. Garden City, New Yor e, 1970. Boston, 1971. �Kendricks, Ralph, ed. Afro-American Voices: Kerlin, Robert T., ed. 1 's-1970's. Negro Poets and Their Poems. New York, 1970. 2nd ed. Washington, D.C., 1935. King, Woodie . Black Spirits: A Festival of New Black Poets in America . ew York, 1972. Knight, Etheridge, ed. Kramer, Aaron, ed. Black Voices from Prison. On Freedom's Side: New York, 1970. An Anthology of American Poems of Protest. New York, 1972. Lane, Pinkie Gordon, ed. Discourses on Poet_!Y, Vol. 6 . Fort Smith, Ark . , 1972~ Poems bv Blacks (Annual). Lanusse, Armand, ed. Creole Voices: Ed. Edward M. Colemen. Poems in French by Free 1en of Color. Centennial ed. Locke, Alain, ed. Four Negro Poets. -----. The New Negro: Washington, D.C., 1945. New York, 1927. An Interpretation. Long, Richard A. and Eugenia Collier, eds. of Prose and Poetry. 2 Vols. Lowenfels,. Walter, ed. Fort Smith, Ark., 1973. New York, 1925. Afro-American Writing: An Anthology New York, 1972. From the Belly of the Shark. In A Time of Revolution: New York, 1973. Poems From our Third World. New York, 1969 Poets of Today. - -. New York, 1964. The Writing on the Wall. Garden City, New York, 1969. Major, Clarence, ed. The New Black Poetry. Miller, Adam David, ed. Dices or New York, 1969. Black Bones: Black Voices of the Seventies. Bos ton , 1970. Miller, Ruth, ed. 1971. Blackamerican Literature 1760-Present. Beverly Hills, Calif., �Miller, Wayne Charles, ed . A Gathering of Ghetto Writers - Irish, Italian, Jewish, Black, Puerto Rican. Moon, Bucklin, ed. Primer for White Folks. Moore, Gerald and Ulli Beier, eds. Murphy, Beatrice. Ebony Rhythm. ---- • Baltimore, 1963. New York, 1938. New York, 1970. fasterpieces of ~egro Eloquence . Poetry of Soul . ew York, 1914. New York, 1971, Woke Up This Mernin! Norfolk Prison Brothers . New York, 1945. New York, 1948 and 1968. Today's Negro Voices. A"X••• , ed. acholas / {m; .... Modern Poetry from Africa. Negro Voices. Nelson, Alice Dunhar, ed. ~-----, New York, 1972. New York, 1973. (Introduction by l lma Lewis) Who Took The Weight? Boston, 1972 . Osofsky, Gilbert, ed. Bibb, William Puttin ' on Ole fassa: . Brown The Slave ~1arratives of P.enry and Soloman Northrup. tew York, 19h9. f"\ Patterson, Lindsay, ed. An Introduction to Black Literature in America from 'V 1746 to the Present. ----- Washin ton, .C. , 1969. A Rock A~ainst the Wind: Black Love Poems. New York, 1973. -Per 'ins, Eugene, ed . Black Expressions: An Anthology of .Jew Black Poets. Chicago, 1967. Pool, Rasey E. , ed. Beyond the Blues: New Poems by American Wegroes. Lympne, Kent, England, 1962. Porter, Dorothy, ed. Ragain, Kathy, ed . Randall, Dudley, ed. Black Poets. Early egro Writing, 1760-1837. Boston, 1971. Occasional Papers, Plays and Poetry; Vol.I Kent, Ohio, -19 71. Black Poetry: A Supplement to Anthologies Which Exclude Detroit, 1969. S'73 �15 and Margaret Burroughs, eds . Death of alcolm X. -----,. ______ For Malcoln .,._____________ Poems on the Life and_ Detroit, 1969 . 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"Toward the Dark Tower." alack World, XIX (June 1970), 14-17. Kjersmeier, Carl. Lee, Don L. "Negroes as Poets." "Black Poetry: The Crisis, XXX (1925), 186-189. Which Direction?" Negro Digest, XVII (Sept.- Oct. 1968), 27-32. _. ~ . Dynamite Voices: Locke, Alain. Black Poets of the 1960's. "The Message of the Negro Poets." Carolina Magazine, LVIII (May 1928), 5-15. ~ ._ ' Mo.l~o~. t(av-L. t~,we.~ t-l«u":l~otof Cot\,emeo ►o.ey n l'C\~W'ICA.t\ I ~c,~ Moore, Gera-r'd. Ed. eicl~o,.J<, 1173, 'l?oe1:ry in t:he Harrem Renaissance.: C.W.E. Bigsby. Morpurgo, J.E. 16-24. Deland, Fla., 1969, Vol. II, "American Negro Poetry." Detroit, 1971. ~or:.. ~; A-'+-, u0Wk£4 o•L !ID '-11..A-·a,6.I-"~ ... ~:::.,ij"'1'.I ~ , The Black American Writer. 