58 10 650 https://digitallis.isg.siue.edu/files/original/a256e3e0e594c8dc26f3ca7807c42ec5.jpg 21e445756cc9ae2440fdb0c7e7f5e3ae 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 Sarah Brady Description An account of the resource The photo shows Sarah Brady speaking at Southern Illinois University of Edwardsville. 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_069_Brady_003 https://digitallis.isg.siue.edu/files/original/bfb75894c8114ba03872010752d62c0e.pdf b80a7c78d3404af2dfa4c921e6026866 PDF Text Text I 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. Re.dmond: Doubleday, 1976. Script copyright© 1977 by Eugene B. Redmond �Note to Directors & Players * DRUMVOICES, as a theatrical., follows ~ 1~tradition of ritual theater or the "ri tuali zing 11 of an event . Ideally, for Readers Theater, th'$ ::.stage ·are . snould have :,.to'Qm ,,fox-, c: ti.ro ·--sets .~r,·.:m~l:f:A r~~ds and ·a danchfr ' :re-a 0 ~ince ritual theater is conceptually and practically adaptable to as few or as many players as are desire4, directo r s / 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-del i v ery that tbe"y · w~t·. These levels can be ·achieved and/or modified .from perfonna.nce to performance by shifting (heightening or lesseni ng) tone and thrust. Ideally, for DRUI1VOICES, one drummer and one horn -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 while at the same time supplying the main individual voices . Set apart from the core-chorus is th e n arrator, who is atmospherically removed, somewhat dispassionate but omnipresent aa a vast-voice image . Another voice , some distance to the other side of the core-chorus is khown as a relief-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 lmeels in preparation for the opeti~~ance-poem. 'r he 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. Voices(off-stage) Music and I--Listenl--Yail Yail~ ,, Listen to the sound of my horn~ Music and I--Listenl--Yail Yail ~ Listen to the sound of my horn l ~,vv-- Music and I--Listenl--Yail Yail ~ Voictfoff-atage as dance begins) Listen to the sound of my horn ••• ~ This note you have longed to hear! \ Voicef2 Listen .to the sound of ~Y song, Fo'r :.. ·the music you have hummed 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 clayed cotton coat. I tote water to sun-baked lips, VoiceJl And I sing awa'f pain from your chain-whipped hips . (oveiJ ) �2 Voicet/2 But now, my people, I've grown a new song • .,..5.~~ Listen, all ye Americans I Lis t en with your ear: Voice#3(walking upstate to position) , I Now the congregation rises-Voice#4(walking upsta ge to position ) Now the new corn sprouts-Voice#5 (walking upstage to position) Now the air breathes fresh- - ---- Voice#l(walking upsta ge to position ) Now the trodden land sings-VoiceJ2 ( walking upstage to position) Now my horn of clay airs a long signa l motif. Voi ce/!3 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 lastJ (Durms) \ un . tempo; then dancer exits~ After a slight pause, narrator be gins the on~stage ritual program. ) ( As voices expa.bde , dancer and drumm~i- Gpick Narrator I am the poem! We are the poem! Na rrator And the poem is me I And the poem is us! And the poem is us! And the poem is u s ! (over) . �3 Narrator I run 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 ecstasy . Drummer Performs a wide range of rhythms, movements , tones , multi ple - 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. DRUMFEEI' ON THE SO IL, ON THE SAND ROADS OF THE MIND I FLESH-PISTONS PRANCING, THE EARTH'S ENGINE! IT IS A COMING FORTH , THE NIGHT WITHIN US COMING FORrH t THE NIGHT WITH I N US COMING PORTH I FEEr BEATING, BEATING, BEATING SEEDS INTO THE SO IL I Narrator I return and return an d return to my magnificent and reliable arclliv es . Chorus That 11,ove we can depend onJ Tha t Love we can depend on l Voice ( singing; as ·dancer·s st~llt,-sea.roh. ..' the sta·ge )'n, · 'ONOBOROBO ! ONOBOROBO t Voice ONOBOROBO t Chorus ONOBOROBO I (ov er ) �4 Voice Chorus ONOBOROBO I Narrator In my dependable cultural vault is the Idea-gram: that natural cil"etagraphy landscaped by thudding thoughts of my totem family, the living-dead, the breathing, the unborn. I am the poetic flesh-temple with many forms, earthdaughter and agile inundator oP history. I am the poem in motion. Dancer Bxecutes rudimentary movements and other elements of traditional African and neo-African dance: isolati on , use of pelvis and torso , leaps, twirls, pulls, the Yanvalou(or a kindre~movement}, vigorous stretches, lifts and thrusts. (Drum a ccompaniment) Narrator I am the Black and Unknown Bard. American put me on a conveyer belt - moving in two different direc t i ons at the same time. My African Jubilance turned to anger and a song of i&botage. My IndomiLable Echo and Idion 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' Shouts, Chants, Work Songs , Spirituals, Blues , Gospels, Jazz, Rhytbm-n- Blues, Soul Music .( See at tache d chart of the preceding items : which Je~!1- lus.t rated with short examples by voices after the list has been g~ven . ) Voice Did ye~ feed my cow? Voice Y~s M Voice Will yer te·ll me how? (ov er) �- 4-A ~ Ji'ield Hollers / yodle •••• hey brother yodle •••• hey brother Vendors' Shouts watermello~h oh ••• sausages,~.. / tomatoes, oh ••• I got •em fresh ••• , ohl Chants Om-la-la Om-la-la Work Songs Say I 1 m ~rking 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'J day O happy day When Jesus washed When Resue 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 1 m a soul man ;{/ ,,,. \: �5 Voice Oh w 1 at did yer give 1 er? Voice Cawn an hay! Voice Oh w 1 at did yer give 1 er? Voice Cawn an hay! Voice(looking up) Evahwhuh I, whuh I loo~ dis mawnin , Looks lak rain, looks like rain . Chorus Looks lak rain, l ooks lak rain J clc11,µ1.1df~ Voice I gotta rainbow, tied all roun mah sh oulder, Ain gonna rain, ain gonna rain . Chorus Dis is de hammer, Kilt John Henry I Voice(emphatically) Twon•t kill me , baby, Twon 1 t kill me . Take dis hammer, Carry it to de captain-Voice Tell him I'm gone , baby, I - I Tell him I 1 m gone . ( ova') . I �6 Chorus I got a rainbow Tied 1 roun my shoulder, Ain 1 t gonna rain, baby, Ain't gonna rain . Voice(work-song,sung) Dis ole hammer- -huh!(chorus) Ring lak silver--huht(chorus) 'f-. r J (.; Shine lak gold--huhl(chorus) Chorus Ain 1 t gonna rainJ Ain!t gonna rain! Voice(female) I 1 m a big fat mamma, got the meat shaking on mah bones , I ' m a big fat mamma , got the meat shaking on map bones , C\.Jj And eV6frY 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 , ni gger , run; de patter-roller catch you ; Chorus Run , nigger, run, and try to ~ get away . Voice Dis nigger run, he run his best ,-- Stuck his head in a hornet's n e st,-Voice Jumped de fence and run fru the paster; (over ) I I I 1' I\ I �7 Cho rus White man run, but ni gge r run faster . Voi c e Da.t nigger run, dat nigger flew,-Cho rus Dat ni gge r tore hi s shirt in two. Narrator Yes, as poem,as cotton-picker, as banjo-player, as fiddler, as preacher, as ,minstrel-maker and mirror, as slave-rebellion leader, I emered a ne'f/ part of the old. My African song ushered forth in strange new Biblical Language. Voice(s inging ) Go Down, Moses , Way Down in Egyptland; Chorus(talking~pointing) Tell old Pharoah To let my people go . Voice ( s~mging) Deep River •••• / Chorus ( talking) Deep Deep Deep River •• 0. Voice Deep Riv e r, my home is ove r Jordan ; Deep River, Lord; I want to c ross over into camp ground. Voice ( exci te dly) And, yes, I DREAMED I was riding in that chariot . Chorus ( or Voice) Swing low, sweet chariot , , / ✓ Coming for to carry me hoITB1 ( over ) ' - • - - I I �sweet chariot, \ Coming for to carry me home . l. Voice \ Green trees a-bending, Po' sinner stands a-trembling The trumpet sounds within-a-my soul ; Chorus I ain't got long to stay h ere. Vo i ce (male) Joshua fit de battle of Jericho,-- Jericho, Jericho-hG-ho-hol Voice Joshua fit de battle of Jericho,-- And de walls came tumbling down . Voice f Dat morning • • • • ~ w~~AhM,,~ .