Program in African American Culture Collection
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Collection created by the Program in African Amerian Culture at the Smithsonian Institution from 1979-1986.
The collection is arranged into four series.
Series 1, Programs Files, 1979-2004, undated
Series 2, Research Files, 1850-1995, undated
Series 3, Administrative Files, 1850-1995, undated
Series 4, Interviews, Speaking Engagements and Performances, 1964-2000, undated
The Program in African American Culture (PAAC) is a Smithsonian Institution research and programming office located in the National Museum of American History that was created as an outgrowth of the African Diaspora component of the 1975 and 1976 Festival of American Folklife. Founding director, Bernice Johnson Reagon, developed the Program in Black Culture, as the PAAC was originally, as a center for researching and presenting topics of interest to the study of African American history and culture. Reagon is a song leader, composer, scholar, and social activist, who was a founding member of the Student Nonviolent Coordinating Committee (SNCC) Freedom Singers in the Albany Movement in Georgia. The Program, which was transferred to the National Museum of American History in 1983, provided, and continues to provide, a forum for the presentation of traditional and historical forms of African American cultural expression. To accomplish this, Program in African American Culture (PAAC) staff conducted thorough research, which resulted in public programs including conferences, concerts, colloquia, and seminars on a wide range of topics.
Program in African American Culture Collection, Archives Center, National Museum of American History.
The collection was processed by Bryanna Bauer, intern, 2018; Stacey Coates, intern, 1992; Vicki Crawley, intern, 1990?; Kenya Doyle, intern, 2004; Julia S. Gibson, intern, 2019; Sarah Gould, intern, 1997; Ida Jones, archivist, 1997; Melissa Kaufman, intern, 2004; Danielle Snyder, intern, 2002; Justine Thomas, intern, 2018; Wendy A. Shay, archivist, 2004; and Vanessa Broussard- Simmons, archivist, 2019.
Duke Ellington Collection (NMAH.AC0301)
Ruth Ellington Collection of Duke Ellington Materials (NMAH.AC0415)
Eugene D. Smallwood Gospel Music Collection (NMAH.AC0456)
Wade in the Water Radio Series Collection (NMAH.AC0516)
Moses Moon Civil Rights Movement Audio Collection (NMAH.AC0556)
Bernice Reagon Johnson Collection of African American Sacred Music (NMAH.AC0653)
Edward and Gaye Collection of Duke Ellington Materials (NMAH.AC0704)
Ruth Koenig Mississippi Summer Collection (NMAH.AC0558)
Ed King Collection of Civil Rights Material (NMAH.AC0559)
Ralph Rinzler Folklife Archives and Collections
Smithsonian Folklife Festival records: 1969 Festival of American Folklife (CFCH.SFF.1969)
Smithsonian Institution Center for Folklife and Cultural Heritage, June 25-July 6, 1997 (CFCH.SFF.1997)
Diana Davies Photographs (CFCH.DAVIE)
Oral History Interview with Bernice Reagon Johnson, 1986 (Accession 009612)
National Museum of American History, Program in African American Culture, 1982-2002 (Accession 05-116)
National Museum of American History, Program in African American Culture, 1983-2004 (Accession 06-002)
National Museum of American History, Program in African American Culture, 1972-1999 (Accession 08-107)
National Museum of American History, Program in African American Culture, 1975-2000 (Accession 12-102)
National Museum of American History, Program in African American Culture, 1976-1999 (Accession 12-358)
National Museum of American History, Program in African American Culture, 1980-1992, 1961 (Accession 96-147)
Duke Ellington Collection Records, circa 1985-1993 (Accession 98-129)
National Museum of American History, Program in Black American Culture, circa 1976-1987 (Accession 98-136)
Smithsonian Institution. Division of Performing Arts (Accession 84-012)
The collection consists primarily of administrative files, audio, video, and photographic documentation of the programs presented by the Program in African American Culture (PAAC) from 1979 through 2004. There is a substantial amount of material documenting research conducted by the Program in African American Culture (PAAC) for its programming. In addition, administrative paperwork relating to the day-to-day activities of the Program in African American Culture (PAAC) are also included in the materials.
The collection is divided into four series. Series one consists of the material created for each program and is arranged in chronological order. Series two contains background materials and publications relating to subjects of program interest and is arranged in alphabetical order. Series three includes correspondence, contracts, resumes of presenters and performers and other forms of administrative files. Series four are materials relating to Smithsonian Institution or outside programs and performances.
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Consists of material documenting the planning, production, and execution of programs created by the Program in African American Culture (PAAC), with earlier records dating from when PAAC was known as the Program in African American History and the Program in Black American Culture, respectively. The materials primarily document the creative process involving lectures, conferences, symposiums, and concerts. Materials include correspondence, memoranda, notes, proposals, program schedules, and contracts, budget summaries, meeting agendas and minutes, request for building services, publications, reports, press releases, newspaper clippings, magazine articles and photographs, abstracts and transcripts of interviews. There is a small amount of material relating to programs that were not created by the Program on African American and predate its existence but was maintained in their offices. Primarily due to Bernice Reagon Johnson's, work before she head the Program on African American Culture. The materials are arranged first in chronological order by the date of the program. Within a program, materials are arranged first by textual records and then audiovisual materials. Program numbers were assigned by Archives Center staff for the purposes of duplicating audiovisual materials.
The Black Gospel Music Series celebrated the 1978 golden anniversary of the Dixie Hummingbirds in the Baird Auditorium, National Museum of Natural History, Smithsonian Institution, on October 14, 1979. The members included Beechy Thompson, baritone; Howard Carroll, guitar; Tucker; Davis; and co-lead singer James Walker. The group's move from South Carolina to Pennsylvania in 1942 symbolized their transition to the popular jubilee quartet style. The style of the Hummingbirds was more emotionally charged with controlled vocal technique, such as variation in dynamic level and attention to phrasing. Their soothing quality is heard in their well-known song, "It's Cool Down Yonder By Chilly Jordan." The concert was presented as part of the Black Gospel Music Series by the Division of Performing Arts. The Black Gospel Music Series and the Hummingbirds' program were organized by Bernice Johnson Reagon. Program number AC408.3.
The concert of the Echo Singers documented in the Program in African American Culture Collection celebrates and highlights the rich heritage of Black American community-based gospel music. Originally formed in 1945, the Echo Singers of Demopolis, Alabama, evolved a unique singing style that featured powerful, unaccompanied female voices creating harmonies rarely heard in modern gospel style. The repertoire heard in this program is built on forty years of gospel song evolution and is set in the gospel quartet arrangements of the late 1940s. The Echo Singers heard in this performance were re-organized in 1964 as a singing club by Sister Susie Ann Ingraham. At the time of this concert, they performed throughout Alabama and Mississippi in churches and for other clubs' anniversary dinners. The Echo Singers performers documented here are: Sister Susie Anne Ingraham (manager, arranger, tenor, swing lead); Sister Annie Lee Harris (alto, multa-bass); Sister Lottie Williams (bass); Sister Mattie Wilson (first lead); and Sister Lueticisha Smith, (third lead). Program number AC408.4.
O7T 408.4.1 Echo Singers sing hymns, without introductions.
"We Have Come This Far By Faith"
"John Wrote the Seven Seals"
"Set Down Servant"
"What A Fellowship"
"Tell Heaven"
"Let Us Walk Together Children"
O7T 408.4.2, part two of Echo Singers concert.
Same as OTC 408.4.1b and OTC 408.4.2a, 7.5 ips
Concert, December 16, 1979
Introductory remarks by Bernice Johnson Reagon
Introduction of members of the Echo Singers
Opening prayer Echo Singers sing the following hymns:
"We Have Come This Far By Faith"
"Seal Up Your Book John and Don't Write No More"
"Nobody Knows"
"Born Again"
"Tell Heaven"
"View That Holy City"
"Let Us Walk Together Children"
"Down on My Knees When Trouble Arrives"
"Have Mercy Upon Me"
"Cool Down Yonder On the Banks of Jordan"
"Taking Jesus Along With Me"
"What A Fellowship"
"Set Down Servant"
"I Wandered From My Home" "Steal Away"
"He Said He Would Make My Enemies Leave"
"Me Alone"
"This Is the Way I Do When Trouble Gets My Way"
"Somebody Gone," closing prayer
Concert, December 16, 1979
Introductory remarks by Bernice Johnson Reagon
Introduction of members of the Echo Singers
Opening prayer Echo Singers sing the following hymns:
"We Have Come This Far By Faith"
"Seal Up Your Book John and Don't Write No More"
"Nobody Knows"
"Born Again"
"Tell Heaven"
"View That Holy City"
"Let Us Walk Together Children"
"Down on My Knees When Trouble Arrives"
"Have Mercy Upon Me"
"Cool Down Yonder On the Banks of Jordan"
"Taking Jesus Along With Me"
"What A Fellowship"
"Set Down Servant"
"I Wandered From My Home"
"Steal Away"
"He Said He Would Make My Enemies Leave"
"Me Alone"
"This Is the Way I Do When Trouble Gets My Way"
"Somebody Gone," closing prayer
Hymn, "Ain't That Good News"
Hymn, "Ain't That Good News"
Hymn, "Ain't That Good News"
Fannie Lou Hamer, a sharecropper, determined voter registrant, and field worker for the Student Nonviolent Coordinating Committee (SNCC). She was an orator, political activist, and founder of the Mississippi Freedom Democratic Party. In addition to these contributions, she is noted for her speeches and singing, which influenced many during the Civil Rights Movement. Her strong religious background was often expressed through a sacred hymn before each of her speeches. She opened many gatherings with "This Little Light of Mine," one of her favorite songs.
Linda Reed. "Fannie Lou Hamer" in Black Women in America: An Historical Encyclopedia, volume A-L. New York: Carlson Publishing Incorporated, 1993.
Project co-sponsored by Howard University and the Smithsonian Institution. Featured evening concerts and a series of workshops and panels investigating aspects of Civil Rights Movement culture and its documentation. On Wednesday, January 30, and Thursday, January 31, 1980, Voices of the Civil Rights Movement, A National Working Conference on Civil Rights Movement Culture, held Songleaders' Workshop. Participants included Ibisoto Ajamu, Reverend James Brevel, Sam Block, Guy Carawan, Len Chandler, Jimmy Collier, Dorothy Cotton, James Farmer, Betty Mae Fikes, Charles Freeney, Emory Harris, Rutha Mae Harris, Jamila (Mary Ethel Jones), Marshall Jones, Matt Jones, Cleo Kennedy, Reverend Frederick Douglas Kirkpatrick, Bernard Lafayette, John Lewis, Joycelyn McKissick, Charles Neblett, Chico Neblett, Willie Peacock, James Orange, James Peacock, Amanda Bowens Perdew, Cordell Reagon, Carlton Reese, Reverend Charles Sherrod, and Hollis Watkins.
Friday, February 1, included a colloquium, discussing "The Black Church," "Activist Communities," and "Ethics and Morality." Friday also included an opening reception for "We'll Never Turn Back: An Exhibit of Movement Photographers." The photographers were Diana J. M. Davies, Bob Fitch, Bob Fletcher, Roland L. Freeman, Dee Gorton, Doug Harris, Matt Herron, Julius Lester, Danny Lyon, Charles Moore, Elaine Tomlin, Maria Varela, and Tamio Wakayama.
Saturday, February 2, included a colloquium, discussing "Telling the Story" and "Reconstructing History;" four small group workshops; and a concert.
Sunday, February 3, included "National Dissemination" and two concerts. The facilitators were Bernice Johnson Reagon, Vincent Harding, Howard Zinn, Julian Bond, Steven Henderson, and Ella Baker. Other presenters were Reverend Charles Sherrod, Reverend Fred Shuttlesworth, Diane Nash-Bevel, Reverend Dr. Wyatt Tee Walker, E. D. Nixon, Bob Moses, Dave Dennis, Bob Fletcher, Marc Crawford, Amzie Moore, Moses Moon (Alan Ribback), Thomas C. Battle, Joanne Grant, and James Forman. Program number AC408.5.
Wednesday, January 30, 1980, Songleaders' Workshop, Session I: "Introductions Through Song"
Bernice Johnson Reagon, Director of the Program in African American Culture in Performing Arts at the Smithsonian Institution, welcomes conference attendees.
Bernice Johnson Reagon introduces Julian Euell, Assistant Secretary for Public Service, Smithsonian Institution.