67-76. Fortnightly, CLXVIII (July 1947), ' �Morton, Lena Beatrice. "Negro Poetry." Negro Poetry in America. Boston, 1925. Encyclopedia of Poetry and Poetics. Frank J. Warnke and O.B. Hardison. "Negro Poets, Singers in the Dawn." Ed. Alex Preminger, Princeton, N.J., 1965. fp. 558-559. The Negro History Bulletin, II (1938), 9-10, 14-15. 3J. a Pool, Rasey. NE Las tin§ i Iii€ !IC&id!ii§ st !he E!&SS "The Discovery of American Negro Poetry." M 96¥1 1556. Freedomways, III (1963), 46-51. Ramsaran, J.A. "The Twice-Born Artisrts' Silent Revolution." Black World, XX (May 1971), 58-68. Randall, Dudley. "Black Bards and White Reviewers." The Black Position, Number 1 (1971), 3, 15. Redding, J. Saunders. To Make A Poet Black. Chapel Hill, N.C., 1939. (re- print College Park, Maryland, 1968). Redmond, Eugene B. "The Black American Epic: Its Roots, Its Writers." Black Scholar, II (January 1971), ~5-22. -f4',(. - - - - • ,, F"'e Gw.Kt>oftts-."iil:,.y.~u,o:t\.O\t't. tt,..-s61•JS!' ~tll\SUS "How Many Poet's Scrub the Rivers Back?" • I The @£101m• ~l'f 15') Confrontation, (Spring, 1971), 47-53. ---- . Lance Jeffers. "Introduction." When I Know the Power of My Black Hand, by Detroit, 1975. Rodgers, Carolyn M. "Black Poetry-Where It's At." Negro Digest, XVII (Sept. 1969), 7-16. Rollins, Charlemae. Famous American Negro Poets. New York, 1965. "''3 RH'""~ I l\t\ClM&. ael'\To "~'l~s 6 f l!lw.lCtl otnel\ \n 6\h-o-t\111t.=uo.r1 e.n.(~lti~~ 1-1.I \I (sf~,'tl btt11115'J Sheffey, Ruthe. "Wit and Irony in Militant Black Poetry." XXII (June 1973), 14-21. Black World, 6 �Sherman, Joan R. Invisible Poets: Afro Americans of the Nineteenth Century. Urbana, 1974. Smitherman, Geneva. Black Poetry." "The Power of the Rap: The Black Idiom and the New Twentieth Century Literature, Forthcoming, 1973. (Also available through ERIC). Staurter, Donald Barlow. Taussig, Charlotte E. V. A Short History of American Poetry. New York, 1974. "The New Negro as Revealed in His Poetry." Opportunity, (1927) , 108-111. TeL'}lo~,cLyde~•~"'Y OvmlU! Le~o.c.yo I= o.Lon~•BIIH1k ~ira'jet\~~k.Wt'"W.1 )(XIV(Se,-..,._,,~ 'H' Thurman, Wallace. "Negro Poets and Their Poetry." The Bookman, LXVII (1928), 555-561. Tinker, Edward Larogue. Les Cenelles, Afro-French Poetry in Louisiana. New York, 1930. White, Newman I. "American Negro Poetry." South Atlantic Quarterly, XX (1921), 304-322. "The Umbra Poets . " Mainstream, XVI (July 1963), 7-13 . "The Undaunted Pursuit of Fur y . " Valenti, Suzanne. "The Black Diaspora: and Black Americans." Wagner, Jean. Time, XCV (April 6, 1970), 98-100 . Negritude in the Poetry of West Africans Phylon, XX,"CIV (December 1973), 390-398. Les poetes negres des Etas-Unis: clans la poesie de P.L . Dunbar a L. Hughes. ---· Walker, Margaret. ----• reliqieux Paris, 1963 . Black Poets of the United States: Langston Hughes . Le sentiment racial et From Paul Lawrence Dunbar to (translation by Kenneth Douglass) Urbana, Ill., 1973 . "New Poetstr.J Phylon, XI (1950), 345-354 . "Racial Feeling in Negro Poetry . " South Atlantic Quarterly, XXI (1922), 14-29 . Work, Monroe N. (1908), 73-77 . "The Spirit of Negro Poetry." The Southern iJorkman, XXXVII �~ FOLKLORE AND LANGUAGE Abrahams, Roger. Deep Down in the Jungle: Streets of Philadelphia. ---· Negro Narrative Folklore from the Hatboro, Pa., 1964. "Playing the Dozens ." Journal of American Folklore, 75 (19 62), 209-18. ---· Positively Black. Adams, E.C .L. Nigger to Nigger . Prentice-Hall, 1970. New York, 1928. Q, Allen, William Francis, Charles Pickard WAre and Lucy Mc im r,arrison. Songs o~~he United States. ~ew York, 1867. Andrews, Malachi and Paul T. Owens. Slave New editions, 1929 and 1951. Black Langu~ge . Seymour-Smith Publishers, 1973. Baratz , Joan C. and Roger W. Shuv. · Teaching Black Cli.ildren to Pead . Center for I A,ertlA'1 /./ '1 ~ro.sc.h_;Id~Wc1L~~Wa.ltef'\Matt~ i~S(~lCompl, AC4mpl'eher1c;.veA~notite..l 8t'oUOC\w.tP"'I o~lac.l( ~ s • Applied Linquistics 1969. • Brewer, J. Has on , American Negro Folklore. "American Negro Folklore ." Brown, Sterling A. "The Blues." - -. Phylon, .