~· "'- ~ Chorus And ·de:_ walls came tumblins down Voice My God is a rock in a weary lan 1 - - Chorus Weary lan 1 , weary lan 1 - - j. ~ Voice My God is a rock in a weary lan 1 - I I Shelter in de time of storm. ,, Narrato r I was Black and curious; I confronted harshness head-on; my struggle meant (over) �write like whites , even though,Ironically , their 9 ~aws said I could be punished or jailed for possessing such knowl edge and skill . Voice You named me .Lucy Terry! Voice Gustavas Vassal Voice Britton & Jupiter Hammon! Voice Coon & Buck I Voice Phyllis Wheatley! And I maste r ed Greek , Latin and English in my teens . Lonely Black girl whom the muses befriended, thousands and thousands of miles away from my West Afri can home. I contimued to emerge as the poem. Voice Should you,my Lord, while you peruse my song, ti Wonder from whence my love of Freedom sprung, Whence flow these wishes fort h e common good, By feeling hearts alone best understood, I, youn g in life, by s e eming cruel fate, snatched from Afrjc 1 s fancy 1 d happy seat; ~~t pangs· ~xcruci~t:ing must molest, , .1.l.".1t'.·c -~·· ·, ··, - ~ _: ,.. ,r,1 •:;. · - _ ., _ · _ .,. ·,:.,~. ! ~-.-. .. - -~~• What sorr'ows labour in my parents I breasts? Steel 1 d was that soul and by no misery mov 1 d ~~s 1 • 1I That from a father seiz 1 d his babe belov 1 d: ' I Such, such my case . And can I then but p r ay Others may never feel tyranic sway? (wheo1ley) Narrator You n amed me George Moses Horton. I did not like the injustice (over ) of the �10 I turned into a po em. Even t ho ugh some continued calling me "The Slave." Chorus "The Slave"? Voice Because the brood-sow 1 s left side pigs were black, Whose sable tincture was by na tu re struck , Were you by justice bound to pul l them back And leave the sandy -c olored pig s to suck ? (Ho rton) Chorus(ominously ) Runagate I Runaga to l Runagate l Narrator My mother cure d ills and my father worke d mots . In the bi - cultural constriction the poem became juju-man, the face hidden by the ambiguous minstrel smile . Voice We have fashioned l aughter Out of tears and pain; Chorus Bqt the moment after-Voice Pain and t ea rs again.(9harles Bertram Johnson) Voice Forgive these erring people , Lord! Voice Who lynch at home and love abroad. ( ~ D ~ ) Na rrator 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-rhythrn.s . (over) �Voice 11 de Cunjah man , O chi llen,run, de Cunjah man ! Chorus O chillen,run, the Cunjah man! Voice Him mouf ez beez as fryin 1 pan; Voice Him yurs am small, him eyes am raid,-Voice Him hab no toof een him 01 1 haid, -- <\ /, Voice Him hab him roots , him wuk him tricks,-- 0:\ J Voice Him roll him eye , him mek you sick-Chorus De Cunjah man, de Cunjah man, 0 chillen run, de Cunjah manl(J . E. Campbell) Narrato r I knew my rights, my rou@-1 times and my remedies. Voice(assuming tones reflBoting physical illneases) Blue-mass , laudnum, liver pills , "Sixty-six, fo I fever an 1 chills,'' Ready Relief, an' A.B.c., An 1 half a bottle of X. Y. Z.(J. H. Ho J.loway) Narrator / You named me Frances Bl len Watkins Harper, 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 ) - _j �12 Voice bird sings, Ah me, ./ When his wing is bruised and his bosom soraT Wb_en he beats his bars a nd 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 theca ged bird singsl(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 :· lift that sword hi gh I Voice (singing) Lift evEry voice and sing, I I "} Till earth and he aven ring, Ring with the harmonies of liberty. Chorus ( t al king, pointing upwards) Till our rejoicin gs ri s e High as t h e li s t enin g skies l( J . W. Johnson ) / Narrator As song-poem I forged pure fl ames of rhythms without books. James Weldon Johnson called me the Black and Unknown gard . And, let me tell you something ••• hmmmmmmrn •••• 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 ? Jf you p ractis e twell you're gray , You cain 1 t sta 1 t no notes a-flyin 1 Lak de ones dat r ants and rings From de kitchen to de big woods (ove r) �Chorus Wb_en Malindy sings . Voice You ain 1 t got de nachel o'~ans Fu t to make de soun ' come right, You ain 1 t got de tu 1 ns an' twistin's fut to make it sweet an ' li ght . Tell you one thing now , Miss Lucy , An ' I'm tellin ' you fu ' true, When hit comes to raal right singin' , Chorus • ' T a in' t no easy thing to do . Voice Easy 1 nough fu I follcs 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' real melojous music, Dat jes strikes yo ' hea 1 t and clings, Jes you stan 1 an 1 listen wif me .Chorus When Malindy sings . Voice Ain I t you nevah hyeahd Malindy? Blessed soul , tek up de cross I Look hyeah , ain 1 t you jo kin' , honey? Well, you don't lmow what you los 1 • Y' ought to hyeah dat gal a-wa 1 blin 1 , (over) I, �14 Robin s , la 1 ks, an' all dem things , Heish dey moufs an' hides dey faces Chorus When Malindy sin~s. Voicef/1 Fidlin 1 man jes' stops his fiddlin 1 , Lay his fiddle on de she 1 f; · Voice /12 Mockin 1 -bird quit tryin' to whistle , 1 0ause he jes so shamed hiss e 1 f. Voice#3 Folks a-playin' on de banjo Draps dey fingahs on de strings-Bless yo' soul--fu' gits to move 1 em, 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' steps and voices, Timid-lak a-drawin 1 neah; - Den she tu'ns to "Rock of Ages, Voice(singing) 11 \~ Voice Simply to de cross she clings , (over) �fin yo ' teahs a-drapp in 1 When Malindy sings . Voice Who dat says de humble praises Wif de Master nevah counts? Heish yo• mouf, I hyeah dat music , Ez it rises up an• mounts-P'loatin1 by de hills an 1 valleys, 'I Way above dis burryin 1 sod, ' I Ez hit makes its way in glory To de very gates of GodJ Vo i ce Oh, hit ts sweetah dan de mu sic Of an edic ated band; An 1 hitts dearah dan de battle 's Song 0 1 triumph in de lan 1 • Voice#l r J It seems holier dan evenin 1 When de solemn chu I ch bell rings,/ • ' Voice #2 ( slowly,search ingly) Ez I sit an I ca •·m ly listen Chorus While Malindy sings. Voice Tows~. stop dat ba 1 ki n , hyeah me I Mandy, mek dat chil e keep s till; I (ove r) -- -- - --- - ~ �16 hyeah de echoes c al lin 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 , Sof 1.. and sweet, . V v~ Voice//3 ( singing ) • • o 11 Swing low, Sweet Chariot, 11 Voice(dreamily and ecstatically) Ez Malindy sin gs . (Dunbar) ~ --r:::;:;:;- Narrato r Poem that I was and am, I traveled from 11 oas i s to oas i s . 11 Voice Man I s Saharic up and down~ (M. B. To lson) Narr ator Riverboats , river towns chaingangs ••• Voice( singin 8 as chorus makes work-sounds in background) ,.,, , it Well don ' t you know ,, That I s the sound of the men, working on the chain - n - n-n gan- ee - ang ; We l l don't you know That ' s the sound of the men , worki ng on the chain gang .( Cooke) Narrator Bar-room toughs , hard-hearted Hanna , Stagolee ••• they all knew me . Voice Hardahaarted Hanna - Voice F rom Savannah, GEE A. Voice She was so cold , yall-Chorus Wasn 1 t she 1 (ov er ) �17 Voice a drownin g man! Cho rus(slowly and deliberately ) Water , on a drown-ii-nnn g man. Voice(attracting the attention of othe r s ) It was early one mornin', When I heard my bulldog bark; Stagolee and Bi lly Lyons Was squablin 1 in the dark . Voice ' / Frankie and Hohnny were lovers , , ~ ¥l Cho rus \~\,_,1).Lo r dy , how they could love , Voice Swore to each o ther , True as the stars up above , /y I \~ He was he r man but he don e her wrong. · Voice(fcmale) / Shine, shine , shine , ••• save po 1 me . Na rrator I was in the constant see - saw of life, wading through hell in search of heaven. But I kept my working philoso phy with me . Voice#l De stoppe r get de longest rest in de empty jug. Voice #2 ~ De pric e of your hat ain 1 t de measure of your brain. Voice#J De graveyard is de cheapes 1 boardin 1 - house . Voiceff4 \ ~ Buy i n ' on credit is robbin 1 next year's crop . (Over) t �Voice#5 Life is short and full of blisters . Voice#l De cow-bell can ' t keep a secret. Voice#2 Little flakes make de deppest snow. Voice#3 De crawfish in a hurry look li k e he tryin' to git dar yesterday . Voicei'/4 Be drinks so much whis key t hat he stae;gers in his sleep . Vo ice//5 In God we trust , all others ca sh . Harr n.to r Yes I was lyric-wise . You heard me everywhere . You even heard me coming from the swollen lips of the bugle, French horn , trumpet, clari net and saxophone . Horn A series of short riffs and movements exemplary and illustrative of various forms of Afro - American music played between the advent of the spirituals and the ra gtime-blues pe riod. Nar r o.tor In Paris they called the "C ak ewal k " th e "poe try of motion o II In the crevices of ships I was transported t o global points to make m' splendid sound and dance my splendid poetry of motion . Dance.