Julian Euell gives welcome speech discussing the Office of Public Service work with African American culture, the need to recapture the spirit of change present in the 1960s, and the need to use the feeling and energy of the 1960s to progress into the 1980s.
Bernice Johnson Reagon discusses the role of the Smithsonian in representing American cultures. Explains the conference is a result of the Civil Rights' Movement which addressed the potential of society.
Introduction of the songleaders. Each songleader introduces self with a song.
Bernice Johnson Reagon, Albany, Georgia; Albany College; National Association for the Advancement of Colored People (NAACP). Sings "Shine On Me."
Cordell Reagon, Sit-in Movement; Freedom Rides, Student Non-Violent Coordinating Committee (SNCC); Nashville,Tennessee; Mississippi; Alabama; Southwest Georgia Project; Cairo, Illinios; Mississippi Summer Project '64; Danville, Virginia. Sings "If You Walk For Freedom."
Guy Carawan, Highlander Research Center; Nashville, Tennessee. Speaks about the Highlander Center and its role in developing folk music, especially in the Civil Rights' Movement, and traveling throughout the South in the 1960s.
Guy and Candie Carawan perform "They Go Wild Over Me."
Willie Peacock, Student Non-Violent Coordinating Committee (SNCC), Mississippi. Speaks of his inspiration to make change. Sings "Come By Here."
Amanada Bowens Perdew, Student Non-Violent Coordinating Committee (SNCC), Americus Georgia Movement, and Americus Trio.
Tells the story of her first mass meeting.
Wednesday, January 30, 1980, Songleaders' Workshop. Session I: "Introductions Through Song." Amanda Bowens Perdew sings "I Ain't Scared A' Your Jail."
Charles Neblett, Student Non-Violent Coordinating Committee (SNCC); Cairo, Illinois; Freedom Singers I and II; and Mississippi Summer Project '64. Sings "Which Side Are You On?"
Hollis Watkins, Student Non-Violent Coordinating Committee (SNCC), Mississippi. Sings "I'm Gonna Leave You In the Hands Of the Lord," "Which Side Are You On?"
Cleo Kennedy, Birmingham Movement and Southern Christian Leadership Conference (SCLC). Sings "One Day Men Will Walk Together (Side By Side)" or "Can't You See Freedom Coming?"
Reverend Charles Sherrod, Sit-in Movement; Student Non-Violent Coordinating Committee (SNCC); Rock Hill, North Carolina; and Southwest Georgia Project. Sings "Do What the Spirit Says Do."
Joycelyn (Micela) McKissick (Myers), Sit-in Movement, Congress of Racial Equality (CORE), Congress of Racial Equality (CORE) Freedom Singers. Speaks about African American men in the prison system and also the CORE Freedom Singers. Sings "Take My Hand" and "Precious Lord."
Chico Neblett, Student Non-Violent Coordinating Committee (SNCC); Cairo, Illinios; Freedom Singers I and II; Southwest Georgia Project; Mississippi Summer Project '64. Sings "Brother You're Right" ("We Gonna Fight For Our Rights)."
Wednesday, January 30, 1980 Songleaders' Workshop. Session II: "Introductions Through Song II"
Evester Simpson Morris sings "This Little Light Of Mine."
Reverend Everend James Bevel, Sit-in Movement; Freedom Rides; Student Nonviolent Coordinating Committee (SNCC); Southern Christian Leadership Conference (SCLC); Nashville, Tennessee; Mississippi and Birmingham, Alabama. Discusses the philosophy of his ministry, topics include non-violence, the struggle of the 1980s, vegetarianism, and humility. Sings "Lord Forgive Me." Remarks by Bernice Johnson Reagon.
Wednesday, January 30, 1980, Songleaders' Workshop. Session II: "Introductions Through Song II"
Songleaders sing "To Know Freedom (Shall Be Mine)."
Bernice Johnson Reagon opens second session of "Introductions Through Song" facilitated by Guy Carawan. Ruth Mae Harris, Albany Movement, Student Nonviolent Coordinating Committee (SNCC), Southern Christian Leadership Conference (SCLC), and Freedom Singers. Sings "This Little Light of Mine" and "Ain't Gonna Let Nobody Turn Me Round."
Carlton Reese, Birmingham Movement, and Southern Christian Leadership Conference (SCLC). Sings "He Knows (How Much We Can Bear)" and "Four Little Kids Were Killed in Birmingham."
Len Chandler, Mississippi Summer '64, Arkansas; Selma to Montgomery March. Speaks of "cultural rip-off" in United States schools, Northern versus Southern and freedom songs. Sings "Move On Over," to the tune of "John Brown's Body" or "Battle Hymn of the Republic."
Betty Mae Fikes, Selma Movement, Student Nonviolent Coordinating Committee (SNCC) Freedom Singers. Sings "Yes God Is Real (I Can Feel It Down In My Soul)."
Wednesday, January 30, 1980, Songleaders' Workshop. Session II: "Introductions Through Song II"
Betty Mae Fikes, Selma Movement; Student Nonviolent Coordinating Committee (SNCC) Freedom Singers. Sings "Yes God Is Real (I Can Feel It Down In My Soul)."
Matthew Jones, Student Nonviolent Coordinating Committee (SNCC); Tennessee; Danville, Virgina; Freedom Singers. Sings "Oginga Odinga" and gives background of the song. Sings "I'm a Long Ways From Home." Jamila (Mary Ethel Jones), Montgomery Bus Boycott, Montgomery Trio. Sings "Murder on the Road In Alabama."
Emory Harris, Albany Movement; Student Nonviolent Coordinating Committee (SNCC); Southern Christian Leadership Conference (SCLC); Freedom Singers. Sings "The Lucky 01' Sun."
Marshall Jones, Student Nonviolent Coordinating Committee (SNCC); Tennessee; Freedom Singers. Sings a medley including "In My Life I Loved Them All," "Oh, Freedom," "In the Mississippi River," and "Ain't Gonna Let Nobody Turn Me Round."
Wednesday, January 30, 1980, Songleaders' Workshop. Session II: "Introductions Through Song II"
"Ain't Gonna Let Nobody Turn Me Round"
James Peacock, Student Nonviolent Coordinating Committee (SNCC), Mississippi; Freedom Singers II; Freedom Voices. Sings "Get On Board, Little Children."
Dorothy Cotton, Petersburg, Virgina Movement, Southern Christian Leadership Conference (SCLC) Voter Education Training Center. Sings "Strange Fruit" and "Come By Here."
Jimmy Collier, Southern Christian Leadership Conference (SCLC), Alabama; Chicago, Illinois; Poor People's March. Sings "Hands Off Encrouma," and "I'm On My Way (To the Freedom Land)."
James Orange, Southern Christian Leadership Conference (SCLC); Alabama; Chicago, Illinios; Poor People's Campaign; Jimmy Collier and The Movement Singers. Sings "Oh, Wallace" with Jimmy Collier.
Reverend Frederick Douglas Kirkpatrick, Louisiana Deacons for Defense, Southern Christian Leadership Conference (SCLC); Poor People's Campaign. Sings "Great Change (Since I Been Born)."
Wednesday, January 30, 1980. Songleaders' Workshop. Session II: "Introductions Through Song II"
Reverend Kirkpatrick sings "Great Change (Since I Been Born)," "Frank Wills (Why Did You Run?)" or "The Ballad of Frank Wills," and "No Cross, No Crown."
Guy Carawan introduces Charles Freeney, Southern Christian Leadership Conference (SCLC); Student Nonviolent Coordinating Committee (SNCC); Georgia; South Carolina.
Charles Freeney sings "One More Time (I'm Glad To Be In That Number)."
Bob Zellner, Huntington College, Alabama; Highlander Center. Sings "Momma's Hungry Eyes" by Merle Haggard. Remarks by Bernice Johnson Reagon, introduces Jibreel Khazan (Ezell Alexander Blair Jr.) and Franklin McCain as evening speakers.
Bernice Johnson Reagon leads "We'll Never Turn Back."
Wednesday, January 30, 1980, Songleaders' Workshop. Session III: "Sit-ins, Marches, Jails, Mass Meetings" (no sound for the first three minutes).
Cordell Reagon opens session with "You'd Better Leave Segregation Alone." Discusses sharing to create a space for expression and the acknowledgement and documentation of those in the Movement. Introduces Franklin McCain - one of the first people to sit-in at the Greensboro, North Carolina Woolworth's.
Franklin McCain briefly speaks and then excuses himself to give a television interview with local station Channel 7 News.
Jibreel Khazan (Ezell Alexander Blair Jr.) gives background on how the Movement came about including the role of Black Colleges. Discusses the planning of the Woolworth's sit-in on February 1, 1960. Speaks of Ralph Johns, Joseph McNeil, and A&T College in Greensboro, South Carolina. Sings "The Love of God."
Sam Block, Student Nonviolent Coordinating Committee (SNCC); Mississippi. Sings "Guide My Feet While I Run This Race."
Willie and James Peacock, Hollis Watkins, Evester Simpson Morris, Guy Carawan, and Reverend James Bevel called to stage to perform a song led by Sam Block. Group sings "Freedom Train A Coming."
Wednesday, January 30, 1980, Songleaders' Workshop. Session III: "Sit-ins. Marches. Jails. Mass Meetings"
Cordell Reagon organizes Sam Block, Betty Mae Fikes, Rutha Mae Harris, Emory Harris, Cleo Kennedy, and Carlton Reese to lead "Soldiers of the Cross."
Emory Harris sings "We'll Never Turn Back."
Bernice Johnson Reagon speaks about Bertha Gober who wrote "We'll Never Turn Back" after Reverend Herbert Lee was killed in McComb, Mississippi.
Bernice Johnson Reagon leads "Come and Go With Me To That Land." Betty Mae Fikes leads "Up Over My Head."
Carlton Reese leads "Traveling Shoes."
Sung by all:
"I Want My Freedom" "Freedom's Coming and It Won't Be Long" sung to tune of "The Banana Boat Song" "Michael Row the Boat Ashore" continued "I Know (We'll Meet Again)" led by Reverend James Bevel
Wednesday, January 30, 1980, Songleaders' Workshop, Session III: "Sit-ins. Marches. Jails. Mass Meetings."
"I Know (We'll Meet Again)" led by Reverend James Ames Bevel "Dog, Dog" led by Reverend James Ames Bevel "Keep Your Eyes On the Prize" "A Charge To Keep, I Have" led by Charles Neblitt "Which Side Are You On?" "Auction Black" led by Jamila (Mary Ethel Jones) "I've A Long Way To Go (To Be Like the Lord)" led by Cleo Kennedy
Thursday, January 31, 1980 Session I: "Groups and Ensembles"
Bernice Johnson Reagon gives welcome. Cordell Reagon, facilitator, discusses the Freedom Rides and Congress on Racial Equality (CORE). James Farmer, Congress on Racial Equality (CORE) founder; Chicago Sit-in Movement, 1940s; Freedom Rides. Sings "Woke Up With My Mind On Freedom." Discusses the first Freedom Rides and the use of songs in the Movement to create spirit and dispel fear. Sings "We'll See That Wall Come Down (If Two and Two and Fifty Make A Million)."
Thursday, January 31, 1980. Session I: "Groups and Ensembles"
"Freedom Is A Coming"
Jamila (Mary Ethel Jones) of the Montgomery Trio discusses the Knights and Daughter Table organization.
Sings "Meeting Tonight" with Guy Carawan.
"I'm So Glad" "We Are Soldiers In the Army" "Let Us Break Bread Together" "Oh Freedom" (slow version)
Remarks by Cordell Reagon including the role of white Civil Rights protestors.
Reverend James Bevel speaks about the Nashville Quartet. Speaks about types of Black preachers including "hoopers" and "intellectuals." Sings "I Love Everybody."
Thursday, January 31, 1980, Session I: "Groups and Ensembles"
Reverend James Bevel sings "I Need Your Warm Embrace."
"Coretta (Ode To Martin Luther King, Jr.)" led by Carlton Reese
"Were You There When They Crucified My Lord?" led by Rutha Mae Harris
Cleo Kennedy and Carlton Reese led "He Carried the Cross For Me" or "The Ballad for Martin Luther King," and "Yonder Come Day."
Bernice Johnson Reagon opens Session II, makes remarks about the organization and sponsorship of the conference. Guy Carawan, session facilitator, makes opening remarks.
John Lewis, Sit-in Movement; Freedom Rides; former chairman, Student Nonviolent Coordinating Committee (SNCC); Nashville Movement. Speaks about the Highlander Center, his first arrest, and the importance of the movement.