·rv Austin, Texas,/qs-f• ~lon, XIV (1958), 286-292. "Negro Folk Expression; Songs." Phylon, VI (1945), 354-361. Dog, Ghosts, and Other Texas Negro Folk Tales. • &ton f!.o•~f/fl'f-1 Chicago, 1968. Spirituals, Seculars, Ballads and (1953), 45-61. "Negro Folk Expression. #1. Folk Tales and Aphorisms ." Phvlon, Vol. XI, Att1-anta, Ga., 1950. '----"' Charters, Samuel B. The Country Blues, New York, 1959. Claerbaut, David, Black Jar gon in White America. Grand Rapids, 1972. Conley, Dorothy L. ,"Origin of the Negro Spirituals." The Ne ro Histor XXV (1962), 179-180. I �Corbett, Edward P.J. "Students' Right to Their Own Language." College Composi- tion and Corrnnunication, Vol. XXV (Fall 1974), 1-32. Dalby, David. "African Survivals in the Language and Traditions of the Wind- ward Maroons of Jamaica ." African Language Studies 12, 1971. Th Mui /, ---· Black ~ New World. Patterns of Communication in America African Studies Program. Davis, Ossie. the Indiana University, 1970. "The English Language Is My Enemy . " DeStefano, Jo Hanna S. English . 4.nJ 'White: American Teacher (April Language, Society and Education: 1967). A Profile of Black C.A. Jones Pub., 1973. Dillard, Joey Lee . Black English: Its History and Usage in the U.S. New York, 1972. ' Diton, Carl. Thirty-Six South Carolina Spirituals. Dorson, Richard~ - , ed. African Folklore . New York, 1972. American Negro Folktales. Dundes, Alan, ed. "Evolution in Folklore: Remus Stories. " Fisher, Miles Mark . Some West African Proto-types of the Uncle Drums and Shadows: Athens, Ga., 1940. Harris, Joel Chandler. New York, 1963. Survival Studies Among the Georgia (New ed.: New York, 1972). Treasury of the Blues. New York, 1949. Daddy Jake the Runaway, and Short Stories Told After New York, 1889. Haskins, James and Hugh F . Butts. 1973. Englewood Cliffs, N.J., 1973. Negro Slave Songs in the United States. Bandy, E.C. and Abbe Niles, eds. Dark. Readings in the In- Popular Science, XLVIII (November 1895), 93-104. Georgia Writers' Project. ~tal Negroes . New York, 1967. Mother Wit from the Laughing Barrel: terpretation of Afro-American Folklore. Ellis, A. B. New York, 1928. The Psychology of Blac Language. New York, �I-lug es, Langston and Arna Bontemps. Hurston, Zora Heale. Bruce, ed. The Book of ~ r o Folklore . ilules and }'fen. New York, 1958. Philadelphia, 1935. Wake Up Dead -fan: Afro-American Work.songs from Texas Jahn, Ne~ro Spirituals. Jones, LeRoi. Black 1:usic. - •. Blues People: Krebhiel, Henrv Edward. tional usic. 11 Frankfurt, Ma., 1962. New York, 1967. Negro Music in vhite America. Afro.:..American Folksongs: eu York, 1963. A Study in Racial and fa- Tew York, 1914. Labov, William !_Study of the Non-Standard English of Negro and Puerto Rican ,... Speakers in Nev York City . Cooperati,ve Research Report 3288, Vol. 2, 1969. V Language in the Inner_C_i_t_,y_: ,_ __S_t_u_d_1._·e_s_i_n_t_h_e_B_l_a_c_l_c_E_n--'__g l_i_s_h_V_e_r- • nacular. Philadelphia, 1972. Sociolinguistic Patterns . ----· Philadelphia, 1973 . The Social Stratification of English in New York City . Washington, D. C.: Center for Applied Linquistics, 1966 . The Study of • on-Standard English . Champagne, Ill . : Center for Applied Linquistics, 1970. Landeck, Beatrice . Echoes of Africa in Folk Songs of the Americas. Leffall, Delores C. and James P . Johnson, Bibliography . Loman, Bengt . New York, 1961. Black English • an Annotated Washington, D. C. , 1973 . Conversations in a Negro Dialect . Washington, D.C . : Center for Applied Linquistics, 1967. Lomax, John Avery and Alan Lomax. 