[;) Executes a series of movements an.c steps repr es enting such dances as-------, I t the Cakewalk, Charleston , the Two ·- S tep , Ji tterbpg and the Bop . ~lerr.ents ✓ of West Indian dances should flavor movements . (over) �Narrator As the poem I blue horns , shot guns in your First World War, danc ed dances and came home to face the Ku Klux Klan, Southern Sheri f fs and Jim Crow . I got Angry . And I go t defiant. But , I was re l at i v ely cool. Vo i c e ( serious ) Into the furnace let me go alone ; Stay you without in terror of the heat . I f I I will go naked in-~for thu s 1tis sweet -Into the wei rd depth s of the hott est zone . Voice ( serious but r esolute and emer ging) De si re d e s troys , consumes my mortal fea r s , Transforming me into a shape of f l ame . I wi ll come out , back to your world of tears , A strong4 cr soul within u finer framc .( McKay) Na rrator From the dark tower I watched az I pr.epareg, watched as I prepare d, wat ched as I pre pared, lmowinc; that !!We were not made ete rnally to weep . Voice(reflective , meditative ) The n i ght whose sable breast relieves the stark \mi te stars is no less lov e ly being dar k , And there are buds that cannot bloom at all In light , but crumple , pite ous, and fall; So in the dark we hide the heart that bleeds , And wait , and tend our agonizing seeds . (Cullen ) Narrator Aft er race riots in several American citi es , I lifted my voi c e i s e aring shaft of discontent . Chorus 0 kinsmen! we must meet the common foel (over) 11 �20 Voice Li ke men we 1 11 face t he murde r ous , cowardly pac k , // ( Pre ssed to th e wa l l , dyin g , ••• Ch orus ( slowl y an d softly ) Dying • •• dying ••• dyinG Voice ••• but fi e)ltin~ ba ck ! (MC,'f(~t) No.rrato r All the wh ile my past k e pt pul lin g on me . It was if we we r e married to each other, c lue d , loc ked, 1ve l de d to geth er . It was as if t h o se who dep ar t ed n e v e r re al ly , real l y die d . An Af rican sense kept tu ggi n g tu gging a t my trunc a t e d ro o ts . The bri dge of my dwarf-lik e pa st r e s t ed on at l ea s t two shores . Voi ce Pour o pou r tha t pa rtin g s oul i n song , 0 } ., J pour it in the s awdu s t g l ow o f ni gh t , Into t h e v elve t pine- smoke air to - ni ght , ••• Ch orus( s l ow an d e cho - li ke ) I And l et the vall ey carry it a l ong . l And l et th e va ll ey ca rry it a long . (t6ome~) Narr ator( co nfus e d a nd desp era te) Sometime s I wa s only ha l f - there , f i ~ht ing t hose who wante d to sn a tch away my humanity by day ; and fi~tin g hunge r and confu si on at h ome by night . As th e poem, I eme r ge d convolute d and who lly new, only t o -, re t r e at to a some - other- time r e f rai n . ~gyp t , Ghana , Madagasc a r , th e Pyramids-- Voodoo Ceremon ies--what did th ey all me an ,to me? The beau ty - pain of it all? Chorus Come with a bl as t of trump et s , Jesu s ! (over ) I I I �21 Voice(oxymoronic) And the be auty of Susanna Jones in red Burns in my h e art a love -fir e sharp like pain. Chorus Sweet silver trump e ts , Jesust(}\v8~8S) Voice l • Well, son, I 1 11 t e ll yo u: Life for me ain' t been no c ry st al Na r r a tor ,, But the blur of that v ei 1 wa s al ways tempo rar-f ly relieved by sorig, by I dance, by re a ding or th inkin g about for ei gn places and looking forward to the day when American s wo ul d grow up . We were here--in America-but not of it . Simply wo r rying, wi thout a plan tn change things , didn 't help much. We grew stronger, and more b eautiful , in the- words of Langston Hughes , as we re-embr a c e d ou r own ri t u a ls . Ch orus ( si n ging an d jiving) Shake your brown , f eet , ho ney, Shake your brown feet, chile, I Shake you r brown f eet , honey, \ Shake Jem swift and wil 1 - Voi ce Get way back , hon ey , Do that low- down step • Walk on over, da r l i n g, Nowt Come out With your left . (Hu ghes ) Voi ce (breaki n g t h e fun - frolic and wairing serious) Yet do I marvel at this curious thi ng : To make a po et b l a Ck . ond bid h im s ing I (ov e r) (.cvUeri) ·- ~ /k w-;=--- -\t, .~ �22 Narrator Yet must I marvel that I'm here nt al l. Because 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 soldier and cook and shining knight of DEMOCRACY! The SWASTIKA, 'rhe RISING SUN, The HAMI1ER & SICKLE , I was told, were my REAL enemies . Meanwhile you had named me Owen Dodson and I grew accustomed to the realities of neighborly enemies, 'rhose who caused UNNATURAL DEATHS . Voice(preaching a funeral sermon) d I Wake up, boy, and tell me how yo u died: What sense was alert last, What immediate intuition about m You clutched like a bullet when your nails Dug red in your yellow p alm And that map the fortunetell e rs r ead Chorus (this line for money , this for love) ·Voice ••• Chorus Wake up, boy . ••• Voice • • • I go to death tomorrow, I Tell me what ro a d you took, • • • Chory.s What hour in the day is luc kiest? Voice Did your Adams apple explode? Who sewed stitches in your angry (over) heart ?(0.~.S0'1] I �-23 Chorus O wake ••• Narr a t o r Yes, yes, • • • I wa s someti me s a t at t e red and beaten poem in the nineteen Thirties, Fo rti e s an d Fifties. But I was a poem anyway: Gracious, Noble, ~un darnen tal, Fiery, Firm, Relating to .1~ W(lltt~ People" on ~ur Common Ground . Some one cal led me Margare~ I became a Tapestry of My Many Selves. Voice#l For my people,everywhere sin ging their slave songs repeatedly ; • • • their dirges and th eir ditties and theitit.:,bL~ and jubilees, Voi ce1f3 • • • praying th e ir p r ayers ni ghtly to an unknown god, Voice/Pf • • • bending th eir knees humbly to an un/seen power; Voice #2 • • • washing/ironin g cooking scrubbing sewing mending plowing/digging planting pruning patching dragging along n ever gaining never reaping neve~ knowing and never understand/tng; Voice#) For my playmates in the clay and du s t and sand of Alabama backyards playing • • • Voice #l baptizing · and••• Voice#2 preaching and ••• (over) hoeing/ �24 Voiceif3 doptor and ••• Voice/fl jail and ••• Voice-/12 soldier and ••• Voiceff3 school and •••• Voiceirl mama and/cookin8 an d playhouse and concert and store and/hair and l-1iss Choomby and company; Voice #2 For the cramp ed bewildered ye a rs we went to school t o learn to know the reasons why and the answer s to and t h e people who and the p laces wh ere and the days when , in memory of t he bitter hours ,-men we di s cov ere d we were black and poor and small and different an d nobody cared an d nobody wondered and nobody understood; Voice lfJ/ § ~;.)), For the boys and girls who grew in spite of these things to be • .. man and woman, to l au gh and dance and sin g and play and drink th eir wine and reli gi_on and success, to marry their playmates and be a r children and then die of consumption and anemia and lynching; Voice#l For my people throngin 15 47th Street in Chicago and Lenox Avenue in New stre et in New Orleans, ••• Voiceif· For my people blundering and g roping and floundering in the (o ver ) I l , I �25 dark of churche s an d nch ools and clubs and societies , as - • sociations an d co uncils an d connni ttees and convent i ons, distressed a nd di s turbe d and deceived and devoured by money-hungry glory-craving leeches, preyed on by facile force of st ate and fad an d novelty , by false prophet and holy believer; Voice-11'3 Le t a new ea rth ri se . Lot anothe r wo rld be born. Let a bloody peace be wri t t en in t he sky , Voic e#"J. • •• Le t a second gen e ra t ion full/ of courage issue forth ; Voice #2 • • • l e t a peo ple loving fr e e dom come/ to growth . Let a beauty ful l / of healing and a stren gth of final clenching be the pulsing in/ our spirits and(our blood . Voice #J • • • Let the martial songs be written , let the dirges dis/ appear. Ch orus(strongly) • • • Let a race of men now rise and tak e contro l . (M. Walker) b Narrate r Frank Ma rshall Da vis , Melvin Be a unorous Tolson , Sterling Brown, :Hobert Hay den, Pau l Ve sey, Bob Kau fman , Geore;ia Douglas ~ Johnson, Russell Atkins, Le a dbel l y , Li [71 t nin 1 Hopkins--thes e are names by which my voice is lmo,,m . Some even call me by the n ame of (whisp e ring ) HISTO RY . Ch or u s ( r isin g from History I Runagat e I Runa gatel Voice Runs falls rises stumbl e s on f r om da rlrne ss into darlmess and the da rkness thic kete d ui t h shap e s of t e r r or ( ov e r) II �~ ;-.-lii'i:::====~:::::::::::::::=====~~--=,-,..