Guy Carawan sings "Ballad of the Student Sit-Ins," "Talking About Love In God's Kingdom," "I'm Gonna Sit At the Welcome Table," and "It Takes A Worried Man To Sing A Worried Song."
Thursday, January 31, 1980, Session II: "Groups and Ensembles"
"It Takes A Worried Man To Sing A Worried Song"
Candie and Guy Carawan perform "They Go Wild Over Me," "I Will Sing My Song Someday," predecessor to "We Shall Overcome," and other versions of the song.
Guy Carawan and Jamila (Mary Ethel Jones) perform "We Are Not Afraid," a version of "We Shall Overcome."
Joycelyn McKissick (Micaela) sings:
"We Went Down To Mississippi" "Take This Hammer" "Get Your Rights Jack" "Certainly Lord" "Freedom Train A Coming" "We're Marching On To Zion"
Student Nonviolent Coordinating Committee (SNCC) Freedom Singers I: Bernice Johnson Reagon, Charles Neblett, Rutha Mae Harris, and Cordell Reagon sing:
"Fighting For My (Our) Rights" "We Shall Not Be Moved" "Woke Up This Morning With Freedom On My Mind" "Ain't Gonna Let Nobody Turn Me Round" "Just A Closer Walk With Thee"
Thursday, January 31, 1980, Session II: "Groups and Ensembles"
"Just A Closer Walk With Thee" "Going Back To Southwest Georgia" or "I'm A Man of Constant Sorrow"
"Sometimes I Feel Like A Motherless Child"
Bernice Johnson Reagon introduces Pete Seeger who talks about the history of the protest song from pre-biblical to modern times.
Guy Carawan introduces Amanda Bowens Perdew of the Americus Trio. She speaks about Americus, Georiga and the significance of song in the survival of the participants of the Civil Rights Movement. Sings "This May Be the Last Time." Jimmy Collier sings "This May Be the Last Time."
Jimmy Collier and James Orange sing:
"(The Reason I Sing This Song) I Don't Wanna Be Lost In the Slums" "The Death On the Walls" "Burn Baby Burn" "Freedom Bells" "Woke Up This Morning With My Mind Staid On Freedom"
Thursday, January 31, 1980, Session II-III: "Groups and Ensembles"
"Woke Up This Morning With My Mind Staid On Freedom" and "Will the Circle Be Unbroken?"
Bernice Johnson Reagon closes session for dinner.
Unidentified woman speaks about the early integration of labor unions.
Bernice Johnson Reagon opens Session III. Sings "Lift Every Voice and Sing."
Bernice Johnson Reagon introduces Betty Mae Fikes of the Selma Freedom Choir. She talks about Selma, Alabama. Sings "Nobody Knows the Trouble I've Seen," "Walk With Me Lord," "This Little Light of Mine," and "Take My Hand, Precious Lord."
Remarks by Bernice Johnson Reagon including background on the Freedom Singers II. Introduces members Charles Neblett, Matt Jones, Chico Neblett, James Peacock, Rafael Bentham, Emory Harris, and Marshall Jones. Freedom Singers II sing "Oginga Odinga."
Thursday, January 31, 1980, Session III: "Groups and Ensembles"
Freedom Singers II
"Ol' Tire' River" "In the Mississippi River" "Demonstrating GI" "No Jail, No Bail (Can't Fight It All Alone)"
Dorothy Cotton sings
"Wade In the Water" "Joshua Fit the Battle of Jericho" Speaks about Miles Horton, the Highlander Center, and the Citizen Education Program. "Why Was the Darkie Born?"
Thursday, January 31, 1980, Session III: "Groups and Ensembles"
"Why Was the Darkie Born?"
Bernice Johnson Reagon introduces Carlton Reese and Cleo Kennedy of the Alabama Christian Movement Choir.
Carlton Reese and Cleo Kennedy perform
"One Day Men Will Walk Together Side by Side" "Come On On Freedom's Side" "Pilgrim of Sorrow" "Carrying the Cross for Our Rights" "We Shall Overcome"
Remarks by Bernice Johnson Reagon.
Introduces Reverend Frederick Douglas Kirkpatrick. Sings "God Specializes," and "Fight On Soweto, Fight On."
Reverend Kirkpatrick introduces Jimmy Collier who speaks about the Poor People's Campaign.
Sings "Everybody's Got A Right To Live."
Thursday, January 31, 1980, Session III: "Groups and Ensembles"
Jimmy Collier sings "Everybody's Got A Right To Live" and talks about filling in the missing pages of United States history.
Reverend Kirkpatrick sings "The Ballad of James [Jan Ernst] Matzeliger," and "We Shall Overcome."
Session ends.
Friday, February 1, 1980, Colloquium. Session I: "The Black Church"
Bernice Johnson Reagon welcomes and recaps conference and reviews schedule for the remainder of the conference. Introduces Vincent Harding, session facilitator and Director, Institute of the Black World, Wallingford, Pennsylvania; Reverend Charles Sherrod, City Commissioner, Albany, Georgia; and Reverend Fred Shuttlesworth, Greater New Light Baptist Church, Cincinnati, Ohio.
Vincent Harding, Reverend Charles Sherrod, and Reverend Fred Shuttlesworth lead "Guide My Feet While I Run This Race."
Vincent Harding discusses the significance of the day's date, and the anniversary of the Greensboro, North Carolina sit-in at the Woolworth's lunch counter. Discusses the role of the Black Church in shaping the Movement and that of the Movement in shaping the Black Church.
Friday, February 1, 1980, Colloquium, Session I: "The Black Church"
Vincent Harding discusses the role of the Black Church in shaping the Movement and that of the Movement in shaping the Black Church.
Charles Sherrod talks about growing up in the church and the church's role. Sings "Nothing But A Soldier."
Fred Shuttlesworth talks about the church's endorsement of the Movement.
*TAPE IS DAMAGED, DO NOT USE
Friday, February 1, 1980, Colloquium, Session I: "The Black Church"
Fred Shuttlesworth talks about the church's endorsement of the Movement. Sings "Use Me Lord In Thy Service (All the Way)." Vincent Harding opens the floor to questions. Fred Shuttlesworth expresses the need to spread information about the 1950s-1960s to the present generation in order to keep the Movement alive and Charles Sherrod emphasizes the importance of youth involvement.
Bernice Johnson Reagon closes the session.
Friday, February 1, 1980, Colloquium, Session II: "Activist Communities"
Bernice Johnson Reagon opens session.
Howard Zinn, facilitator, Boston University. Discusses the function of activist communities and the kinds of activist communities needed today.
Friday, February 1. 1980, Colloquium, Session II: "Activist Communities"
Howard Zinn, facilitator, Boston University. Discusses the function of activist communities and the kinds of activist communities needed today.
Diane Nash Bevel, Executive Director Far South Suburban Housing Service, Ricton Park, Illinois. Compares activist communities of the Civil Rights' Movement and activist communities today.
Reverend Dr. Wyatt T. Walker, Canaan Baptist Church, New York City, New York. Discusses the most significant effect and the greatest defect of the Civil Rights' Movement.
Friday, February 1, 1980, Colloquium, Session II: "Activist Communities"
Reverend Dr. Wyatt T. Walker, Canaan Baptist Church, New York City, New York Discusses the most significant effect and the greatest defect of the Civil Rights' Movement. Opens session to questions and comments.
Bernice Johnson Reagon makes announcement and closes session.
Friday, February 1, 1980, Colloquium, Session III: "Ethics and Morality" E.D. Nixon, Brotherhood of Sleeping Car Porters; Montgomery Bus Boycott; Montgomery, Alabama. Discusses Rosa Parks, the Montgomery Bus Boycott, and the Labor Movement. Leads "Move On Over."
Ella Baker, National Association for the Advancement of Colored People (NAACP); former Executive Director of Southern Christian Leadership Conference (SCLC); founding member, "godmother," of Student Non-Violent Coordinating Committee (SNCC). Discusses the importance of influencing society and making the future a better place by continuing the struggle.
Guy Carawan sings "People Like You Help People Like Me Go On."
Bernice Johnson Reagon sings "Fannie Lou Hammer."
Friday, February 1, 1980, Colloquium, Session III: "Ethics and Morality"
Bernice Johnson Reagon sings "Fannie Lou Hammer." Leads "This Little Light of Mine."
Bob Moses speaks about finding one's light and pride in one's culture.
Reverend Frederick Douglass Kirkpatrick leads with children "If You All Want Your Freedom" (sung to the time of "If You're Happy and You Know It"). Sings "Don't Smoke Marijuana" and "Congress."
Friday, February 1, 1980, "We'll Never Turn Back" Exhibit Opening Songleaders sing: "This Little Light of Mine" "Freedom Train A' Coming" "We'll Never Turn Back"
Bernice Johnson Reagon calls Roger Kennedy, Mayor Marion Barry, Dr. Lorraine Williams, Edith Mayo, and Worth Long to the platform.
Bernice Johnson Reagon introduces Roger Kennedy of the Museum of History and Technology, Smithsonian Institution. Roger Kennedy give welcome and thanks the sponsors and contributors. Introduces Mayor Marion Barry, former chairman of SNCC and mayor of Washington, DC. Mayor Marion Barry speaks about continuing to improve racial relations.
Dr. Lorraine Williams, Vice President for Academic Affairs, Howard University. Discusses the sacrifice required in the pursuit of freedom.
Edith Mayo, Associate Curator, Museum of History and Technology, Smithsonian Institution. Discusses the work involved in putting together the "We'll Never Turn Back" photo exhibit.
Friday, February 1, 1980, "We'll Never Turn Back" Exhibit Opening
"We Shall Overcome."
Saturday, February 2, 1980, Colloquium, Session I: Telling the Story
Bernice Johnson Reagon opens session and makes announcements.
Julian Bond, facilitator; former director of communications, Student Non-Violent Coordinating Committee (SNCC); Georgia State Senator, 39th District; Atlanta, Georgia. Introduces speakers Bob Fletcher, Marc Crawford, and Moses Moon (Alan Ribback).
Marc Crawford, journalist, Time Capsule, Incorporated, New York, New York. Speaks of the Black press in the late 1950s and early 1960s, the role of the Black press, the start of mainstream press coverage of Black news stories, and the influence of the Civil Rights' Movement on other countries.
Moses Moon talks about his introduction to audio documentation.
Saturday, February 2, 1980, Colloquium, Session I: Telling the Storv
Moses Moon (Alan Ribback) talks about his introduction to audio documentation and his experience as a white Civil Rights' Movement participant. Plays a selection of audio recordings from mass meetings, including "Go Tell It On the Mountain," sung by Fannie Lou Hammer.
"Freedom Now" "Oh Freedom," sung by Willie Peacock "I'm Walking For My Freedom" "Ain't Scared A Your Jail," sung by Sam Block "Wade In the Water" lead by Willie Peacock "Certainly Lord" sung by Fannie Lou Hammer "Ain't Gonna Let Nobody Turn Me Round"
Bob Fletcher speaks about how he became a Civil Rights' Movement photographer.
Saturday, February 2, 1980, Colloquium, Session I: Telling the Story Bob Fletcher talks about the dangers of photographing the Civil Rights' Movement, the Black Panthers and Black Power. Shows a series of photographs while Moses Moon (Alan Ribback) plays a recording of "This Little Light of Mine."
Matthew Jones speaks.
Charles Sherrod takes over as facilitator.
Hollis Watkins talks about the Freedom Schools and Head Start Centers that came out of the Movement.
Comments from the audience including Reverend Bevel who speaks about love and truth.
Saturday, February 2, 1980, Colloquium, Session II: Reconstructing History
Bernice Johnson Reagon speaks about respecting others and introduces Dr. Thomas Battle, Joanne Grant, James Forman, and Dr.Steven Henderson.
Dr.Steven Henderson, facilitator; Director, Institute for the Arts and Humanities, Howard University. Talks about documentation through oral history.
Dr. Thomas Battle, Acting Director, Civil Rights' Movement Oral History
Collection, Moorland-Spingarn Research Center, Howard University. Reads from
Saturday, February 2, 1980, Colloquium, Session II: Reconstructing History
Dr. Thomas Battle speaks about the Civil Rights' Movement Documentation Project.
Joanne Grant, Ella Baker Documentary Film Group, New York, New York. Makes a reference to the film
James Forman, former Executive Secretary, Student Non-Violent Coordinating Committee (SNCC); writer; Cornell University, Ithaca, New York. Speaks about writing and reconstructing history, the role of and lessons learned from Student Non-Violent Coordinating Committee (SNCC), and things to do in the future.