1934. • York, 1936 ~ American Ballads and Folk Songs . New York, Negro Folksongs as Sung by }eadbelly, New �(~~fo><,c Lovell, John. "Reflections on the Origins of the Negro Spiritual." Negro American Literature Forum, III (1969), 91-97. . ~ . • Iii L Ha.Min•e@J - - . BL9r5ck, Sana ~'th• Fort• irtc:l-&-& Fk,n♦,1bu.!-,ofK-wh A~!"f'•ftm•"'"" ~,,.., VO. WA~ Ni ajar, Clarence. Dictionary o{ Afro-American Slang. New York, 1970. Oflt- ew '/ot-K.1 fl}'; Marsh, J.B.T. The Story of the Jubilee Singers; With Their Songs, 7th ed., London, 1877. Matthews, M.M. Some Sources of Southernisms. McGhee, Nancy B. CLA Journal, "The F'o lk Sermon: University of Alabama Press, 1948. A Facet of the Black Literary Heritage." III (1969), 57-61. Morse, J. Mitchell. "The Shuffling Speech of Slavery: Black English." College English, Vol. 34, . o. 6 (March 1973), 334-843. Odum, Howard W. and Guy B. Johnson. The Negro and His Songs. Chapel Hill, N.C., 1925. • egro Workaday Songs. Chapel Hill, N.C., 1926. Oliver, Paul. Blues Fell This Morning: The 1eaning of the Blues. L11•s. N.f~YorL ,,,_, . <•••w-e~st.Titn.1 Sandilan s, an wenty Negro Sp1rituals. New York, 1960 . Morija, Basotoland, 1951 and 1964. Scarborough, W.W. ~ "Negro Folklore and Dialect". Scarbourought, Dorothy. Arena, XVII (1897), 186-192. On the Trail of Negro Folk Songs. Cambridge, Hass. 1925. v Shirley, Kay. Shuy, Ro~er W. ---· Tlie Book of the Blues. New Yorl:, 1963. Cross-Cultural Analysis. Washington, D.C . , 1972. Discovering American Dialects., Champagne, Ill.: von<L NatA_l . Council of Teachers of English, 1967. -· Field Techniques in an Urban Language Study. -· Social Dialects and Language Learning. Washington, D.C.: Center for Applied Linguistics, 1968. 1orw. NatJ\l Council of Teachers of Fn~lish, 1964. Champagne, Ill.: �, and Fasold , Ralph H. Teaching Standard English in the Inner City. Fashington, D.C.: Center for Applied Linquistics, 1970. Silverman, Jerry. One Hundred and Ten American Folk Blues, New York, 1958. f, Smith, Arthur L., Delvenia Hernandez and Anne Allen. of Other aces, Ethnic Groups and Cultures. How to Talk With People Los Angeles: Trans-Ethnic Educa- tion Communication Foundation, 1971. Language, Communication & Rhetoric in Black America. J. Smith, Arthur L. 1 ew YorJ.r, 1972 . • 4 } Transracial Communication, Englewood Cliff, N.J., 1973 . - and Andrea L. Rich. Emma Goldman, 1Kalcolm X. Samuel Adams, Durham, N.C . , 1970,. Boston, 1969 . Rhetoric of Black Revolution . • ------~ - ... Rhetoric of Revolution: and Stephan Robb. The Voice of Black Rhetoric: Selections. Bos- ton, 1971. £ (Smitherman, Geneva.'\ '-God Don ' t Never Change1 : "(~ spective." Black English from a Black Per- "'J I'#.,, College English, Vol. 34, No . 6 (March 19 73), 828-833 . - - • lllo.d~ L&11111•.t• Q.t\d$.HlT" .. C, ;$.eyNls. ~ Sov(.' Spalding, Henry D. , ed. N4.W '/ot,. Encyclopedia of Black Folklore and Humor . JC l li:s JJHiag c, New York, 1972 . Stewart, W.A. "Continuity and Change in American egro ialect." Florida Language Report 7::)(1968) . Sullivan, Philip E. "Buh Rabbit: Going Through the Changes." Studies in Black Literature, Vol . 4, No . 2 (Summer 1973), 28-32. Talley, T. W. Negro Folk Rhymes, Wise and Otherwise. Thuman, Howard . Deep River . New York - - - •1htNe~a,,o~t,i~•Tu.LSp,ea~t Turner, Lorenzo D. New York, 1922. 