= 26 and the hunt e rs pu rsu i n g and the h ound s pursuing and t he n i gh t cold an d t he ni 8ht long a nd the river tocross a nd t he j a.c k - muh-l ante rns beckoning be c koning and th e b l ack n e ss ahead and when shall I r ea ch that son:ewhere morning a nd k e ep on go ing a nd ne v er turn back and keep on going ••• Chorus(fri gh tencd) Runa gatel Voice Some go weeping and some r e j oicing I, ~~ some in coffins and s ome i n c a rri age s ~ ~ some in s ilks and some i n shackl e s ••• -- r Oh tha t train , gho s t-story trai n through swamp and s~vanna mov c r ing mo vering over trestles of dew, thro u gh c a ves of the wish, _M_i_dn_i~gh,,_t__S~p_e_c_i_a=l,_o_n_a _sabre track mov e ring movering, first s t o e y and th e l as t Ha llelujah . \ Voice O- '2.--, \ ' Ch oru s ( ~ Mean me ~n t ean to be fr e e . ( R. Hayden) Narrator I became a brilliant word- to rch shining back against my past and flami ng proudly into the f u ture . Al l the while I wormed into and won hearts and minds . And in 1950 , Ameri c a gave me the coveted Pulitzer Prise . My name was Annie A1len but I wus many peo ple . I was so fin ely sculpted that no infl e c tion wa s impreci se . I said what I had to say in a langua ge that dazzled and blinded the worl d . I s tood as a j ewel ; I talkitJd about e. jewel name d "Satin-Less Smith . 11 (ov er) I, �27 Voice(a s others look on admiringly) He wakes, unwinds, elaborately: a cat Tawny, reluctant, royal o He is fat And fine this morning . Definite . Reimbursed. He waits a momemt , he designs his reign , That no performance m~y be plain or vainp Then rises in a cl ear deliriwn. Voice Let .; us proceed. Let us inspect, together .With his meticulous and serious love, , The tnnards of this closet. Which is vault r ~ Whose glory is not diamonds, not pearls , Not silver plate with just enough dull shine . But wonder suits in yeJlow ru1d in wine , Sarcastic creen and zebra-striped cobalt. With shoulder padding that is wide And cocky and determined as his pride ; Ballooning pan.ts that taper off to ends Scheduled to choke precisely . Voice Here are hats Like bri ght umbrellas; and hysterical ties Like narrow banners for some gathering war.(G . Narrator Yes , I was immaculately Black . Magni ficently Black . And I knew the powe r of the Rap I Chorus Amen! (over) �28 Narrator I became the power of the Ra.pl Ch orus Amen ! Vo ice Bartender, make it strai ght and ma ke it two -Voice( poin t ing) Otte for the you in me ••• Voice (point i ng ) • •• and the me . in you . (H. Tol so n ) Nar r ator After lengthy conversations with my music, I became th e Be-Bopper; somebody c alled me t he Zoot-S uiter ; I put on dark gl a sses and conked my hair. A do uble-chinned salesman handed me some bleaching cream and a cadillac as I sped North to join my brothers and sisters in the Promised Lan d. Richard Wright and James Baldwin cried for me . John Oliver Killens Hea rd The Thunde r and Ralph Ellison called me Invisible , adding that once my leaders de coded the riddl e 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, Col t rane -- they went to war with me . Ch orus Good Morning heartachel(sung) How do you do.(said) Horn Medley of tunes and musical mannerisms reminiscent of the period. / Narra tor I got hip to world events , sci en c e and space exploration . I knew wha:; I knew, still I c ouldn 1 t go where I wanted to go, or d() what I wanted to do . Americ a: got nervo us wh en ever I ap pe a r ed in public . But I knew (o ver) �29 certain events and de velopmen t s were dooming all of us t.o an "Ultimate Reality. 11 Voice You know , Joe, it's a fUJ1ny t h in~, Joe , You worry most of you r life about me , Always afraid 1 1 11 g,et a job with you, Always scared I mi c;ht get s e rv e d Hi th you , I Always afraid I'd wanna love you r sister I Or that she might love me . Voice Don~t want me to e o. t with you , Voice Seared I might live next t o you-- / ~•t Vo i ce But with the Atom Bomb , Joe , It looks like I might die with you . Voice That don •t : seem ri c;ht , does it, Joe?( Ray Durem) Narrator But in spit e of all the adversity, the historical s trengths kept returning to me , sho rin g me u_r , h clpine; me to keep ge tting up, to keep going . We had our personal victori es in the meant ime . We learned everything tha t it too~ to make it in America , even when no one would let us have equipment or space to work in . We ju s t reo.che d back inside ours elves and came up with what was n ee de d . Then one day, the poem became a baseball in the hands of the le gendary Leroy Satchel Paige . Voic e Sometimes I feel like I will never stop Just go on foreve r ( over) I I �30 .dll one fine morniri 1 I'm gonna reach up and g rab me a handf'ulla stars Swing out my long lean le g \ And whip th ree 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 surp ris e t hat I returned to myself in motion . Behold ! The Stroll! Ch orus Sings a portion of -.rcne Chandler ' s 11 Duke of Ba rl II or some oth er period pi ec e . lJu1•ruLl) I' ' The Kans a s City Slo p I The i·1adi son I Sings !l portion of the Five Satins ' "±n the Still of the Nigh t" or anothe r song from period . Na rrator The Twist ! II B:ri•ef exerpt from Chubby Checker ' s "Twist 11 • Narrator The Funky Chicken l 'fi1e Karate Do ogaloo I They saw me poeting with my hips and my feet . Chorus Poetincl Poeting t Na rrat or And took it all b a ck to American Bandstand and other countries . Voice (sin ging ) There 's a thrill upon the hill! Chorus (singing) Let's Go ! Let ' s Go! Let 1 s Go! (over) I I �Norrator I ea.me home from Ko rea to meet the Klan in a new sheet. And in Mo nt gomery they would not let my mother sit down on a bus. As a poem, my name became Lanc e Jeffers, Raymond Patterson , G. C. Oden, Mari Evans , LeRoi Jones and Imamu Amiri Baraka , Audre Lorde . Chorus( qucstioningly) Montgome ry? Montgomery? Mont gomery? • • • I remember Montgomery . Voice And Birmingham--the fo\J\" little , little girls. t' Voice Four little girls r, Who went to Sunday Scho ol that day And never came ba c k homo at all - Voice But le ft inste a d Th~ir blood upon the wall With spattered flesh And bloodied Sunday dresses Scorched by dynamite that Ghina made aeons ago Dmtl not know' what China made Befo re China was ever Red at all Woul d redden with their blood This Birmingham- on-Sunday wall . Four tiny girls Who left thei r blood upon th a t wal l , In jli ttle ·.graves _today await (o v e r ) .... �32 Voice The dynamit e t ho. t mi ch t i gnite The anci ent fuse of Dr a gon Kings ·w hose tomorrow sing s a. hymn The missiona ries n e v er t a u f;ht In Ch ristian Sunday ~cho ol 'f o Impl ement th e Go lden Hu le . Voice Four little girl s Might be awakened someday so on By son gs u pon the breeze Voice As y et unfelt amo n g Magnolia trees . \ ! (t-\vffe-9 Voice And Se lma ! Voice And Philadelphia, Mississippi! Voice(vagu e ly, hesita ting ly) I recollect Emmett Til l! Voice Jind Watts! Harrator My Name was Conrad Kent Rivers at that time . I became a poem called "Watts , " hoping that in such dis guise I could find my way out of this daily nightmare. Voice Hust I sho o t the white man dead to free the ni gge r (e v er ) . �33 tis head? Voice( p ausing , musin e ) Must I shoot the white man dead to free the nigger in h is head? (t ,t~°t(..Jer;) Voice And Newa r k l Voice And Harlem ! Voice And Oakland I ' Voice And Dallas! Voice And East St . Louis! Voic e And Chicago J Voice Hartin Luther King ! Voice Malcolm! ,( J Voi c~ Stokley! Voice H. flap Bro wn! Voice James Brown l (ov e r) �Na rrator 34 the ~ sky . Libe ration became ~y ;passi onate preoccupati on . A warm self-love engulfed me . My woman and I looke d at each othor through new-old eyes . We had our own standard of be a uty. I stret ched and yawned 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 1 eyes . Someone called me Black and I didn I t h it him. At a ral l y , I turned into a voice on the podium shouting. Chorus WE ARE AN AFRICAN PEOPLE! Drummer & Dance r Salute the coming of the new consciousness with appropria t e n eo - Afri can rhythms and movement s . Voice For all thin gs Plack and beautiful , The brown f a c es you loved s o well and lonG, the endless roads leading bac k to Harlem . Chorus Kulu Se Mama l Kulu Se Mama! Ku l u Se Mama! Kulu Se Mama Vbice i/1 Where the string At ~~,~~ Some umbilical j azz , Voice #2 Or perhaps , I n memory, A long lost bloody cross, Buried in some steel calvary. �35 Voicetf3 ,J~ In what time For whom do we bl ee d, 1 Lost notes, from some j a zzman s Broken needle. Voice tf4 Musical tears from lo s t Byes , Broken drumstick s, whyT Voice1tl q- Pitter pa tte r , boom dropping v Bombs in the middle Of my emotions Voicetf~ . Voi ce t/=3 ~ My father 1 s s oun d My mother i s sound ••• Chorus Is l ove , f\\ Is life . ~ (\3,(°o.