Saturday, February 2, 1980, Colloquium, Session II: Reconstructing History
James Forman speaks about the Central Intelligence Agency (CIA) and Federal Bureau of Investigation FBI)'s involvement in Student Non-Violent Coordinating Committee (SNCC), the importance of studying political movements, and united action against oppression.
Discussion is opened to the audience. Topics include: music as communication, secret societies, the Palmer raids, and the Central Intelligence Agency (CIA) and Federal Bureau of Investigation (FBI).
Bernice Johnson Reagon makes announcement and closes the session.
Saturday, February 2, 1980, Songleaders' Workshop Concert
"This Little Light of Mine" "We Are Soldiers" "Oh Freedom" "We'll Never Turn Back"
Bernice Johnson Reagon makes remarks and introduces Bernard Lafayette.
Bernard Lafayette talks about the Freedom Rides, Robert F. Kennedy, and the power of non- violence. Sings "The Buses Are A' Coming (Oh Yes)."
Len Chandler sings "Keep On Keeping On."
Saturday, February 2, 1980, Songleaders' Workshop Concert I
Len Chandler sings "Keep On Keeping On," "The Master Plan," "We Will Not Bow Down," "Roll, Freedom, Roll," "Father's Grave," "Murder On the Road In Alabama," and "Right! Right!"
Ibisoto Ajamu, Southern Christian Leadership Conference (SCLC); Chicago, Illinois. Sings "Sometimes I Feel Like A Motherless Child," and "People Get Ready" with Jimmy Collier. Also sings "All You Need To Keep Your Soul Alive."
Willie Peacock, James Peacock, Sam Block, Hollis Watkins, and Evester Sdimpson sings " Guide My Feet While I Run This Race."
Saturday, February 2, 1980, Songleaders' Workshop Concert I
Willie Peacock, James Peacock, Sam Block, Hollis Watkins, and Evester Simpson sing "Guide My Feet While I Run This Race," "Been Down Into the South," "Go Tell It On the Mountain," and "Leave You In the Hands of the Lord."
Bernice Johnson Reagon makes remarks and announcements.
Carlton Reese and Cleo Kennedy sing "Four Little Girls Were Killed In Birmingham," and "No Man Is An Island."
Sunday, February 3, 1980, Songleaders' Workshop Concert II
Freedom Singers lead "Traveling Shoes," "Come on on Freedom's Side," "We Shall Overcome" with piano, and "There Is A Balm In Gilead."
Bernice Johnson Reagon talks about the founding of the Program in African American Culture at the Smithsonian Institution, progress and movements in the 1970s; keeping in touch with participants of the Civil Rights Movement and,recognizing their contributions to the Movement.
Sunday, February 3, 1980, Closing Session, "National Dissemination" Bernice Johnson Reagon speaks about continuing to fight against oppression; organizing a traveling exhibit based on the "We'll Never Turn Back" photography exhibit; and recording the oral history of the Civil Rights Movement in various cities instrumental in the Movement.
Suggestions and comments from the audience.
Sunday, February 3, 1980, Closing Session, "National Dissemination"
More comments and suggestions on a "National Dissemination"
Sunday, February 3, 1980, Closing Session, "National Dissemination"
More comments and suggestions on a "National Dissemination"
Sunday, February 3, 1980,. Closing Session "National Dissemination"
More comments and suggestions on a "National Dissemination"
Sunday, February 3, 1980, Closing Session, "National Dissemination"
More comments and suggestions on a "National Dissemination."
Sunday, February 3, 1980, Songleaders' Workshop Concert II
Rutha Mae Harris sings "If I Can Help Somebody," and "He Touched Me."
Emory Harris lines out a song and sings "The Lucky Ole Sun."
Sunday, February 3, 1980, Songleaders' Workshop Concert II Rutha Mae Harris sings "If I Can Help Somebody," and "He Touched Me."
Emory Harris lines out a song and sings "The Lucky Ol' Sun."
Sunday, February 3, 1980, Songleaders' Workshop Concert II
Jimmy Collier sings "Stop the Fires of Napalm," "Keep On Pushing," and "Freedom Now."
Betty Mae Fikes sings "Yes God Is Real."
Sunday, February 3, 1980, Songleaders' Workshop Concert II Jimmy Collier sings "Stop the Fires of Napalm," "Keep On Pushing," and "Freedom Now." Betty Mae Fikes sings "Yes God Is Real," and "Oh Lord, Help Me To Carry On."
Sunday, February 3, 1980, Songleaders' Workshop Concert II
Betty Mae Fikes "Oh Lord, Help Me To Carry On."
James Orange sings "Oh Wallace," and "Another Day's Journey."
Unidentified woman sings "Doodlebug" (children's song).
Sunday, February 3, 1980, Songleaders' Workshop Concert II
Betty Mae Fikes sings "Oh Lord, Help Me To Carry On."
James Orange sings "Oh Wallace," and "Another Day's Journey."
Unidentified woman sings "Doodlebug"(children's song) and "No More."
Frederick Douglass Kirkpatrick sings "Fight On Soweto, Fight On."
Sunday, February 3, 1980, Songleaders' Workshop Concert III
Bernice Johnson REAGON sings "Over My Head."
Guy Carawan sings "People Like You Help People Like Me Go On."
Sunday, February 3, 1980, Songleaders' Workshop Concert II
Frederick Douglass Kirkpatrick sings "Fight On Soweto, Fight On," and "The Ballad of Dr. Charles Drew." Bernice Johnson Reagon leads "This Little Light of Mine" with piano.
Sunday, February 3, 1980. Songleaders' Workshop Concert III
Bernice Johnson Reagon sings "Up Over My Head."
Guy Carawan sings "People Like You Help People Like Me Go On," and "Inch By Inch, Row By Row (We're Gonna Make This Garden Grow)."
Sunday, February 3, 1980, Songleaders' Workshop Concert III
Guy Carawan sings "People Like You Help People Like Me Go On," "Inch By Inch, Row By Row (We're Gonna Make This Garden Grow)," "I'm Going Back To Tennessee," and "Ain't You Got A Right To the Tree of Life?" Amanda Bowens Predew sings "I Ain't Scared of Your Jail," and "I'll Be Living Up There."
Sunday, February 3, 1980, Songleaders' Workshop Concert III
Guy Carawan sings "I'm Going Back To Tennessee," and "Ain't You Got A Right To the Tree of Life?"
Amanda Bowens Perdew Sings "I Ain't Scared A Your Jail," and "I'll Be Living Up There."
Emory Harris, Rafael Bentham, Marshall Jones, Charles Neblitt, and Matthew Jones.
Sunday, February 3, 1980, Songleaders' Workshop Concert III
Emory Harris, Rafael Bentham, Marshall Jones, Charles Neblitt, and Matthew Jones sing "The Prophecy of a Student Non-Violent Coordinating Committee (SNCC) Field Secretary," and "As-Salaam-Alaikum" a Muslum prayer song ("Peace Be Unto You").
Reverend Charles Sherrod.
Sunday, February 3, 1980,. Songleaders' Workshop Concert III
EMORY HARRIS, RAFAEL BENTHAM, MARSHALL JONES, CHARLES NEBLITT, and MATTHEW JONES Sing "The Prophecy of a SNCC Field Secretary" "As-Salaam-Alaikum" a Muslum prayer song ("Peace Be Unto You")
REV. CHARLES SHERROD leads "Will the Circle Be Unbroken?"
Sunday. February 3. 1980. Songleaders' Workshop Concert III
BOB ZELLNER Sings "Been Down Into the South" "Guide My Feet While I Run This Race" Freedom Singers "Can't You Hear God's Children Praying In Jail?"
BERNICE JOHNSON REAGON leads "I'm On My Way To Freedom Land"
Sunday. February 3, 1980. Songleaders' Workshop Concert III
REV. CHARLES SHERROD leads "Will the Circle Be Unbroken?"
BOB ZELLNER Sings "Been Down Into the South" "Guide My Feet While I Run This Race"
Freedom Singers "Can't You Hear God's Children Praying In Jail?"
Sunday. February 3. 1980. Songleaders' Workshop Concert III
Freedom Singers "Can't You Hear God's Children Praying In Jail?"
BERNICE JOHNSON REAGON leads "I'm On My Way To Freedom Land"
CORDELL REAGON leads "Dog, Dog"
CHICO NEBLITT sings "Brother You're Right"
CHARLES NEBLITT
Sunday. February 3. 1980. Songleaders' Workshop Concert III
CORDELL REAGON leads "Dog, Dog"
CHICO NEBLITT sings "Brother You're Right"
CHARLES NEBLITT sings "There Is A Balm In Gilead"
CORDELL REAGON and REV. JAMES BEVEL lead "We Shall Overcome"
Sunday. February 3. 1980. Songleaders' Workshop Concert III
CHARLES NEBLITT sings "There Is A Balm In Gilead"
CORDELL REAGON and REV. JAMES BEVEL lead "We Shall Overcome"
Saturday. February 2, 1980. Workshop I: Oral History
Workshop participants interview each other as an exercise in documenting oral history. BERNICE JOHNSON REAGON talks about how to effectively interview a person and takes comments from the participants.
Saturday. February 2. 1980. Workshop I: Oral History
BERNICE JOHNSON REAGON sets up more mock interviews, gives technical advice about recording interviews, and talks about how to deal with sensitive topics.
Saturday. February 2. 1980. Workshop I: Oral History
BERNICE JOHNSON REAGON talks about dealing with sensitive issues.
Saturday, February 2. 1980. Workshop I: Oral History
BERNICE JOHNSON REAGON continues on oral history.
"Movement Songstorv" Narrated by JAMES EARLY and BERNICE JOHNSON REAGON CORDELL REAGON sings "You'd Better Leave Segregation Alone" Freedom Singers sing "Dog, Dog" REVEREND JAMES BEVEL sings "I Need Your Warm Embrace" REVEREND CHARLES SHERROD and VINCENT HARDING speak about the role of the Black Church in the Movement. "Got On My Traveling Shoes" GUY CARAWAN speaks. "Carrying the Cross For Our Rights" GUY CARAWAN sings "Heed the Call Americans All" "Woke Up This Morning With Freedom Staid On My Mind" "Ain't Gonna Let Nobody Turn Me Round" JIMMY COLLIER sings "Burn, Baby, Burn" The Poor Peoples' Campaign REVEREND FREDERICK DOUGLAS KIRKPATRICK sings "Everybody's Got A Right To Live" JIMMY COLLIER sings "Stop the Fires of Napalm" SNCC Freedom Singers sing "Oginga Odinga" REVEREND FREDERICK DOUGLAS KIRKPATRICK sings "Fight On Soweto, Fight On" "We'll Never Turn Back"
"Movement Songstorv" Narrated by JAMES EARLY and BERNICE JOHNSON REAGON CORDELL REAGON sings "You'd Better Leave Segregation Alone" Freedom Singers sing "Dog, Dog" REVEREND JAMES BEVEL sings "I Need Your Warm Embrace" REVEREND CHARLES SHERROD and VINCENT HARDING speak about the role of the Black Church in the Movement. "Got On My Traveling Shoes" GUY CARAWAN speaks. "Carrying the Cross For Our Rights" GUY CARAWAN sings "Heed the Call Americans All" "Woke Up This Morning With Freedom Staid On My Mind" "Ain't Gonna Let Nobody Turn Me Round" JIMMY COLLIER sings "Burn, Baby, Burn" The Poor Peoples' Campaign REVEREND FREDERICK DOUGLAS KIRKPATRICK sings "Everybody's Got A Right To Live" JIMMY COLLIER sings "Stop the Fires of Napalm" SNCC Freedom Singers sing "Oginga Odinga" REVEREND FREDERICK DOUGLAS KIRKPATRICK sings "Fight On Soweto, Fight On" "We'll Never Turn Back"
"You Should Have Been There" JAMES EARLY narrates E.D. NIXON, Brotherhood of Sleeping Car Porters. Tells the story of Rosa Parks and the Montgomery Bus Boycott. BOB ZELLNER sings "Momma's Hungry Eyes" and talks about being a white Civil Rights activist in Alabama. LEN CHANDLER sings "Roll, Freedom, Roll" "This May Be the Last Time"
"Buses Are A' Coming"
Songleaders sing "Buses Are A' Coming" REVEREND BERNARD LAFAYETTE, Nashville Movement. Tells story of time in jail and singing "Buses Are A' Coming"
"Mississippi Rivers of Struggle"
RVU 408.5.17 JAMES EARLY narrates Black struggle in Mississippi from Reconstruction to the 1960's. BOB MOSES speaks about Ella Baker, Amzie Moore, and the Voter Registration Project. EVESTER SIMPSON MORRIS speaks about the Voter Registration Project and sings "This Little Light of Mine" WILLIE PEACOCK sings "Come By Here" JAMES PEACOCK sings "Way Down In the Ol' Tire' River" SAM BLOCK sings "Lord Guide My Feet While I Run This Race" "In the Mississippi River"
"All the Way" The Birmingham Movement CLEO KENNEDY and CARLTON REESE perform "Cant You See Freedom Coming?" FRED SHUTTLESWORTH talks about the Birmingham Movement and sings "All the Way"
"Black Women Singers in Songs and Struggles"
BERNICE JOHNSON REAGON narrates RUTHA MAE HARRIS sings "Jacob's Ladder" IBISOTO AJAMU sings "Sometimes I Feel Like A Motherless Child" DOROTHY COTTON sings "Woke Up This Morning With Freedom On My Mind" BETTY MAE FIKES sings "This Little Light of Mine" "Lord Help Me To Carry On" AMANDA BOWENS PERDEW sings "Ain't Scared of Your Jails" CLEO KENNEDY "Can't You See Freedom Coming?" JAMILA sings "We Are Soldiers In the Army" BERNICE JOHNSON REAGON sings "Freedom Train A' Coming" RUTHA MAE HARRIS sings "I'm On My Way To Freedom Land"
"Black Women Singers in Songs and Struggles"
BERNICE JOHNSON REAGON narrates RUTHA MAE HARRIS sings "Jacob's Ladder" IBISOTO AJAMU sings "Sometimes I Feel Like A Motherless Child" DOROTHY COTTON sings "Woke Up This Morning With Freedom On My Mind" BETTY MAE FIKES sings "This Little Light of Mine" "Lord Help Me To Carry On" AMANDA BOWENS PERDEW sings "Ain't Scared of Your Jails" CLEO KENNEDY "Can't You See Freedom Coming?" JAMILA sings "We Are Soldiers In the Army" BERNICE JOHNSON REAGON sings "Freedom Train A' Coming" RUTHA MAE HARRIS sings "I'm On My Way To Freedom Land"
"Mississippi Fighters"
SWEET HONEY IN THE ROCK performs "Fannie Lou Hammer" BOB MOSES talks about Fannie Lou Hammer "This Little Light of Mine" DOROTHY COTTON talks about Fannie Lou Hammer and the Literacy Project.