1955 . of:L,pe ... ~ l)Qaih. l'lew v~rk,tf/'11• Africanisms in the Gullah Dialect . Univer sity of Chicago Press, 1949; University of Michigan Press, 1974. Twiggs, Robert D. lass., 1973. Pan-African Language in the Western Hemisphefe· North Quincy, �Twining, Nary Arnold. tive . " CLA Journal, XIV (1970), 57-61. Welmers, William E. White, Newman I. A~rican Language Structures. American Negro Folk Songs. Wolfram, Walter A. -----~- ~ Cambridge , Mass., 1928. egro Speech. Center for Applied Linquistics, 1969. and Nona H. Clarke, Black-White Speech Relationships. Washington, D.C.: Work , John W. ___________ _ Univ. of Calif. Press, 1973, A Sociolinguistic Description of Detroit Washington, D.C.: .__ "An Anthropological Look at Afro-American Folk Narna- Center for Applied Linquistics, 1971. "Negro Folk Songs." Opportunity, I (1923), 292-294. S17 - - - - �- ~ . DISCOGRAPHY AND TAPE INDEX A. Collec tions (phonogra~ African Drums . Ethnic Folkways Library FE 4502 A/B. African Origins and Influences. Folkways FA 2691, Afro-American Blues and Game Sonrs. Record in~ E !~500, FE 4530, FS 384. Ed . by Alan Lor.1.ax. Library of Congress FS ll+. Afro-American ~~usic. F /Or. James. 2 Asch 702 . Afr_~_!'.merican Spirituals, Work Songs and Ballads . Ed. by Alan Lor.1.ax. Folkways FA 2650-59 . A Gathering of Great Poetry for Childr en, Vol. 2 . W/ Gwendolyn Brooks . Caedmon TC 1236. A Hand is on the Gate. Dir. by Roscoe Lee Brm-me . American Folk Songs for Children. Perf . by Bessie Jones . . ta~e Se~ es. Folkways 9040. Southern Folk Heri- Atlantic 1350 . .Al'lerican Poems of Patriotism and Prose . Incl . James Weldon Johnson . Caedmon TC 1204. Animal Tales Told in Gullah Dialect . Anthology of Music of Black Afri ca . Anthology of egro Poets . Ed . by Duncan Emrick . AAFS L44-46 . Everest 3254 / 3 . . A Ed . by Arna Bontemps . (Read by Langston Hughes, Sterli ng Brown, Cl aude McKay, Countee Cullen, Mar garet Walker Brooks . ) Ba_2-tism: Cullen . and Gwendolyn Folkways Records FL 97991. A Journey Through Our Time . Dir . by Maynard Solomon . Incl . Countee Recor ded by Hugh Tracey . Columbia KL 213 . Vanguard VSD 792 75 . Bant u Music From British East Africa . �1/1) Been in the Storm ~o Long: Spirituals and Shouts, Children's Game Songs . Folkways Records FS 3842. Belafonte at Carnegie Hall . Beyond the Blues: RCA Victor LOC 600G. American Negro Poetry . Ed . by Rosey E. Pool. Vinette Carroll, Cleo Laine, Gordon Heath, Brock Peters.) Black Scene in Prose, Poetry and Song Vol . I . (Read by ARGO RG 338. Perf. by Vinnie Burrows . Spoken Arts SA 1030. 1'1e ~ Black Perf . by ViRnie Burrows . Scene in Prose , Poetry and Song, Vol. II . Spoken Arts SA 1031 . ...,,,... ,,..,,._ Hotown/Black Forum B - 456 - L. The Black Voices: On the Streets in Watts . Classics of American Poetry . Weldon Johnson . ALA Records 1970 Stereo . ~ / Ear tha Kitt . Incl. Langston Hughes and James Caedman TC 2041. Cultural Flowering: Music and Literature. Folkways FL 9671, FL 9792 FL 9790, 1 FL 9788, FJ 2806, FL 2941, FA 2659. -- Deep South(?acred and Sinful . Perf. by Bessie Jones . Southern Journey Series. Prestige International 25005. Discovering Literature. Incl . James Weldon Johnson and Langston Hughes. The Sound of Literature. Drums for God . Houghton-Mifflin 2-262-18. (Recorded live in Cameroone, Congo, Ethiopia, Liberia, Malaswi, Nigeria, Rhodesia) Epic LF 18044. Expl~ring Literature. Exquisite Yellow . W/Eartha Kitt. Houghton-Mifflin 2-26248. Incl . Paul Laurence Dunbar . Theatre Alumni Associates . Suny, Albany, New York. Famous Poens That Tell Great Stories. Incl. James Weldon Johnson. Farewell Recital (Spirituals). fAnderso~faria~ Decca DL 90lf0. RCA Victor LSC2781 �I/I Folk Hus5_c of Bt ioT)ia. Follmays FF 440L,. Fol c 'fos ic TJ. S .A., 7ol. I. Folvways Fl:: 