\lr~V\) "if<).~ Narrator I had watched America . I know Amer ic a . I could deal with the diff e rence and the samene ss, ~hut st r ange decora t e d pain that character ize s our existence . I ke ~ f coming b ac:, Co the point of the sy'~he s is and the symbiosis . I am history ru~d fut ure, or , put differently , I am future • history . Sometimes , because of my many levels of vision , I grasp the helm of the struggJ. es of the many co lo red hands . I might ev en be in a riv er that laces the stomach of America . ... �36 Voice (with dance accompaniment) Vibrant vein, Bent, crooked, Older than the Red Men \ Who named you; Arici ent as the winds That break on your Serene and shining face; One time western boundary of America From whc.s,&rc.ehTh~ Your broad shoulders now r each To touch sisters On the flanks . Cb:brus River of Truth: Voice • • • Mornings You leap , yawn 2000 miles , And shed a giant joyous tear Over sprouting, straggling Hives of humanity; Nigh ts 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 hudd led, At your heart in the bellies (6cer) �Chorus River of Memo ry_: Voice Laboratory for C1vil War Boat builders Who left huge eyes of steel Staring from your sullen deptl1s; Reluctant pa rtn er to crime s 0 f Ku Klux IGana.men ; River moved to wav es Of ecstasy By the venerable trumpet Of Louis Armstrong . Chor1ls River of Bones : River of bones and flesh-- ~ ;.~ Bones and flesh and blood; Voice The nation ' s large st Intestine And longest conveyer belt; Cho rus River MISSISSIPPI: River of little rivers; River of rises , Voice Sometimes subdued By a roof of ice, descendine finally On your Southward course .:.. �38 Gu lf And join the wrath 0 f large r bodies . ( l{edmo nd) Na rrato r I mused ov e r river s and long - go n e v o ices underneath rivers . Soor., however, I turned to philosophy . In the spit and dart of my new se lf, th e re were uttera nces I had to make , blood- thou ghts I had to share . I knew this was another sequel to the dream . I h a d not believed those fairy tales . I needed to take a hand a n d s tand and speak the truth to t he people . Cho rus Speak the truth to the people ! Vo ice It is not n e c essary to Gre en the heart Only to ident ify the enemy It is not nec ess ary t o blo w the mind Only to free the mind . ·0riorus It is thetotal black! Voi ce It is the total black, being spoken From theearth' s inside. There are many kinds of open. How a diamond comes into c1l,: knot of flame How a sound comes into a word, colored By who pays what for speaking . Chorus Love is another k ind of openr(over) �39 Voice diamond comes ipto a kno t of flame I am bla c k b ecause I come from the earth ' s i nsi de Take my word for j ewel in your open li@it . Na rrator I am the ecs tasy of NOW ! 'fhe fullest realization of my Ancestors' wishes. I retum , even in the alarm ; even in the shadow-body I am often forced to we ar . But enouf!,h , cnough --I beg you, my dear aijsociates, look How on our's and history 's finest treasure. Voice(and dancer ) I am a black woman the musi c of my song some sweet a rp eggio of t ea rs is written in a mi nor k ey and I can be heard humming in the ni l.Jlt Can be heard hummin g ✓ Cho rus Hums fi rst line of 11 No body l,no ws the Troubl e I See Vo ice(continuing poem ) in the night , J / I saw my mate leap scre runi n c to th e s ea and I/with these han~s/cupped the lifebreath from my issue in tre c anebre.lrn I lost Nat ' s swinging body in a rain of tears and I heard my son ~ s cre am all the way from~z for Peace he n evEr kn ew . • • • I learned Da Nang \md Pork Chop Hill in anguish (o ver) 7 11 , �40 my no s trils lmow the gas and t h ese tri gge r tire/d fin Ge rs seek t h e softness in my wa r rio r 1 s b ear d I am a blac k woman tall as a cypress strong beyond all definition st ill defying place and time and circum s tance assailed ) impervious i ndestruc tible Look on me and be renewed.(/j\ f~~0 Cho rus Look on me and be ren ewed. A.1 1 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_36 Title A name given to the resource Second 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/a2cd993d9e5b5d266f57e81ea45b247d.pdf 23d5c7db0b343b698e2ce714b6e60ae2 PDF Text Text SCRIPT ADAPTATION OF DRUMVOICES : THE MISSION OP AFROAMERI CAN POErRY (a' crftical history ) by Eugene B. Redmond For Presentation at Book Party October 3, 1976: 3 p.mo to 6 p .m., Redwood Room, University Uni on California State University Sacramento •'I ., / �MOVEMENT If I Narrator: the poemJ I Chorus: We are the poemi ½_,\ Narrator: And the poem is mei Chorus: And the poem is usi , o Narrator: ~ ma 1'110 pus• ans I ca.me before pen or pencil or paper or printing pressJ I cupped and cuddled the wisdom of the winds in drum-bosoms of ·ecstaJ7• ·, Chorus: DRUMFEET ON THE SOIL, ON THE SANDROADS OF THE MIND I FLESH-PISTONS PRANCING, THE EARI'H'S ENGINE! IT IS A COMING FORl'H, rrHE NIGHT WITHIN US COMING FORI'H I ~HE NIGHT WITHIN US COMING FORJ'HI) ~ -~ FEET BEATING, BEATING, BEATING SEEDS INTO THE SOILI Narrator: to Jll;J. magnificent and reliable archives. I return Chorus: ( "° That love we can depend on I (over) �Voice (singing): Chorus: Onoborobo I Vo i ce: OnoboroboJ Chorus: Onoborobo I Vo i ce: Onoborobo J Chorus : Onoborobol "'. Na rrato r : In my depen dable cultura l vault is th e Idea-gram of my totem-family, the living-dead, the breathing, the unborn. I run the poetic flesh-temple with many formJJf the poem in motion. Dancer: Rudimentary movements and other ele:)nents or traditional African and Afro-American dance: i solation, use of pelvis and torso, leaps, twirls, pulls, yanvalou, vigorous stretches and thrusts.(Drum accompaniment) Narrator: I am the Blaok and Unknown Barlf:!!:.erica put. on a conveyor belt lllOving in two different directions at the aame time. My African Jubilance turned 1 to anger and a song of sabatage. L-- • As a poem, I became part o!- what and dreamed on these shores (ove r) saw �Voice: . h· ( 7er f'eed m..y cow? Chorus: Ms.ml Ye Voice: y--'6) Will yer tell o..> me how? Chorus : Ye Ms.ml Voice: Oh w•at did yer give •er? ~orus: Calm an hay I Voice: \ ' , Oh w' at did yer give 'e r. Chorus: Cum. an hay I • Voice: 1. Bvahwh~. I , whuh.__look dis ma.wnin, Looks lak rain, looks lak rain. Voice: I gott ,, ~~inbow, tied all ro\lll mah shoulder, ~n gonna rain, ain gonna rain. Chorus: l>1 a is de hammer ) nlt John Henr,-1 1 , (over) �Voice: kill me, baby, Twon 1 t kill me. ho.:rus : Take dis ham.mer, ~" \_, Carry it to de captain; Voice: Tell him I'm gone, baby, Tell him I'm gone. Chorus: I got a rainbow ~ Tied )roun my shoulder, Ain~t gonna rain, baby, ) /in 1 t gonna rain. Voice: Dis ole hammer--huh, Ring lak silver- huh, Shine lak gold--huh • .J Chorus: Ain' t gonna rain, , A.in ' t gonna rain. Voice t female): M.--,~ I'm a big fat mamma , got the meat shaking on mah bones, I•m a big !at m.amma, got the meat shaking on mah bones, And evecy time I shakes, somo skinny &irl loses huh home. y es; Narrator : , .. A· cotton-picker, as lanjo-player, as preacher )l,aarebellion leader, I emerged -,I a· new part o! the old. (over) ~--- - - --- --- ---- - -------·---- ,.., . �Voice: p, Moses, ~ t " Way down in Egyptland; r r <. 1 •--> Chorus: Tell old Pharaoh let To my people go • •• 1 ---------home Deep River, my I...., \cY .,cPeep ( . Voice: is over Jordan; )~ Chorus: River, Lord; I want to cross over into camp ground. +cd Voice: And yes, I DREAMED I was riding in that chariot. Chorus: f?wing low, sweet chariot, Coming tor to carry me home, ) Swing low, sweet chariot, I\ tor to carry Comin me home. Voice: Green trees a-bending, I Po' sinner stands a-trembling I I The trumpet sounds within-a-my soul} Chorus: I ain 1 t got long to stay here. ~ (over) �Voice: You namea me: Lucy Terry i Voice: Gustavas Vassat W ~~ Voic e: Britton & Jupit er Hammon. Voice: Coon 'IB~t-.! ·,~ '"' ' fivf Voice: -~gi~ Phyllis Wheatleyt Juad I mastered ·G?Pee~, L&tip. &I\d ' English in my teens. ¼A-fri;cOM Lonely whom the muses befriended 6 ~ -;... • • • • • •~ • , •• ,. - - - - - ----- __)!_ • VoiceJ Should you, rrry Lord, while you peruse my song, Wonder 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 snatc.hJd from Afric•s fanoy 1 d happy seat; What pangs excruciating mus t molest, \ W};iat sorrows labour in my parents• br ast? Steel 1 d was that soul and by no misery mov 1 d That from a father seiz• d his babe belov.