HOLLIS WATKINS talks about his experience in the movement and sings: "Which Side Are You On?" "Been Down Into the South" "I'm Gonna Leave You In the Hands of the Lord" "Which Side Are You On?" "Go Tell It On the Mountain"
"Taking Some Stands"
MATT JONES and MARSHALL JONES talk about their father and the Ku Klux Klan. MARSHALL JONES sings "Demonstrating G.I." JAMES ORANGE sings "Oh, Wallace" LEN CHANDLER sings "Move On Over Or We'll Move Over You"
"Taking Some Stands"
MATT JONES and MARSHALL JONES talk about their father and the Ku Klux Klan. MARSHALL JONES sings "Demonstrating G.I." JAMES ORANGE sings "Oh, Wallace" LEN CHANDLER sings "Move On Over Or We'll Move Over You"
Voices of the Civil Rights Movement, program photographs
Voices of the Civil Rights Movement, final evaluation report
Voices of the Civil Rights Movement, program photographs
Voices of the Civil Rights Movement, program photographs
Voices of the Civil Rights Movement, program photographs
Voices of the Civil Rights Movement, publicity photographs
Voices of the Civil Rights Movement, photographs by Joe Alper
Wednesday, January 30, 1980, Songleaders' Workshop. Session I: "Introductions Through Song"
Side A
Bernice Johnson Reagon, Director of the Program in African American Culture in Performing Arts at the Smithsonian Institution, welcomes conference attendees.
Julian Euell, Assistant Secretary for Public Service, Smithsonian Institution, gives welcome speech discussing the Office of Public Service's work with African American culture; the need to recapture the spirit of change present in the 1960s; and the need to use the feeling and energy of the 1960s to progress into the 1980s.
Bernice Johnson Reagon discusses the role of the Smithsonian in representing American cultures. Explains the conference is a result of the Civil Rights' Movement which addressed the potential of society.
Introduction of the songleaders. Each songleader introduces self with a song.
Bernice Johnson Reagon, Albany, Georgia, Albany College, National Association for the Advancement of Colored People (NAACP) sings "Shine On Me."
Cordell Reagon, Sit-in Movement; Freedom Rides, Student Non-Violent Coordinating Committee (SNCC) Nashville, Tennessee; Mississippi; Alabama; Southwest Georgia Project; Cairo, Illinois; Mississippi Summer Project '64; Danville, Virginia.
Side B
Cordell Reagon (continued) sings "If You Walk For Freedom."
Guy Carawan, Highlander Research Center; Nashville, Tennessee. Speaks about the Highlander Center and its role in developing folk music, especially in the Civil Rights' Movement, and traveling throughout the South in the 1960s.
Guy and Candie Carawan perform "They Go Wild Over Me." Willie Peacock, Student Non-Violent Coordinating Committee (SNCC); Mississippi. Speaks of his inspiration to make change. Sings "Come By Here."
Amanda Bowens Perdew, Student Non-Violent Coordinating Committee (SNCC); Americus, Georgia Movement; Americus Trio. Tells the story of her first mass meeting. Sings "I Ain't Scared A' Your Jail."
Charles Neblett, Student Non-Violent Coordinating Committee (SNCC); Cairo, Illinois; Freedom Singers I and II; Mississippi Summer Project '64.
Wednesday. January 30. 1980 Songleaders' Workshop. Session I: "Introductions Through Song" 10:30 am - 11:30 am
Side A
CHARLES NEBLETT (cont.) Sings "Which Side Are You On?"
HOLLIS WATKINS, SNCC; Mississippi. Sings "I'm Gonna Leave You In the Hands Of the Lord" "Which Side Are You On?"
CLEO KENNEDY, Birmingham Movement; SCLC. Sings "One Day Men Will Walk Together (Side By Side)" or "Can't You See Freedom Coming?"
REVEREND CHARLES SHERROD, Sit-in Movement; SNCC; Rock Hill, NC; Southwest Georgia Project. Sings "Do What the Spirit Says Do"
SideB
REVEREND CHARLES SHERROD (cont.)
JOYCELYN (MICAELA) McKISSICK (MYERS), Sit-in Movement; CORE; CORE Freedom Singers. Speaks about African American men in the prison system and the CORE Freedom Singers. Sings "Take My Hand, Precious Lord"
CHICO NEBLETT, SNCC; Cairo, IL; Freedom Singers I and II; Southwest Georgia Project; Mississippi Summer Project '64. Sings "Brother You're Right (We Gonna Fight For Our Rights)"
EVESTER SIMPSON MORRIS Sings "This Little Light Of Mine"
REVEREND JAMES BEVEL, Sit-in Movement; Freedom Rides; SNCC; SCLC; Nashville, TN; Mississippi; Birmingham, AL.
Wednesday. January 30. 1980 Songleaders' Workshop. Session II: "Introductions Through Song II" 11:30 am - 2:30 pm Side A
REVEREND JAMES BEVEL (cont.) Discusses the philosophy of his ministry, topics include: non-violence, the struggle of the 1980's, vegetarianism, and humility. Sings "Lord Forgive Me"
Remarks by BERNICE JOHNSON REAGON.
Side B
Songleaders sing "To Know Freedom (Shall Be Mine)"
BERNICE JOHNSON REAGON opens second session of "Introductions Through Song" facilitated by GUY CARAWAN.
RUTHA MAE HARRIS, Albany Movement; SNCC; SCLC; Freedom Singers. Sings "This Little Light of Mine" "Ain't Gonna Let Nobody Turn Me Round"
CARLTON REESE, Birmingham Movement; SCLC. Sings "He Knows (How Much We Can Bear)" "Four Little Kids Were Killed in Birmingham"
LEN CHANDLER, Mississippi Summer '64; Arkansas; Selma to Montgomery March. Speaks of "cultural rip-off' in US schools and Northern versus Southern Freedom Songs.
Last 11 minutes blank.
Wednesday, January 30. 1980 Songleaders' Workshop. Session II: "Introductions Through Song II" 2:30 pm - 3:30 pm Side A
LEN CHANDLER (cont.) Sings "Move On Over," to the tune of "John Brown's Body" or "Battle Hymn of the Republic"
BETTY MAE FIKES, Selma Movement; SNCC; Freedom Singers. Sings "Yes God Is Real (I Can Feel It Down In My Soul)"
MATTHEW JONES, SNCC; Tennessee; Danville, VA; Freedom Singers
Last 14 minutes blank.
Side B
MATTHEW JONES (cont.) Sings "Oginga Odinga" and gives background on the song. Sings "I'm a Long Ways From Home"
JAMILA (MARY ETHEL JONES), Montgomery Bus Boycott; Montgomery Trio. Sings "Murder on the Road In Alabama"
EMORY HARRIS, Albany Movement; SNCC; SCLC; Freedom Singers. Sings "The Lucky 01' Sun"
MARSHALL JONES, SNCC; Tennessee; Freedom Singers
Five minutes blank.
From later in Session II: REVEREND FREDERICK DOUGLAS KIRKPATRICK sings "Frank Wills" and "No Cross, No Crown" CHARLES FREENEY sings "One More Time (Lord I'm Glad To Be In This Number)"
Wednesday, January 30. 1980 Songleaders' Workshop. Session II: "Introductions Through Song II" 3:30 pm - 4:30 pm Side A
MARSHALL JONES (cont.) Sings a medley including "In My Life I Loved Them All," "Oh, Freedom," "In the Mississippi" and "Ain't Gonna Let Nobody Turn Me Round"
JAMES PEACOCK, SNCC; Mississippi; Freedom Singers II; Freedom Voices. Sings "Get On Board, Little Children"
DOROTHY COTTON, Petersburg, VA Movement; SCLC Voter Education Training Center. Sings "Strange Fruit"
SideB
DOROTHY COTTON (cont.) Sings "Come By Here"
JIMMY COLLIER, SCLC; Alabama; Chicago, IL; Poor People's March. Sings "Hands Off Encrouma" "I'm On My Way (To Freedom Land)"
JAMES ORANGE, SCLC; Alabama; Chicago, IL; Poor People's Campaign; Jimmy Collier and The Movement Singers. Sings "Oh Wallace" with JIMMY COLLIER.
REVEREND FREDERICK DOUGLAS KIRKPATRICK, Louisiana Deacons for Defense; SCLC; Poor People's Campaign.
Wednesday. January 30. 1980 Songleaders' Workshop. Session II: "Introductions Through Song II" 3:30 pm - 4:30 pm Side A
REV. KIRKPATRICK (cont.) Sings "Great Change (Since I Been Born)" "Frank Wills (Why Did You Run?)" or "The Ballad of Frank Wills" "No Cross, No Crown"
GUY CARAWAN introduces CHARLES FREENEY, SCLC; SNCC; Georgia; South Carolina.
CHARLES FREENEY sings "One More Time (I'm Glad To Be In That Number)"
BOB ZELLNER, Huntington College, Alabama; Highlander Center.
Two minutes blank.
From RTC 408.5.3, BETTY MAE FIKES sings "Yes God Is Real "
SideB
BOB ZELLNER (cont.) Sings "Momma's Hungry Eyes" by Merle Haggard
Remarks by BERNICE JOHNSON REAGON, INTRODUCES JIBREEL A-A. K-A. KHAZAN (Ezell A. Blair, Jr.) And FRANKLIN McCAIN as evening speakers.
BERNICE JOHNSON REAGON leads "We'll Never Turn Back" Wednesday. January 30. 1980 Songleaders' Workshop. Session III: "Sit-ins. Marches. Jails. Mass Meetings" 8:00 pm - 8:30 pm
CORDELL HULL REAGON opens session with "You'd Better Leave Segregation Alone." Discusses sharing to create a space for expression and the aknowledgement and documentation of those in the Movement. Introduces FRANKLIN McCAIN - one of the first people to sit-in at the Greensboro, North Carolina Woolworth's.
FRANKLIN McCAIN briefly speaks and then excuses himself to give a television interview with local station Channel 7 News.