4530. nreat Poems of the English Language: Sha espeare to Dylan Thomas. Incl . Countee Cullen CMS 554. Head Start Child Development Group of :Mississippi. Georgia Sea Islands, Vol. III . Asch 701. Perf. by Bessie Jones . Southern Journey Series. Prestige International 25002. Get On Board: Jegro Folk Songs . Perf. by Broi,mie cGhee and Sonny Terry . Folkways FP 28. The___0_l_o~f Ne_gro Histo rv. Fritten and 'farrated by Lan~ston Hughes. Folkways FC 17752 (new no. FP 752). God's Trombones and Selected 20th Century 'egro Poetry . Johnson, Alice Childress, and P. Jay Sidney. Jazz Canto - Vol. I. Poetry Jazz Album . Perf. by James WeLd oV\ Educational Audio Visual 75 R 440. Read by Lan~ston Hughes. World Paci- fie PJ 124Lf. John's Island, Its People and Songs. Folkways FS 3840 . Les Ballets Africains de Keita Fodeba, Vol . I . Disgues Vogue CLVL' 297. t:--L~ 1q4 ~~9Q,,ce-\-Wa.LKei,- OLe'f.OJldet- Reo..ds f>oems of Pa.11 avroence.. 'l)vnlu.n 4.nd..ta.Yn-es fl.l~it{r,nt-oh,uon. f=ult'wo.y.s, • 1issa Luba . Sung ~y Joachim Ngoi and Les Troubadours du Roi Ba"do~in. Phillips PCC 606. Music Down Home . Ed . by Charles Edward Smith . usic From the . South. Folkways FA 2691. Field Recordings by Frederic Ramsey Jr. Folkways FP 650-59 . Music of Equatorial Africa. National Poetry Festival . Recorded by Andre Didier. Incl . Gwendolyn Brooks an Folkways FP 4402. Langston Hughes. of Congress LWO 3868, 3869, 3870. Negro Blues and Hollars. Ed . by Marshall W. Stearns. AAFS 159 . Library �Negro Folk nusic of Africa and America. Negro Folk Rhyth,ls. Folkways FE 4500. Perf. by Ella Jenkins and Group. Folkways FA 2374 . .._/ Negro Folk Music of Alabama. Negro Folksongs and Tunes. Folkways Records P417-418 471-474. W/Elizabeth Cotten. Folkways FG 3526. Negro Folk Songs for Young People Sung By Leadbelly . (Leadbelly). Sung by Heddie Ledbetter Folkways FC 7533 #2 . Negro Folk Stories and Music. Negro Po~ts Anthology . Negro _Poets in USA . Folkways 4417/8 4471/4. Folkways 9791. Folkways 9792. egro Prison Camp Work Songs. egro Prison Songs. Folkways FE 4475. Perf . by Mississippi State Penitentiary Prisoners. Tradition Records TLP 1020 . • Negro Rel laious Sone~_~nd Services. Ed. by B.A. Botkin . Negro Songs, Stories and Poetry for Young People . AAFS LlO. -- Folkways Records FC - "\ 7110, 7114, 7312, 7003, 7103, 7104 , 7533 , 7654 . Negro l• ork Songs and Calls. The New Black Poetry. ew Jazz Poets. Ed . by B. A. Botkin . Educational Audio Visual IRR 136. Ed. by alter Lowenfels. Newport 1958, Mahalia Jackson. AR Records BR 461 (Broadside). Columbia CS 8071. Noe'l Et Saint-Sylvestre A Harlem . 26() V. AAFS L8. Do cument Herbert Pepper . Ducrltet-Thomson 69 . One, Two,_J_!lree and A Zing, Zing, Zing. Play ~n,1 Dance Son9.:s an Tunes. Ed . by Tony Sc wartz. Ed . by B .A. Bot dn . Folkways FC 7003 . Librar y of Conaress Re- cord in~ AAFS L9 . Poens and Ballads Fron 100 Plus American "Poems . D;i.r. by Paul Molloy . Scholastic ,ecords FS - 11008. Poems From Black Africa. Caedmon S 1315. Ed . by Lan~ston Hug es. Caedmon TC 1215. Read by James Earl Jones . �Poetry and Jazz, Jazz eanto, Vol. I. and Ben Wrirht. World "Pacific Perf. by John Carradine, Hoagy Carmichael ecords. ' Poetry of the Negro. Read by Sidney PoAtier and Doris Belack . Glory GLP-1. Poets for Peace. Perf. bv Owen Dodson . Spoken Arts 990 R 68-2582 . wt4rd P~_try International Incl. Braithwaite . 2 Argo MPR 262 13. E1\ Poets of \est Indies. Caedmon S. 1379. ~pin ' Black in a White World . Perf. by The Watts Prophets. ALA 1971. Reflections on a Gift of Watermelon Pickle and Other Modern Verse. ton Hughes . Incl. Langs- Scholastic Records FS 11007. Th<:.