• d: \\ A Such, auch~my cas~ And can I then but pray - Others may never feel tyrannic sway? Narrator: YQu named me George Mose s Horton. I did not like the injustice of the double standard. (over) 1. �7 11 called me 'fue Slave." Chorus: The Slave. J- l\.., Voice: Because the brood-sow 1 s left side pigs were black, Whose sable tincture was by nature st ruck, We re you by justice bound to pull them back And leave the sandy-colored pigs to suckY Chorus: Runagatei Runagatel Runagatel Runagat e l Runagatel ~' ,,I Narrator : , \ l l\..\,A~'--' 1. " rIr;,'\ ,.. My mother cured ills andAfather worked roots. . • ----·- - .- ,,:, > ."' ,tiie poem became juju-man,· the lace hidden by the ✓ Amb;luous minstrel smile. Voice: We have fashioned laughter > c.., Out or u ~ 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 a Still I yrote--this ~ just like I talked• I could only produce heart-rhythms. (over) - --·--·-- . ;;-.;;; ---- ··---- - ............... _ -- �Voice: D Cunjah man, de Cunjah man, 0 chillen, run, de Cunja.h man! Chorus: 0 chillen, run, de Cun'juh man l 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, h im wu 'k him trick, Hi m roll him eye, him mek you sick-- De Cunjah man, de Cunjah man, O chillen, run, de Cunjah man ~ 0 t;; ~ 1 ' )v~ ' Narrator : j.._ I ~ I knew my ri ghts, my rough-timeiand my remedies. Voice: Blue-mass, laud-nwn, liver ~ills, ~ "Sixty-six, fo I fever an1 chills , ~ 11 l Ready Re lie f, an' A. B. C. , An' half a bottle of X.Y .Z. --~ Narrator•• I..., L' r-, You named me .Frances Ellen Watkin, Ha..rper~- James Edwin Campbell, James Weldon Johnson, Paul Lawrence Dunbar-- in several kinds of English. Voice: {;_,.n' .,,'--.__ I know why the caged bird sings, ah me, (Over) �wing is bruised and his bosom sore-bars and he would be free; It is not a carol of joy or glee, But a prayer that he sends from his h eart's deep core, But a plea, that upward to Heaven he flings-I know why the caged bird singsl Narrator: .., :, . ·,; Above~ song exudes from me. My song is my sword. Voicez Lift every voice and singl Till ear t h and heaven ring! Ring with the harmonies of liberty! 0 Voice: i- 'T L c; Till our rejoicings · rls·e High as the listening skiesJ Narrator: )( f I forge pure flames of rhythms without books. And I love to hear Malindy sing. Voicez ~ "? O'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 1 t no notes a-flyin 1 Lak de ones dat rants and rings From de kitchell to de big woods When Malindy sings. (over) �iWaa,. J 1u12gb fJJI foJ.1sa to aelil:M; _ Icc'6ii.R 1 a- do lines er! dots, Wtaen doy 8Ji.~ An' ;;.e,, eP£Lki n da alltaht, efflne§ aence in, :tu But fur reel molctt30,u1 wu:,ig, - Pet je&• eiJ:rilliefi Jee· 110a atM' an' i 57 spo.4'8 J m yo 1 bea't and clings, Iis cen 'dhen Mtt!lnd3 sln!!;o, W'if roe - - A1n 1 t you nevah hyeahd Malindy? Blessed soul, tek up de cross I Look hyeah, ain't you jokin 1 ,honey? Well, you don 1 t know -whut you los•. Y 1 ought to hyeah dat gal a-wa I blin·•, Robbins, la•ks, an 1 all dem things, Heish dey moufs an• hides dey face When Malindy sings. (over) �11 • . -y-Y~J\.\.' Narrator: ?- .' ✓ fr 'Y~ ~ Riverboats, river towns, chaingangs~ 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-- ~ Voice: She'd poor water on a drowing manJ ~ ~ Voice: It was early one mornin', When I heard my bulldog bark; MI er Stagolee and Billy Lyons Was lquablin 1 in the dark. Chorus: Shine, shine, shine, ••• save po' Narrator: You heard me coming from the swollen lips of the bugle, French horn, trumpet, clarinet and saxophone • . Horn: A series or short riffs exemplary of various forms of music played bt,t\reen the advent of the spirituals and the blues-ragtime period. ( ovo r) -. -- ..... ....------~·----· ~ �12 rarrator: --•• the "Oakewalk" the "poetry of motion. 11 Dancer: Executes a series of movements representing such dances as the Ca~ewalk, ~.1 ... Charleston, Jitterbug and the Bop. Elements ~est Indian dances should flavor the movements. Narrator: ~ I blue horns, shot guns in your war, danced dances and came home to face the Iui:·, Kl ux IClan, , Southern Sheriffs and Jim Orow. I got angry; And defiant. But I was relativelV cool. Voice: Into the furnace let me go alone; Stay you without in terror of the heat. i will go naked in--for thus 'tis sweet-- H ,)! I r Into the weird depths o:f the hottest zone. Voice: , 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 earing shaft of discontent. O kinsmenl we must meet the common foe! fe J.ku.__ 7 Voice: A Like men we'll face the murderous, cowardly pack, Pr ssed to the wall, a;.ing, but .fighting backJ (3/P) (o ver) t,~J \VJv,r~y �Narrator: Still, still my past pulled on me. • Some Arri can sense kept tugging, tugging at my truncated roots ·. z b t lg Sf■ 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, ••• qhoruss • And let the valley carry it along. And let the valley carcy it alorig. Narrator: As the poem, I emerged convoluted and wholly new, only to retreat to a• some-other-time refrain. Egypt , Ghana, Madagasoar, the Pyramids-Voodoo Ceremonies--what did they all mean to met Voice: Come with a blast of trumpets, Jesusl ~ Voice: And the beauty of Susanna Jones in red Burne in my heart a love-fire sharp like pain. Chorus a Sweet silver trumpets, Jesus I Voice: Well, son, I• 11 tell you: ~ Lit for me ain't been no crystal stair. (over) -r, " ) �Narrator: x blur of the veil was always relieved ~y song, • dance, ~ boolt..J--')._ , ill ill er C lX--- looking forward to t:t\e day when Americans• • would grow up. • We grew stronger, and DX>re 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 •em swift and wil' -- I Voice: Set way back, honey, Do that low-down step. Walk on over, darling, Nowl Come out ~i th your left. Narrator: y X )< - 1/-- I went to war, as$ soldier and cook and shining knight of Democracy• The Swastika, ~.7e 'A The Rising Sun, The Hammer & .iickle_,~ I was told, & a g eal enemy. e Do ♦son and I became a witness to the Meanwhile you had named me 0'1{ ..J:.!~l!t1e~~of neighborly enemies. Those who caused unnatural deaths. r Voice: l 1 Wake up, boy, and tell me how you died: I. What sense was alert last, Wha~ immediate intuition about us (over) -~· .•. ---- - - - - --------------~-- - - - - -- -· _ ______ .. .._, �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) ~ J "') Voice: Childish again and smeared •••• Chorus: Wake up,boy, ••• ~A...::. Voice : (' " ••• I go to death tomorrow, ,: Tell me what road you took, •• • {. Chorus: What hour in the day is luckiest? .' I''t f>s\ , c~.) \ I _I Voice: Did your Adams apple explode? Who sewed stitches in your angry heart? Chorus: O wake ••• Narrator: ._ sometiaes a tattered poem in the thirties, forties and fifites. But I was a poem anyway: gracious, noble, fundamental, fiery, ~ LJ, · Voice: For L my pe~~le everywhe:r~ singing their s ~ songs repeat- dly: heir dirges and their ditties and their blueaj.,s:L and jubilees\ mown J/~ rayin~- ~heir ~;,_;.,.. ,,~1gbt1y to ~ 1:,,., god_J)bending their knees humbly t o an (ov r) an:;_\~ ~ 1/ ' unl•••-: power0) 1 ) �Voice: my playmates in the ~ tor playhouse and concert and store and hair an d Miss Choomby and company; Vo ice: Let a new earth :{?.,e:~r-~,·•t , ri s e.~...__ ~ Chorus: Let another world be born. Let · a bloody peace be written in the sky. p,-1-~, 0) Voice: Let a race of m,~ / now rise and take control. Narrator: ~, I' Frank Marshall Davis, ,Melvin Beaunorous Tolson, Sterling Brown, ~ //'J/D ."" \J Jr , I (P 1\ t .Robert Hayden, ~Gwendolyn 1Brooks--these are names by which m:y · vo1ce is known. Some even call me by the name of HISTORY. Chorus: tii o(,tJ, r "- 11 ·History, history, history& Runagate, RunagatelRunagateJ Voice: ~ ~.t.-t.--. Runs falls rises stumbles on from darkness into darkness and the darlmese thicketed with shapes ot terror and the hunters pursuing and the hounds pursuing and the blackness ahead and when shall I reach that somewhere morning and keep on going and never turn back and keep on going •• •• Chorus: ~'\t . ) (. Runagatel Runagatel Runagatel (over) �Narrator: ~) (~ I wormed into and won hearts and minds. In 1950, A:iD.erica · gaT · me the Pulitzer Prize. I talked about a jewel named Satin-Legs Smith. Voice1 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 performance may 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 innards 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. ~1th shoulder padding that is wide And cocky and determined as his pride; Ballooning pants that taper off to ends Scheduled to choke precisely•- - - - - - - - . 