JIBREEL KHAZAN gives background on how the Movement came about, including the role of Black Colleges. Four minutes blank.
From RTC 408.5.4: second half of "The Lucky Ol' Sun" and the introduction of MARSHALL JONES
Wednesday, January 30, 1980 Songleaders' Workshop. Session III: "Sit-ins. Marches. Jails. Mass Meetings" 8:30 pm - 9:30 pm Side A JIBREEL KHAZAN (cont.) Discusses the planning of the Woolworth's sit-in on February 1, 1960. Speaks of RALPH JOHNS, JOSEPH McNEIL, and A&T College in Greensboro, SC. Sings "The Love of God"
SAM BLOCK, SNCC; Mississippi. Sings "Guide My Feet While I Run This Race"
WILLIE AND JAMES PEACOCK, HOLLIS WATKINS, EVESTER SIMPSON MORRIS, GUY CARAWAN, and REV. JAMES BEVEL called to stage to perform a song led by SAM BLOCK.
Last 15 minutes blank.
SideB
SAM BLOCK et al.(cont.) Sing "Freedom Train A Coming"
CORDELL HULL REAGON organizes SAM BLOCK, BETTY MAE FIKES, RUTHA MAE HARRIS, EMORY HARRIS, CLEO KENNEDY, and CARLTON REESE to lead " Soldiers of the Cross"
EMORY HARRIS sings "We'll Never Turn Back"
BERNICE JOHNSON REAGON speaks about BERTHA GOBER who wrote "We'll Never Turn Back" after REVEREND HERBERT LEE was killed in McComb, Mississippi.
BERNICE JOHNSON REAGON leads "Come and Go With Me To That Land"
Last 10 minutes blank.
Wednesday. January 30. 1980 Songleaders' Workshop. Session III: "Sit-ins. Marches. Jails. Mass Meetings" 9:30 pm - 10:30 pm Side A
"Come and Go With Me To That Land" (cont.) BETTY MAE FIKES leads "Up Over My Head"
CARLTON REESE leads "Traveling Shoes"
Sung by all: "I Want My Freedom" "Freedom's Coming and It Won't Be Long" sung to tune of "The Banana Boat Song"
"Michael Row the Boat Ashore" led by CHARLES NEBLETT and AMANDA PERDEW
Approximately five minutes blank.
Sam Block from RTC 408.5. 7 SideB
"Michael Row the Boat Ashore" (cont.) "I Know (We'll Meet Again)" led by REV. JAMES BEVEL "Dog, Dog" led by REV. JAMES BEVEL "Keep Your Eyes On the Prize" "A Charge To Keep, I Have" led by CHARLES NEBLITT "Auction Block" led by JAMILA "Which Side Are You On?" "I've A Long Way To Go (To Be Like the Lord)" led by CLEO KENNEDY Four minutes blank.
"Traveling Shoes'' from RTC 408.5.8 Side A
Wednesday. January 30. 1980 Songleaders' Workshop. Session III: "Sit-ins. Marches. Jails. Mass Meetings" 10:30 pm - 11:00 pm Side A
"Which Side Are You On?" (cont.) "Auction Block" led by JAMILA "I've A Long Way To Go (To Be Like the Lord)" led by CLEO KENNEDY
CORDELL REAGON makes announcements on Thursday's lunch schedule.
BERNICE JOHNSON REAGON thanks attendees and closes the workshop for the night.
Last 34 minutes blank.
Thursday. January 31. 1980 Session I: "Groups and Ensembles" 9:00 am - 10:50 am
SideB
BERNICE JOHNSON REAGON gives welcome.
CORDELL REAGON, facilitator, discusses the Freedom Rides and CORE. JAMES FARMER, CORE founder; Chicago Sit-in Movement, 1940's; Freedom Rides. Sings "Woke Up With My Mind On Freedom" Discusses the first Freedom Rides and the use of songs in the Movement to create spirit and dispel fear. Sings "We'll See That Wall Come Down (If Two and Two and Fifty Make A Million)" "Freedom Is A Coming" Last 13 minutes blank.
Thursday, January 31. 1980 Session I: "Groups and Ensembles" 10:50 am - 11:52 am
Side A
"Freedom Is A Coming" (cont.)
JAMILA (MARY ETHEL JONES) of the Montgomery Trio discusses the Knights and Daughter Table organization. Sings "Meeting Tonight" with GUY CARAWAN "I'm So Glad" "We Are Soldiers In the Army" "Let Us Break Bread Together" "Oh Freedom" (slow version)
Remarks by CORDELL REAGON including the role of white Civil Rights protestors.
REVEREND BEVEL speaks about the Nashville Quartet Two minutes blank.
From RTC 408.5.8 "Which Side Are You On?" " I've A Long Ways To Go To Be Like the Lord"
SideB
REVEREND JAMES BEVEL (cont.) Speaks about types of Black preachers including "hoopers" and "intellectuals." Sings "I Love Everybody" "I Need Your Warm Embrace" Last 12 minutes blank.
Thursday. January 31. 1980 Session I-II: "Groups and Ensembles" 11:50 am - 3:00 pm
Side A
REVEREND JAMES BEVEL (cont.) "I Need Your Warm Embrace" "Coretta (Ode To Martin Luther King, Jr.)" led by CARLTON REESE "Were You There When They Crucified My Lord?" led by RUTHA MAE HARRIS CLEO KENNEDY and CARLTON REESE lead: "He Carried the Cross For Me" or "The Ballad for Martin L. King" "Yonder Come Day"
BERNICE JOHNSON REAGON opens Session II, makes remarks about the organization and sponsorship of the conference.
GUY CARAWAN, session facilitator, makes opening remarks. JOHN LEWIS, sit-in movement; Freedom Rides; former chairman, SNCC; Nashville Movement.
Two minutes blank.
JAMILA from RTC 408.5.10
SideB JOHN LEWIS (cont.) Speaks about the Highlander Center; his first arrest; and the importance of the movement.
GUY CARAWAN sings "Ballad of the Student Sit-Ins" "Talking About Love In God's Kingdom" "I'm Gonna Sit At the Welcome Table" "It Takes A Worried Man To Sing A Worried Song"
CANDIE and GUY CARAWAN perform "They Go Wild Over Me" "I Will Sing My Song Someday," predecessor to "We Shall Overcome," and other versions of the song.
Four minutes blank. REVEREND JAMES BEVEL from RTC 408.5.10
Thursday. January 31. 1980 Session II: "Groups and Ensembles" 3:00 pm - 4:00 pm
Side A
GUY and CANDIE CARAWAN perform "We Shall Overcome" (cont.)
GUY CARAWAN and JAMILA perform "We Are Not Afraid," a version of "We Shall Overcome"
JOYCELYN McKISSICK (MICAELA) sings: "We Went Down To Mississippi" "Take This Hammer" "Get Your Rights Jack" "Certainly Lord" "Freedom Train A Coming" "We're Marching On To Zion"
Last 12 minutes blank.
SideB
"Freedom Train A Coming" "We're Marching On To Zion"
SNCC Freedom Singers I: BERNICE JOHNSON REAGON, CHARLES NEBLETT, RUTHA MAE HARRIS, CORDELL REAGON sing: "Fighting For My (Our) Rights" "We Shall Not Be Moved" "Woke Up This Morning With Freedom On My Mind" "Ain't Gonna Let Nobody Turn Me Round" "Just A Closer Walk With Thee" "Going Back To Southwest Georgia" or "I'm A Man of Constant Sorrow" "Sometimes I Feel Like A Motherless Child"
BERNICE JOHNSON REAGON introduces PETE SEEGER who talks about the history of the protest song from pre-biblical to modern times.
Last 12 minutes blank.
Thursday. January 31. 1980 Session II-III: "Groups and Ensembles" 4:00 pm - 8:20 pm Side A
PETE SEEGER (cont.)
GUY CARAWAN introduces AMANDA BOWENS PERDEW of the Americus Trio. She speaks about Americus, GA and the significance of song in the survival of the participants of the Civil Rights Movement. Sings "This May Be the Last Time"
JIMMY COLLIER sings "This May Be the Last Time"
JIMMY COLLIER and JAMES ORANGE sing: "(The Reason I Sing This Song) I Don't Wanna Be Lost In the Slums" "The Death On the Walls" "Burn Baby Bum"
Six minutes blank.
JOHN LEWIS fromRTC 408.5.11.
SideB
JIMMY COLLIER and JAMES ORANGE sing "Burn Baby Burn"
JIMMY COLLIER, JAMES ORANGE, and LEN CHANDLER sing: "Freedom Bells" "Woke Up This Morning With My Mind Set On Freedom" "Will the Circle Be Unbroken?"
Unidentified woman speaks about the early integration of labor unions.
BERNICE JOHNSON REAGON opens Session III. Sings "Lift Every Voice and Sing"
BERNICE JOHNSON REAGON introduces BETTY MAE FIKES of the Selma Freedom Choir. She talks about Selma, AL. Sings "Nobody Knows the Trouble I've Seen"
Five minutes blank.
JOYCELYNMcKISSICKfrom RTC 408.5.12
Thursday. January 31. 1980 Session III: "Groups and Ensembles" 8:20 pm - 9:25 pm
Side A
BETTY MAE FIKES (cont.) "Nobody Knows the Trouble I've Seen" "Walk With Me Lord" "This Little Light of Mine" "Take My Hand, Precious Lord"
Remarks by BERNICE JOHNSON REAGON including background on the Freedom Singers II. Introduces members CHARLES NEBLETT, MATT JONES, CHICO NEBLETT, JAMES PEACOCK, RAFAEL BENTHAM, EMORY HARRIS, and MARSHALL JONES.
Freedom Singers II sing "Oginga Odinga"
Last 13 minutes blank.
SideB
Freedom Singers II (cont) "OF Tire' River" "In the Mississippi River" "Demonstrating GI" "No Jail, No Bail (Can't Fight It All Alone)" DOROTHY COTTON sings "Wade In the Water"
Last 10 minutes blank.
Thursday. January 31. 1980 Session III: "Groups and Ensembles" 9:25 pm - 10:30 pm Side A
"Wade In the Water" (cont.) "Joshua Fit the Battle of Jericho" Speaks of MILES HORTON, the Highlander Center, and the Citizen Education Program. "Why Was the Darkie Born?"
BERNICE JOHNSON REAGON introduces CARLTON REESE and CLEO KENNEDY of the Alabama Christian Movement Choir
CARLTON REESE and CLEO KENNEDY perform "One Day Men Will Walk Together Side by Side"
Five minutes blank.
PETE SEEGER and AMANDA BOWENS PERDEW from RTC 408.5.13
SideB
"One Day Men Will Walk Together Side by Side" (cont.) "Come On On Freedom's Side" "Pilgrim of Sorrow" "Carrying the Cross for Our Rights" "We Shall Overcome"
Remarks by BERNICE JOHNSON REAGON. Introduces REVEREND FREDERICK DOUGLAS KIRKPATRICK.
Five minutes blank.
"Will the Circle Be Unbroken?" from RTC 408.5.13
Thursday. January 31. 1980 Songleaders' Workshop Session III: "Groups and Ensembles" 10:30 pm - 11:15 pm Side A
REVEREND FREDERICK DOUGLAS KIRKPATRICK (cont.) Sings "God Specializes" "Fight On Soweto, Fight On"
REV. KIRKPATRICK introduces JIMMY COLLIER who speaks about the Poor People's Campaign. Sings "Everybody's Got A Right To Live" Talks about filling in the missing pages of US history.
Last 10 minutes blank.
SideB
REV. KIRKPATRICK (cont.) Sings "The Ballad of James [Jan Ernst] Matzeliger" "We Shall Overcome" Session ends.
Friday. February 1. 1980. Colloquium. Session I: "The Black Church" 9:00 am - 10:30 am
Side A
BERNICE JOHNSON REAGON welcomes and recaps conference; reviews schedule for the remainder of the conference. Introduces VINCENT HARDING, session facilitator and Director, Institute of the Black World, Wallingford, PA; REVEREND CHARLES SHERROD, City Commissioner, Albany, GA; and REVEREND FRED SHUTTLESWORTH, Greater New Light Baptist Church, Cincinnati, OH.
VINCENT HARDING, REV. CHARLES SHERROD, and REV. FRED SHUTTLESWORTH lead "Guide My Feet While I Run This Race"
VINCENT HARDING discusses the significance of the day's date, the anniversary of the Greensboro, NC sit-in at the Woolworth's lunch counter. Discusses the role of the Black Church in shaping the Movement and that of the Movement in shaping the Black Church.