__Rhythms of the World . Written and Narrated by Langston Hughes. Folkways FC 7340 (new no. FP 740). Roots of Black America. United States.) (Traces Black Music from Africa to the Caribbean to Folkvays 9704 . Sava_pna~copators!African Retentions in the Blues . - Prod . hJc,aul Oliver . CBS 52799. Selma Freedom Songs . Documentary Recording by Carl Benkert. • Sidney Pottier Reads Poetry of the Blackman W/ Doris Belack. Folkways FH 5594 . United Artists Records UAS 6693. Singers in the Dusk . 1usic, poems read by Charles Lampkin . Ficker Recording Service XTV 25689 . Skip Rope . (Thirty three skip rope games recorded in Evanston, Ill .. ) Folk- ways FC 7029. ?ong~of American Negro Slaves . Folkways Records FD5252 . Songs _of_ the Selma 11ontgomery March . Perf . by Pete Seeger and others. Folk- ways 5595 . Snectr~~ in Black: Poems by 20th Century Black Poets . Scott, Foresman and Co. 4149. �Spirituals Et ~irituals . Folklore. Sung by Harry Belafonte. Perf. by Howard Univ . Choir . RCA 430-213. RCA Victor L f 2126. Spok'=!l_ Anthology of American Literature ; the 20th Century . Johnson and Countee Cullen . Incl. James Weldon Univ. of Arizona Press Records R63-1127. Spoken Arts Treasury of 100 1odern American Poets Reading Their Poems, V. 13. l /Gwendolyn Brooks. Spoken Arts 1052. Spoken Arts TreasuI.Y_ of 100 Modern American Poets Reading Their Poems . (Read by Jame s W. Johnson, Langston Hughes, Countee Cullen, Owen Dodson, Gwendolyn Brooks.) SA-P-18 . The Story of Jazz. Written and Narrated by Langston Hughes . Struggle for Freedom. Folkways FC 7312. Folkways FH5717, FH5511, FD5525, FH5502, FH5522, FD5252, FH5523, FC7752. Today's Poets , Vol. IV. Incl. Robt. Hayden. Tou_Jth__!l_oems for Tough People. Scholastic Records FS11004. Incl. Don L. Lee 's , Etheridge Kni ~ht ' s Poetry. Caedmon Reco r ds, Inc. (1971). 17 alues in Literature. Incl. James Weldon Johnson. Houghton- ifflin 2-26409 . a, T-Jal ': _ Jo'.~ether Children: Sun~ by Vinnie Burrows . Th~ He_~r_y_ lue~. The Black Scene in Prose, Poetry and Song. Spo-en Arts SA 1030. Written and Nar rated by Langston Hughes . _i_osld Faflou~~Je~r9_2.nirit uals . vefe VSPS-36. Perf. ~Y Fisk Jubillee Singers. !,Single Poets (pho~o,V'<lph) Angelou, !'aya . The Poetry of ~ro.ya Angelou. Brait waite, F.d,•1 ard. - ReAd and Islands . l~asks. GWP P. ecords ST2001. Aro,o PLP 1184 / 5 . Argo PLP 1183. Folkways FA 2372. �---· Ri~hts of Passage . Brooks, Gwendolyn. ~ Don L. Lee . Brown, Elaine . Gwendolyn Brooks Reading Her Poetry: W/Introductory Poem Caedmon TC 124Li . Seize the Time . Read and Sung by Elaine Br own . Brown, Sterling and/Hughes1wLangst:;j Hughes. Ar~o PLP 1110/1 . Read by Authors . Brown, Sterling . Works of Sterling Brown and Langston Folkways FP90 . The Dixie Bel le . From Their Works . Vault 131. Sterling Brown and Langston Hughes Reading Folkways 9790 . and 16 Poems . Folkways 9794 . FL (nqo, Shall I Tell 1y Children . tJho Are Black? til..s ~ - F-oU(w~y~ B1-1<.>wn.., .> ... L,i-,CI . Burroughs, 1ar garlt Sound- A-Rama SOR 101 . Cortez, Jayne . ....... Celebr a t i ons and Solitudes . Crouch, Stanley . Stra t a - East ecords, Inc . SES-7421. ~ Ain ' t No Ambulances for No Ni ohs Tonight . Flying Dutchman FDS 105 . Cullen, Countee . Dodson, Owen . To Make A Poet Black . The Dream Awake . Caedmon S-1400 . Spoken Ar t s SA1095 . Fabio, Sar ah Web s ter . Boss Soul. --- 0 Soul Ain't • Soul Is . ____ Giovanni, :Jikki . , Hughes, Langston . Folkways FL-9710 . Like A Ripple On A Pond . Truth Is On It s Way . Black Ver se . Folkways 9711 . Niktom 4200 . .$1!--~~.Ri3ht-On R~u»Js fl_R 05001 , Buddah 2005 . Did You Ever Hear The Blues? United Ar t ists ~ Big Miller ' s Renditions of ... , 304 7. The Dream Keeper and Other Poems of Langston Hughes . Read by Langston Hughes . Folkways FC 7104 (new No. FP 104) . - J �~-----. Arts Langston Hughes Reads and Talks About His Poems. Spoken SA 1064. Poems By Langston Hughes. Read by Langston Hughes. Af!