1 / y___ (vver) �tor: ap l s: Amenl I am t he the powe l /rG~ Amen t Vo - and make it two-- Ba rtender, e (pointing ): {_1 On e me • e (po inting ): V • • • and o the n you. Na rrator: I became the Be Bo pper; U!.efot-suiter; I put on dark gl a sses and conk ed my hair · -1-j.., a s I sped North to f Wright 'i---. AIIIP the Promised Land. I and Ii tf'Baldwin cried for ne. John Oliver Killens He a rd the thunder andllillllllir E111son called me Invisible. Black, I left a white country , to fight yellow men in Korea. Ella, Miles, Monk, Billie, Pr ~s,~Chano Pozo, Ornet t e, Coltrane--they went to war with me. Chorus : Good morning heartachel ~ ~~ How do you do? M (over) �Hom: Brier medley of sounds and tunes reminiscent of the period. ~.' . J Narrator: Or ,.' • Beholdl The Strolll The Ks.naas City 81opl The Madiaonl The Twia~1 ~·T.he Funky Chicken I The Karate-Boogalool They saw me poeting with my hips and my feet. Poetingl Poetingl Narrator: J\. I ~r,~ V And took it all back to ~~andstand and other countries. Voice: There's a thrill upon the hill. Chorus: Let's go, let's go, let•s go~ ~ I .;:;;-e~from kDrea to Narrator: ~ntgomerJ, ~ they wouldn't let my mother sit down on a bus. Chorus: d Montgomery, Montgomery, I remember Montgomery• . • Voice: And Birmingbam--the three 11 ttle girls. ~~~ ­ Voice: And Selma I (j?---,(, Voice: And Philadelphia, Mississippi! ~ e Voice: I recollect &nmett Tilll Voice: ~ And W ttsl (over) C --f- �' Narrator: My nan,.e was Conrad Kent Ri v e r s . ~ became a poem called -Watts~·•.hoping that in su ch disguise I could .ti~d --my ,w y out ot this daily nightmare. Voice : Must I shoot the white man dea<!,___---~ ~ to tree the nigger in his head?._ _ __ _ ----- to head? Voice: And Newark l Voice: And Harlem! Narrator: My color felt good to me. X- At rally, I tumed 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 Ha rlem. {over) " �Chorus: Kulu Se Mama I Kulu Se Mama I cere Voice: the strin as some umbil cal jazz, r perhaps, long lost b in som ody cross, steel aalva • bleed, m some jazzm tea.rs 's rom lost My My mother~.s Chorus a love, lite . Narrator: • In the spit and dart of my new self, there (over) �anoes I had to make, blood-thoughts I had to share. . • I needed to take a X hand and stand and speak the trut~ Ch.6rua: Speak the truth to the peopiel ~ Voice: It is not necessary to green the heart Only to identify the enemy It is not ne cessary 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. . _~ n There are many kinds of open.) I ~ How a diamond comes into a knot of flame)S~ How a sound comes into a word, colored By who pays what ·c~eit speaking ••• • Chorus: Love is another kind of open-- J Voice: As a diamond comes into a !mot of f l a m e ~ . ,,l/ ~o~ I am black because I come from the earth's i n ~ Take my word for jewel in your open light. Narrator: I am the ecstasy of NOW. 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 our,1~h~Sfny~:~__;nEF¼ 111<.,,., Jr•'-- • (over) ..... liiPiF • ...- - - - - -..... -::=..-=-: -::-.-=--=--··-' .. ---- ..· - - - ~. . ~-------•-•--:--~ ffil fJlr �Voice(and Dan~er): . I am a black woman the music of my song ome sweet arpeggio of tears is written in a minor key and I can be heard humming in the ni gp.~ ~ r""",yVCV ~~ · . -- Chorus: HUms first line of "Nobody luJ.ows fhe ::'frouble I See 11 Voioe: :: 1, I saw my mate leap screaming J;o the sea -. i-'. • · and Vwith .. ' ,-, .. ·. these hands/cupped the lifebreath ''. . trom my issue in the canebrake ·.-: -J'.i}o.-..t-liat s 1 swinging body in a rain _of tearJ ;:. ··,,t'b\t ·l ·heard my son aoream all the way from Atu~io ,. .... , . ., •· '. ·.( f'-or' Peace he never knew. • • ~ I '~:: ,-. ... ~ ' - • ' ' J ' .learned Da Nang and Pork Chop Hill in anguish N~~ ~-; r.rry nostrils know the gas · and these triggered tire/d fingers . __1.~, . , \ ~ seek the softness in;Garrior 1 s beard ' .I ' . am a black woman tall as a cypress a_trong (over) \ �still and time and circumstance assailed impervious indestructible Look on me and be renewed. Chorus: Look on me and be renewed. - - - -30- - -- ---- ----- - . - - ---··· -- - ------------ ----- � 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_02 Title A name given to the resource Second 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 Second 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/502fbcab6217c045c5d1ccf9244afbd5.jpg b8a1d9a117352efec7ff35e574448c3d https://digitallis.isg.siue.edu/files/original/d5e7286ab89acb127be2dcf79f031196.jpg 0796fa2ea78f014d06d637d92e6cd47f https://digitallis.isg.siue.edu/files/original/b72dfe4270160d7248c01705f8388965.jpg 94ea27484b193529abe750f4ec9899cf https://digitallis.isg.siue.edu/files/original/85a6b411c0f72867ddd8a20690e90b65.jpg c6006c2885ceb71d2a9226e1a756a61c https://digitallis.isg.siue.edu/files/original/651da10eb7e4743a6fa3aef1866b4812.jpg f139c92d0f9f5610a9943dd5357aeec0 https://digitallis.isg.siue.edu/files/original/20f7d1fc9cc5ed95b8c9aab1235c0afe.jpg 1b3323c7e5a7e48cce7d453cf676c906 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 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Physical Dimensions The actual physical size of the original image 42 in. Materials Sequins, various fabrics, plastic 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_BLACK_DRESS Title A name given to the resource Self-Designed Black Fringe and Sequin Dress, Undated Description An account of the resource This black fringe and sequin dress was one of many Jean designed for her performances, and was also one of her personal favorites. It is a mock wrap-around style, featuring her signature fringe on one side in black and black sequins on the other. The fringe side is sleeveless while the sequin side (the wearer's right) has a full long sleeve cuffed with a sparkling beaded cuff. The neckline, which wraps around and continues down to meet four silver jeweled buttons, is made of long silver glass beads with additional white gem trim, in total about an inch in width. The dress has a black metal zipper in the back and would fall to just past knee length. This is also the dress Jean wears in photo JMK_2017_7_8_0001, "Jean in Self-Designed Dress, 2002" also in the Jean Kittrell Digital Collection. Creator An entity primarily responsible for making the resource Kittrell, Jean 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 Type The nature or genre of the resource Physical Object Date A point or period of time associated with an event in the lifecycle of the resource Undated Fringe Dress Jean Kittrell https://digitallis.isg.siue.edu/files/original/2f752e69022d3f4d76e0def21828e318.jpg 9841a0a02f52bc599e41af317058b2b0 https://digitallis.isg.siue.edu/files/original/f56847f9787b0ad3cf6918ba8668d25c.jpg d4a43d60290bbd6836eb2828dfb39f41 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 STL Jazz Club 2007 OLD ST. LOUIS LEVEE BAND Set A. Swansea (2007) [Insert features where desired. Look at the alternates. You may decide you prefer some of them.] OH, BABY, (F) Owen Murphy, 1928. Recorded by Eddie Condon & Gene Krupathat same year. IT DON'T MEAN A THING, (G min/C min) Duke Ellington & Irving Mills, 1932. Note Mills Bros. recording. MY HONEY'S LOVIN' ARMS, (F/Ab) Herman Ruby & Joe Beyer, 1922. Original Memphis Five with Phil Napoleon recorded it, among others. DOCTOR JAZZ, (Eb) SI TU VOIS, (Bb) Sid Bechet I HAD SOMEONE ELSE, (F) BLACK & BLUE, (A min) Fats Waller, Andy Razaf 1929. 12TH ST. RAG (Banjo) Euday L. Bowman, 1914. Louis recorded it 1927, Hot 7. DARKNESS ON THE DELTA, (C) PEORIA, (Bb/D min.) LYDA ROSE, (C?) OVER IN THE GLORYLAND, (Bb) OLD ST. LOUIS LEVEE BAND Set B, Swansea (2007) ROYAL GARDEN BLUES, (F/Bb) EXACTLY LIKE YOU, (C) BIG BUTTER & EGG MAN, (Bb) Louis Armstrong & Percy Venable, 1926. Hot Five recorded 1926 with May Alix on vocal. LOVE ME WITH A FEELING, (Bb) JAZZ BAND BALL, (G min/Bb) TISHOMINGO, (Bb) Spencer Williams, 1917. WEARY BLUES, Artie Matthews: LYRICS BY Mort Green, George Kates, 1915. Hot 7 1927. AINT' MISBEHAVIN', (F) IF I HAD YOU, (Bb) ORY'S CREOLE, (F/Bb) If Pat is in the mood to do it. ALAMABY BOUND, banjo DeSylva, Green, Henderson, 1924. Introduced [begin page 2] by Al Jolson. NOBODY'S SWEETHEART NOW, (Eb) MARGIE, (F) THAT'S A PLENTY OLD ST. LOUIS LEVEE BAND Set C, Swansea (2007) MARYLAND, MY MARYLAND, (F) LOUISIANA, (F) CONEY ISLAND WASHBOARD, (Bb) CLARINET MARMALADE, (F) UP A LAZY RIVER (F) SOUTH, (Eb) ST. LOUIS BLUES, (G) WOLVERINE BLUES, (Bb) BIRTH OF THE BLUES, (Bb) ANGRY, (F? Ab?) CARELESS LOVE, (F) SWING THAT MUSIC, (Bb) ALTERNATES: South Rampart Street Cakewalkin' Babies (Bb) Darktown Strutters Ball Cabaret, (F) San, (F) I Found A New Baby, (F) Fidgety Feet, (Bb/Eb/Ab) Sweet GA Brown, Jean? I Ain't Gonna Give Nobody None... Sheik of Araby, (Bb) Home, (Eb) Sine, (Eb) Old Rockin' Chair, (Eb) Lulu's Back..., (Eb) Deed I Do, (C) Linger A While, (F) What A Wonderful World, (F), Pat vocal Louisiana Fairy Tale, (Bb) Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Set list Physical Dimensions The actual physical size of the original image 8.5 x 11 in. 