SideB
CHARLES SHERROD talks about growing up in the church and the church's role. Sings "Nothing But A Soldier"
FRED SHUTTLESWORTH talks about the church's endorsement of the Movement.
Friday, February 1. 1980. Colloquium. Session I: "The Black Church" 10:30 am - 11:30 am Side A
FRED SHUTTLESWORTH (cont.) Sings "All the Way"
VINCENT HARDING opens the floor to questions and comments which include: FRED SHUTTLESWORTH expresses the need to spread information about the 1950-60's to the present generation in order to keep the Movement alive and CHARLES SHERROD emphasizes the importance of youth involvement.
BERNICE JOHNSON REAGON closes the session.
SideB
Blank
Friday. February 1. 1980. Colloquium. Session II: "Activist Communities" 1:00 pm - 2:30 pm
Side A
BERNICE JOHNSON REAGON opens session.
HOWARD ZINN, facilitator, Boston University. Discusses the function of activist communities and the kinds of activist communities needed today.
DIANE NASH BEVEL, Executive Director Far South Suburban Housing Service, Ricton Park, IL. Compares activist communities of the Civil Rights' Movement and activist communities today.
SideB DIANE NASH BEVEL (cont.)
REVEREND DR. WYATT T. WALKER, Canaan Baptist Church, New York City, NY Discusses the most significant effect and the greatest defect of the Civil Rights' Movement.
Friday. February 1. 1980. Colloquium. Session II: "Activist Communities" 2:30pm - 3:15 pm
Side A
REV. WALKER (cont.) Opens session to questions and comments.
BERNICE JOHNSON REAGON makes announcement and closes session.
Last 7 minutes blank.
SideB
Blank
Friday. February 1. 1980. Colloquium. Session III: "Ethics and Morality" 3:30 pm - 5:00 pm Side A
E.D. NIXON, Brotherhood of Sleeping Car Porters; Montgomery Bus Boycott; Montgomery, AL. Discusses Rosa Parks, the Montgomery Bus Boycott, and the Labor Movement. Leads "Move On Over"
ELLA BAKER, NAACP; former Executive Director of SCLC; founding member, "godmother,''ofSNCC. Discusses the importance of influencing society and making the future a better place by continuing the struggle.
SideB
ELLA BAKER (cont.) GUY CARAWAN sings "People Like You Help People Like Me Go On"
BERNICE JOHNSON REAGON sings "Fannie Lou Hammer" Leads "This Little Light of Mine"
BOB MOSES speaks about finding one's light and pride in one's culture.
Friday. February 1. 1980. Colloquium. Session III: "Ethics and Morality" 5:00 pm - 6:00 pm
Side A
BOB MOSES (cont.)
E.D. NIXON leads with children "If You All Want Your Freedom" (sung to the tune of "If You're Happy and You Know It") Sings "Don't Smoke Marijuana" "Congress"
BERNICE JOHNSON REAGON makes announcements.
FREDERICK DOUGLAS PERRY reads a poem.
JAMES ORANGE emphasizes the importance of remembering events that occurred before the Montgomery Movement and encourages all to write down their own accounts of the Movement to prevent any loss of history.
Side B
Blank
Friday, February 1, 1980, "We'll Never Turn Back" Exhibit Opening. Version one (incomplete). This is the most complete copy which contains remarks and music except for "We Shall Overcome" at end; probably dub of OTC 408.5.63
Side A
Songleaders sing: "This Little Light of Mine" "Freedom Train A' Coming" "We'll Never Turn Back"
BERNICE JOHNSON REAGON calls ROGER KENNEDY, MAYOR MARION BARRY, DR. LORRAINE WILLIAMS, EDITH MAYO, and WORTH LONG to the platform.
BERNICE JOHNSON REAGON introduces ROGER KENNEDY of the Museum of History and Technology, Smithsonian Institution.
ROGER KENNEDY give welcome and thanks the sponsors and contributors. Introduces MAYOR MARION BARRY, former chairman of SNCC and mayor of Washington, DC.
MAYOR BARRY speaks about continuing to improve racial relations.
DR. LORRAINE A. WILLIAMS, Vice President for Academic Affairs, Howard University. Discusses the sacrifice required in the pursuit of freedom.
EDITH MAYO, Associate Curator, Museum of History and Technology, Smithsonian Institution. Discusses the work involved in putting together the "We'll Never Turn Back" photo exhibit.
WORTH LONG, Guest Curator. Discusses the "We'll Never Turn Back" exhibit and how the photos capture the struggle of the Civil Rights' Movement. Introduces the photographers in attendance: TAMIO WAKAYAMA, MATT HERRON, MARIA VARELA, ELAINE TOMLIN, CHARLES MOORE
Tape cuts off
Side B
BERNICE JOHNSON REAGON tells attendees to follow MAYOR BARRY, after a song, to the exhibit.
Tape stops before "We Shall Overcome"
Remainder of tape is blank.
Saturday, February 2, 1980, Colloquium. Session I: Telling the Story, copy one of three
Side A
BERNICE JOHNSON REAGON opens session and makes announcements. JULIAN BOND, facilitator; former director of communications, Student Non-Violent Coordinating Committee (SNCC); Georgia State Senator, 39th District; Atlanta, Georgia. Introduces speakers Bob Flether, Marc Crawford, and Moses Moon (ALAN RIBBACK).
MARC CRAWFORD, journalist, Time Capsule, Incorporated, New York, New York. Speaks of the Black press in the late 1950s and early 1960s; the role of the Black press; the start of mainstream press coverage of Black news stories; and the influence of the Civil Rights' Movement on other countries.
Side B MARC CRAWFORD (continued)
MOSES MOON talks about his introduction to audio documentation and his experience as a white Civil Rights' Movement participant. Plays a selection of audio recordings from mass meetings, including "Go Tell It On the Mountain," sung by Fannie Lou Hammer "Freedom Now," "Oh Freedom," sung by WILLIE PEACOCK, "I'm Walking For My Freedom," "Ain't Scared A Your Jail," sung by Sam Block.
Saturday, February 2, 1980, Colloquium. Session I: Telling the Story, copy two ot three. Side A
MOSES MOON (continued) "Wade In the Water" lead by WILLIE PEACOCK "Certainly Lord" sung by FANNIE LOU HAMMER "Ain't Gonna Let Nobody Turn Me Round"
BOB FLETCHER speaks about how he became a Civil Rights' Movement photographer.
Side B
BOB FLETCHER (continued.) Talks about the dangers of photographing the Civil Rights' Movement, the Black Panthers and Black Power.
Saturday. February 2. 1980. Colloquium. Session I: Telling the Story c 3 of 3 Side A
BOB FLETCHER shows a series of photos while MOSES MOON plays a recording of "This Little Light of Mine."
MATTHEW JONES speaks
CHARLES SHERROD takes over as facilitator
HOLLIS WATKINS talks about the Freedom Schools and Head Start Centers that came out of the Movement.
SideB
Comments from the audience including REV. BEVEL who speaks about love and truth.
BERNICE JOHNSON REAGON closes the session.
GEORGE WARE, SNCC, comments
Last 17 minutes blank
Saturday. February 2, 1980. Colloquium. Session II: Reconstructing History c. 1 of 3.
Side A
BERNICE JOHNSON REAGON speaks about respecting others; introduces THOMAS BATTLE, JOANNE GRANT, JAMES FORMAN, AND DR.. STEVEN HENDERSON.
DR.. STEVEN HENDERSON, facilitator; Director, Institute for the Arts and Humanities, Howard University. Talks about documentation through oral history.
THOMAS BATTLE, Acting Director, Civil Rights' Movement Oral History Collection, Moorland-Spingarn Research Center, Howard University. Reads from The Making of Black Revolutionaries by JAMES FORMAN. Speaks about printed documentation and taped documentation.
SideB
THOMAS BATTLE (cont.) Speaks about the Civil Rights' Movement Documentation Project (the Ralph J. Bunch Oral History Collection).
JOANNE GRANT, Ella Baker Documentary Film Group, New York, NY. Makes a reference to the film "Roshomon" in telling how the same story may be told from many viewpoints. Speaks about the advantages and disadvantages of film. Shows a clip from an Ella Baker documentary.
Saturday, February 2, 1980, Colloquium, Session II: Reconstructing History copy two of three.
Side A
Joanne Grant (continued) Ella Baker film clip
James Forman, former Executive Secretary, Student Non-Violent Coordinating Committee (SNCC); writer; Cornell University, Ithaca, New York. Speaks about writing and reconstructing history, the role of and lessons learned from Student Non-Violent Coordinating Committee (SNCC), and things to do in the future. Side B
James Forman (continued) Speaks about the Central Intelligence Agency (CIA) and Federal Bureau of Investigation (FBI) involvement in Student Non-Violent Coordinating Committee (SNCC), the importance of studying political movements, and united action against oppression.
Discussion is opened to the audience. Topics include: music as communication, secret societies, the Palmer raids, and the Central Intelligence Agency (CIA) and Federal Bureau of Investigation (FBI) .
Saturday, February 2, 1980, Colloquium, Session II: Reconstructing History 1:00 pm - 1:30 pm, copy three of three.
Side A
Discussion (continued)
Bernice Johnson Reagon, makes announcement and closes the session.
Audio of a film of the Poor People's Campaign, narrated by Charlton Heston.
Side B Film (continued.)
Saturday, February 2, 1980, Workshop I: Oral History copy one of two, Side A
Bernice Johnson Reagon, opens the workshop. Pairs up participants to interview each other as an exercise in documenting oral history. Talks about how to effectively interview a person and takes comments from the participants.
Side B Bernice Johnson Reagon,(continued) sets up more mock interviews, gives technical advice about recording interviews, and talks about how to deal with sensitive topics.
Saturday, February 2, 1980, Workshop I: Oral History, copy two of two. Side A
Bernice Johnson Reagon,(continued) Talks about dealing with sensitive issues.
Side B
Bernice Johnson Reagon,(continued)
Saturday. February 2. 1980. Workshop II: Photography
Side A
Tape starts mid-conversation with MARK HERRON discussing photography as a means of recording history.
SideB
Blank
Saturday. February 2. 1980. Workshop III: Sound Recordings c. 1 of 2
Side A Tape starts mid-conversation with MOSES MOON discussing methods of audio recording, knowing what is worth recording, and technical aspects of recording. Plays several selections from his recordings including FANNIE LOU HAMMER singing "This Little Light of Mine."
Last 2 minutes blank
SideB Blank
Saturday. February 2. 1980. Workshop III: Sound Recordings c. 2 of 2
Side A
MOSES MOON (cont.) Discusses types of recording devices, technical decisions, and equipment.
SideB MOSES MOON (cont.) Discusses editing tape. Plays a recording of "Ain't Scared a Your Jail."
Last 2 minutes blank.
Friday. February 1. 1980. "We'll Never Turn Back" Photo Exhibit Opening- version 2 (tmcomplete - music only*)
Side A
Songleaders sing: "This Little Light of Mine" "Freedom Train A Coming" "We'll Never Turn Back" "We Shall Overcome"
Remainder blank.
SideB
Blank
Friday. February L 1980. "We'll Never Turn Back" Photo Exhibit Opening. version 3 (incomplete - remarks only') Side A
BERNICE JOHNSON REAGON introduces ROGER KENNEDY of the Museum of History and Technology, Smithsonian Institution.
ROGER KENNEDY give welcome and thanks the sponsors and contributors. Introduces MAYOR MARION BARRY, former chairman of SNCC and mayor of Washington, DC.
MAYOR BARRY speaks about continuing to improve racial relations.
DR. LORRAINE A. WILLIAMS, Vice President for Academic Affairs, Howard University. Discusses the sacrifice required in the pursuit of freedom.
EDITH MAYO, Associate Curator, Museum of History and Technology, Smithsonian Institution. Discusses the work involved in putting together the "We'll Never Turn Back" photo exhibit.
WORTH LONG, Guest Curator. Discusses the "We'll Never Turn Back" exhibit and how the photos capture the struggle of the Civil Rights' Movement. Introduces the photographers in attendance: TAMIO WAKAYAMA, MATT HERRON, MARIA VARELA, ELAINE TOMLIN, CHARLES MOORE
BERNICE JOHNSON REAGON tells attendees to follow MAYOR BARRY, after a song, to the exhibit.
Tape stops before "We Shall Overcome" Last 11 minutes blank
Side B Blank
Conference proceedings February 1 - 2. 1980. Exhibit opening music and Concert I. c. 1 of 4.