~ Records 454. The Poetry of Langston Hughes . Caedmon (1968). Rul:ry Dee and Ossie Davis Read From Selected Poems of Langston Hu~hes. VTC 1272 (Caedmon 1272). ~ - and ~ Hargare_;J. Writers of the Revolution . Black Forum BB 453 . Johnson, Weldon James. Four Readings From God ' s Trombones. By James W. Johnson . Musicraft Album #21. ---· nryce God's Trombones. Read by Bond. God's Tronbones. Read bv Harold Scott. Folkways FL 9788. United Artists TJAS 5039 . Jones, LeRoi. Black an Jones, Le~oi. §~nny ' s Time Now. The Last Poets. Beautiful. .. Soul and Madness. At Last: Ri~ht On ! Blue Thumb BTS 52. Blue T umb BTS 39. The Last Poets . , Jihad Productions Jihad 663 T11e Last Poets. Chastisenent. Jihad Productions Jihad 1001. East Wind Associates, Douglas 3. Juggernaut Records(!) J~ St. LP 8802 . This Is 1adness. The Last Poets II. Douglas Comr:i~ons Stereo 20583. b1L.e.~K ,(v\"Ti'~, 1Y\ ,e C..olle.c,ted &em Q.f ~Li\o'"\c:1. Len--.o n .:Te f ~e . ...s on . Ml:la""' PNK:IV<-Ttl1t1 Cor11pfJ.ny • ~.edmond, Eu<;ene B. Blood Links and Sacred Places. Black River Writers 110-13A Sonia. Scott-Heron, Gil. --- t Sanchez. Folkways 9793. Pre_e_H=!:_11. Flying Dutchman~l0153 . Pieces of a ~an. Flying Dutchma~ereo FD 10143. RvTUn ,BV'u~e . QPcu-nG\...·. ch·ltd~eno~The SvV\ ,Blat t A~T\·~,s <o~ovp . • Po,e rY\ Or (o ro..1ttvd e,. • l3lo.c.K ,4V't,·s-r-' Gr--oup • �1/1 Small Talk At 125th And Lenox . Flying Dutchman Prod . , Ltd . FDS- 131. Van Peebles, ____ !elvin . iff1 Ain ' t Supposed to Die A }atural Death . rp 47 ~ (:, ~ A-s ~e..-,,-ovsM-8.Jleor[l4-11acK. A <t M • Brer Soul . ~ A & SP 4223 . 1 SP 4161 . wa.l ken fY\ ~ "19ltr et. a. ~ P~/ .e.1. Mo.r<40..t--U W0;,.( ke1,, fud ..Qf Nlar>'J"- ne;t W4. Ike"'. l'o lf:w1,.y.r PL Cf 7r£ , J ( Note: Most of the educational and cultura l institutions Single Poets (tape ) w~ere Bl a ck poets have read also maintain audio and/ar video tapes of rea dings.} Brooks, Gwendolyn . Eckels, Jon. Family Pic tures . Broadside Voices . Hofile Is Where The Soul Is . Emanuel, James A. Panther Man . Broadside Voices. The Treehouse and Other Poems . ~ '40.rpe.~, Mt"c.ho.eL.S. ij,isLi.r.y~~ Hodges, Frenchy Jolene . Jeffers, Lance . Black Wisdom . Knight, Etheridge . Poems From Prison . Broadside Voices . Broadside Voices . Broadside Voices . We Walk The Way of The New World . tfurphy, Beatrice M. a n d ~ Cities Burning. Moving Deep . Walker, 1argare.:=._. X, farvin . Broadside Voices. The Rocks Cry Out. Poem Counterpoem . Broadside Voices . Ilroadside Voices. Prophets for A__}Tew Day. Black Man Listen . Broadside Voices . Broadside Voices. Broadside Voices. We A BaddDDD People . Stephany . LP-BR-1. Broadside Voices. - - - - ~ and(Dann:.::("Marg7~. Homecoming. Broadside Voices . Broadside Voices . Readin' and Rappin' . Sanchez, Sonia. ru.,..,0·1~ --p~es~. Broadside Voices . Spirits TTnchained . Don't Cry, Scream . Randall, Dudley. Broadside Voices . tfi4t'1:nPtt't." VYl\V€.~~·,;v oP My Blackness is the Beauty of This Land '. Kgositosile, Keorapetse . Lee, Don L. Broadside Voices . Broadside Voices. Broadside Voices. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Text Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_08_33to36 Title A name given to the resource First typed draft of Drumvoices: The Mission of Afro-American Poetry: A Critical History, Bibliographical Index, p. 559-606 typed with handwritten edits Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Creator An entity primarily responsible for making the resource Redmond, Eugene B.