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_7_93_0043 Title A name given to the resource Set List for 2007 Old St. Louis Levee Band Swansea Performance Description An account of the resource Typed set list for 2007 Old St. Louis Levee Band performance in Swansea, Illinois sponsored by the St. Louis Jazz Club. This two-page document is divided into three sets followed by a list of alternate songs for band members to consider, and provides a look into the attention to detail and organization Jean Kittrell had as a band leader when planning for a performance. Along with the key(s) of each song, context information is provided about the inception and performance history of many, acting as a script for Kittrell and other band members to give their audience a history lesson along with the performance. Language A language of the resource English Creator An entity primarily responsible for making the resource Kittrell, Jean Date A point or period of time associated with an event in the lifecycle of the resource 2007 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 Swansea, Illinois Type The nature or genre of the resource Text Old St. Louis Levee Band St. Louis Jazz Club Swansea, Illinois https://digitallis.isg.siue.edu/files/original/39ec498a260931737507d974ea8d43fb.jpg 6d0aa17209c202f2448ffc0ab5ecdd4b 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 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 Black & white photograph Physical Dimensions The actual physical size of the original image 9.5 x 7.5 in. 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_2017_9_10_0001 Title A name given to the resource Signed George Brunies Photo, 1970 Subject The topic of the resource Brunies, George Description An account of the resource Black and white signed photo of dixieland trombonist George Brunies. Brunies is pictured playing the trombone into a imcrophone, and an unidentifiable pianist and trumpet player are pictured to the right. In the background is a patterned wall. Signature/dedication reads, "To my sweetheart the most swingingest gal in the world. I adore her. From the medicare minstrel Georg Brunis/1970/Love you/xxx/xx" in pink ink. Date A point or period of time associated with an event in the lifecycle of the resource 1970 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 Type The nature or genre of the resource Still Image Still Image George Brunies https://digitallis.isg.siue.edu/files/original/218f393afac784174a31b6f334300be4.jpg 0bcc1a624509038132a4fd02333b9f13 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 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 Black & white photograph Physical Dimensions The actual physical size of the original image 8 x 10 in. 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_2017_9_9_0001 Title A name given to the resource Signed Max Morath Photo, Undated Subject The topic of the resource Morath, Max Description An account of the resource Black and white signed publicity photo of jazz pianist Max Morath. Signature/dedication reads, "For Jean - with admiration and affection - Max Morath" in blue marker. Photo is undated. 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 Type The nature or genre of the resource Still Image Still Image Date A point or period of time associated with an event in the lifecycle of the resource Undated Max Morath https://digitallis.isg.siue.edu/files/original/a3902ea44622244d118e9d2cfa7291ea.jpg fd184a86271a8dc841179663ad7d58ab 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 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 Black & white photograph Physical Dimensions The actual physical size of the original image 9.5 x 7.5 in. 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_2017_9_24_0001 Title A name given to the resource Signed Photo of Edmond "Doc" Souchon, 1965 Subject The topic of the resource Souchon, Edmond Description An account of the resource Signed black and white publicity photo of jazz musician Ed "Doc" Souchon, pictured here playing guitar. The photo is signed, "May 9th/67-To Jean!/Because she has everything that it takes!/Warmly-/"Big Doc" Souchon." Jean Kittrell performed with Doc Souchon at the 1967 St. Louis Ragtime Festival aboard the Goldenrod Showboat, where she was given this photo. A typed section of text on the back of this photo notes that it was "taken at Royal Orleans Hotel "Jazz on Sunday Afternoon" sponsored by the New Orleans Jazz Club, Fall, 1965, by the celebrated jazz photographer George Fletcher, of Des Moines, Iowa." Creator An entity primarily responsible for making the resource Fletcher, George 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 New Orleans, Louisiana Type The nature or genre of the resource Still Image Still Image Date A point or period of time associated with an event in the lifecycle of the resource 1965 Doc Souchon New Orleans Jazz Club New Orleans, Louisiana https://digitallis.isg.siue.edu/files/original/34ebf741137e14174f3e13cdb8ba3771.jpg 2e5611d0cb7e35071e37920c49c8e4f5 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 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 Black & white photograph Physical Dimensions The actual physical size of the original image 8 x 10 in. 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_2017_9_20_0001 Title A name given to the resource Signed Photo of Glenn Meyer, 1979 Subject The topic of the resource Meyer, Glenn Description An account of the resource Signed black and white publicity photo of clarinetist Glenn Meyer who performed with Jean Kittrell in the St. Louis Rivermen. Photograph is signed in black ink, reading, "To Jean/Keep the good times rolling/Love/Glenn/4-18-79" in the upper left. Some light damage is visible on the right side of the photo. Creator An entity primarily responsible for making the resource Meyer, Chas R. Date A point or period of time associated with an event in the lifecycle of the resource 04/18/1979 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 Type The nature or genre of the resource Still Image Still Image Glenn Meyer https://digitallis.isg.siue.edu/files/original/d9595976e6bae65a8ac41ec246a3fd84.jpg 5a9fda945ed4cd3de3530bb1b5223c17 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 Jean Kittrell 11004 Florida Stree, Edwardsville, Illinois 62025-1421 Home 618/656-5696 Fax 618/656-5728 Email: kittrellj@sbcglobal.net www.jeankittrell.com Jass Incredibles - Incredible Music Bob Grimm, Noel Kaletsky, Jean Kittrell & David "Red" Lehr St. Louis Rivermen seven astounding musical stars Old St. Louis Levee Band a swinging five-piece band Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Business card Physical Dimensions The actual physical size of the original image 3.5 x 2 in. 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_7_78_0017 Title A name given to the resource Single-Sided Business Card of Jean Kittrell, Undated Subject The topic of the resource Kittrell, Jean Description An account of the resource Jean Kittrell's single-sided business cards which features Jean's role as leader of the Jazz Incredibles, St. Louis Rivermen, and Old St. Louis Levee Band. This business card is from later in Kittrell's career when the logos and identities of her three groups were clearly defined, including the Jazz Incredibles regular set-up as a four piece ensemble. Language A language of the resource English Creator An entity primarily responsible for making the resource Kittrell, Jean Date A point or period of time associated with an event in the lifecycle of the resource Undated 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 Edwardsville, Illinois Type The nature or genre of the resource Text Jazz Incredibles Jean Kittrell Old St. Louis Levee Band St. Louis Rivermen