Side A From RTC 408.5.13 Side B BERNICE JOHNSON REAGON sings " Lift Every Voice and Sing" Introduces BETTY MAE FIKES, she talks about Selma, AL.
Approximately 2 minutes blank
Friday. February 1. 1980. "We'll Never Turn Back" Photo Exhibit Opening Songleaders sing: "This Little Light of Mine" "Freedom Train A Coming" "We'll Never Turn Back" "We Shall Overcome"
Break
From RTC 408.5.14 Side A Remarks by BERNICE JOHNSON REAGON Introduces the Freedom Singers II who sing "Oginga Odinga"
SideB
Saturday. February 2. 1980. Songleaders' Workshop Concert I c. 1 of 4
"This Little Light of Mine" "We Are Soldiers" "Oh Freedom" "We'll Never Turn Back"
BERNICE JOHNSON REAGON makes remarks and introduces BERNARD LAFAYETTE.
BERNARD LAFAYETTE talks about the Freedom Rides Ten minutes blank
From 408.5.13 Side A AMANDA BOWENS PERDEW
Saturday, February 2, 1980. Songleaders' Workshop Concert I. c. 2 of 4
Side A BERNARD LAFAYETTE (cont.) Talks about Robert F. Kennedy, the Freedom Rides, and the power of non-violence. Sings. "The Buses Are A' Coming (Oh Yes)"
LEN CHANDLER Sings "Keep On Keeping On" "The Master Plan"
Last 12 minutes blank.
SideB
LEN CHANDLER (cont.) "The Master Plan" "We Will Not Bow Down" "Roll, Freedom, Roll" "Father's Grave" "Murder On the Road In Alabama" "Right! Right!"
IBISOTO AJAMU, SCLC; Chicago , IL. Sings "Sometimes I Feel Like A Motherless Child"
Last 10 minutes blank.
Saturday. February 2. 1980. Songleaders' Workshop Concert I. c. 3 of 4
Side A
IBISOTO AJAMU (cont.) Sings "People Get Ready" "All You Need To Keep Your Soul Alive"
WILLIE PEACOCK, JAMES PEACOCK, SAM BLOCK, HOLLIS WATKINS, and EVESTA SIMPSON sing " Guide My Feet While I Run This Race"
Last 9 minutes blank
SideB
"Guide My Feet While I Run This Race" (cont.) "Been Down Into the South" "Go Tell It On the Mountain" "Leave You In the Hands of the Lord"
BERNICE JOHNSON REAGON makes remarks and announcements. CARLTON REESE and CLEO KENNEDY Sing "Four Little Girls Were Killed In Birmingham"
Three minutes blank
"We Shall Overcome" with guitar and tambourine
Last 6 minutes blank
Saturday. February 2. 1980. Songleaders' Workshop Concert I. c. 4 of 4
Side A
CARLTON REESE and CLEO KENNEDY Sing "Four Little Girls Were Killed In Birmingham" "No Man Is An Island"
Freedom Singers sing: "Traveling Shoes" "Come on on Freedom's Side" "We Shall Overcome" with piano
Last 13 minutes blank SideB
Sunday. February 3. 1980. Songleaders' Workshop Concert II. c. 1 of 2
RUTHA MAE HARRIS sings "If I Can Help Somebody (My Living Shall Not Be In Vain)" "He Touched Me"
EMORY HARRIS sings "The Lucky 01' Sun"
JIMMY COLLIER sings "Stop the Fires of Napalm"
Sunday. February 3. 1980. Closing Session "National Dissemination" cl of 2
Side A
BERNICE JOHNSON REAGON talks about the founding of the Program in African American Culture at the Smithsonian; progress and movements in the 1970's; and keeping in touch with participants of the Civil Rights Movement and recognizing their contributions to the Movement. SideB
BERNICE JOHNSON REAGON (cont.) Speaks about continuing to fight against oppression; organizing a traveling exhibit based on the "We'll Never Turn Back" photography exhibit; and recording the oral history of the Civil Rights Movement in various cities instrumental in the Movement.
Suggestions and comments from the audience.
Sunday. February 3. 1980. Closing Session "National Dissemination"c2 of 2 Side A
More comments and suggestions on a "National Dissemination"
SideB
More comments and suggestions
Beginning of Songleaders Workshop Concert II
Last 4 minutes blank
Sunday, February 3, 1980. Songleaders' Workshop Concert II. copy two of two 2
Side A
JIMMY COLLIER sings "Stop the Fires of Napalm" "Keep On Pushing" "Freedom Now"
BETTY MAE FIKES sings "Yes God Is Real" "Oh Lord, Help Me To Carry On" JAMES ORANGE sings "Oh Wallace" "Another Day's Journey"
SideB
Unidentified woman sings "Doodlebug" (children's song) "No More"
FREDERICK DOUGLASS KIRKPATRICK Sings "Fight On Soweto, Fight On" "The Ballad of Dr. Charles Drew"
BERNICE JOHNSON REAGON leads "This Little Light of Mine" with piano
Sunday. February 3, 1980. Songleaders' Workshop Concert III, copy one of three i. 1 of 3
BERNICE JOHNSON REAGON sings "Over My Head"
GUY CARAWAN sings "People Like You Help People Like Me Go On"
Sunday. February 3. 1980. Songleaders' Workshop Concert III, c. 2 of 3 Side A
GUY CARAWAN Sings "Inch By Inch, Row By Row (We're Gonna Make This Garden Grow)" "I'm Going Back To Tennessee" "Ain't You Got A Right To the Tree of Life?"
AMANDA BOWENS PERDEW Sings "I Ain't Scared A Your Jail" "I'll Be Living Up There"
EMORY HARRIS, RAFAEL BENTHAM, MARSHALL JONES, CHARLES NEBLITT, and MATTHEW JONES Sing "The Prophecy of a SNCC Field Secretary" "As-Salaam-Alaikum" a Muslim prayer song ("Peace Be Unto You")
SideB
REV. CHARLES SHERROD leads "Will the Circle Be Unbroken?"
BOB ZELLNER Sings "Been Down Into the South" "Guide My Feet While I Run This Race" "Can't You Hear God's Children Praying In Jail?"
BERNICE JOHNSON REAGON leads "I'm On My Way To Freedom Land" (Missing end of song)
Sunday. February 3, 1980. Songleaders' Workshop Concert III, copy three of three
Side A
Bernice Johnson Reagon leads "I'm On My Way To Freedom Land" (continued)
Cordell Reagon leads "Dog, Dog"
Chico Neblitt sings "Brother You're Right"
Charles Neblitt sings "There Is A Balm In Gilead"
Cordell Reagon and Reverend James Bevel lead "We Shall Overcome" Five minutes blank
From RTC 408.5.39
Ibisoto Ajamu sings "People Get Ready" "All You Need To Keep Your Soul Alive"
SideB
From RTC 408.5.39
Ibisoto Ajamu sings "All You Need To Keep Your Soul Alive"
Willie Peacock, James Peacock, Sam Block, Hollis Watkins, and Evesta Simpson sing
"Guide My Feet While I Run This Race" "Been Down Into the South" "Go Tell It On the Mountain" "Leave You In the Hands of the Lord"
Bernice Johnson Reagon makes remarks and announcements.
Voices of the Civil Rights Movement, Roland Freeman negatives, numbers 1-24087 through 3-24094
Voices of the Civil Rights Movement, Roland Freeman negatives, numbers 3-24128 through 5-24128
Voices of the Civil Rights Movement, Roland Freeman negatives, numbers 5-24128 through 9-24128
Voices of the Civil Rights Movement, Roland Freeman negatives, numbers 9-24128 through 11-24128
Voices of the Civil Rights Movement, Roland Freeman negatives, numbers 11-24128 through 14-24094
Voices of the Civil Rights Movement, Roland Freeman negatives, numbers 14-24102 through 19-24128
Voices of the Civil Rights Movement, Roland Freeman negatives, numbers 20-24128 through Lewis, number nine
Myrna Summers and Richard Smallwood are two of Washington's most notable gospel composers and performers, both having achieved national and international recognition as concert and recording artists of originality and significant influence in the gospel world. Myrna Summers excels as both a gospel soloist and a composer. Her music is a combination of syncopated rhythmic vibrations of the Pentecostal church, scriptural lyrics, and a poignant harmonic quality. Richard Smallwood, composer, pianist, lecturer, and director, grew up learning the gospel music tradition of the Black church. His gospel stylings were rooted in hymns, traditional spirituals, jubilees, and Holiness church music. The Division of Performing Arts presented the concert as part of the Black American Gospel Music Series. The Black American Gospel Music Series and this program were organized by Bernice Reagon Johnson. Program number AC408.6.
Concert held in the Baird Auditorium, National Museum of Natural History, Smithsonian Institution, on Sunday, April 13, 1980, at 3:00 p.m. It featured the Kings of Harmony Jubilee Brass Band, the Sons of Grace Quartet, and the McCullough Youth Choir, whose repertoire spanned an exciting range of traditional gospel styles. The concert was presented as part of the Black American Gospel Music Series by the Division of Performing Arts. The Black American Gospel Music Series and this program were organized by Bernice Reagon Johnson. Program number AC408.7.
Concert paid tribute to Marion Williams, a leading gospel music performer. Her singing career began at age three in her mother's church in Miami, Florida, where she performed her first a cappella song, "Yes, Jesus Love Me." Other early influences included the street sounds of blues, calypso, and West Indian rhythms, and the great traveling quartets such as the Kings of Harmony and Professor Smith's Jubilee Singers. By her mid-teens, Williams, a soaring soprano, was a premier local gospel singer. In 1947, at the age of 18, she joined the Ward Singers. She was a leading member of that group until 1958. In 1961, Alex Bradford and she starred in Langston Hughes's gospel musical, "Black Nativity," which played off Broadway and throughout Europe. Marion Williams performed at major European music festivals in Antibes, France; Montreux, Switzerland; and Bergamo, Italy; toured the Far East and Africa; and, with Duke Ellington, represented the United States at the First World Festival of Negro Arts in Dakar, Senegal. Since 1967, Williams has performed as a solo artist. From Notes on the Artist in Program Notes by Pearl Williams-Jones. See Program Notes for additional information about Marion Williams and the Black American Gospel Music Series. Program number AC408.8.
Concert (October 12, 1980) Opening remarks by Dr. Bernice Johnson Reagon. Introduction of Marion Williams by Dr. Bernice Johnson Reagon. Marion Williams sings: "Hallelujah, Anyhow," "God In Me," "Go In Sin, No More," "The Speckle Bird," "Jehovah Is His Name," "It Will Pass," "Happy Day." Remarks by Bernice Johnson Reagon,
"Better Have Jesus Now," "Nobody's Fault But Mine," "How I Got Over."
The Lord's Prayer Remarks by Marion Williams. Remarks from the audience
Prayer
"Amazing Grace," "Put Your Hand in the Hand of the Man from Galilee," "Amen," "I'm Ready To Go Home," "God Is Able."
Concert by Norvus Miller and Company, a band organized in 1976, and The Dynamics, a Black gospel group formed in 1968, held November 9, 1980, in the Baird Auditorium, National Museum of Natural History, Smithsonian Institution. Norvus Miller and Company extended the concept of Black sacred instrumental and vocal music, using singers for both lead and back-up vocals and allowing a harmonica to carry the lead and back-up responsibility on various songs. The Dynamics represented a modern approach to Black gospel music, paying homage to the tradition of classic bass gospel singers. The members present for the performance included Jerry Caesar, piano and lead singer; Douglas Howell, tenor and lead singer; Melvin "Chip" Lowrey, first tenor and lead singer; Sherman "Blake" Clayborne, bass-baritone; and Len Baldwin, second tenor and lead singer. The concert was presented as part of the Black American Gospel Music Series by the Division of Performing Arts. The program and concert were organized by Dr. Bernice Johnson Reagon, director, Program in Black Culture (later known as the Program in African American Culture). Program number AC408.9.
Opening remarks by Bernice Johnson Reagon "I'll Just Walk Around Heaven All Day" performed by Jerry Ceasar, a member of The Dynamics. The Dynamics sing: "He's Never Failed Me Yet," "God's Way or No Way At All," "I'm Dreaming About You," "He Will Be Right There," "Oh How I Love Jesus," "You're the Potter and I Am the Clay," "He Just Keeps On Being God," "I'll Be Lost When Jesus Comes," "Christ Is Coming Back Again."
Field Tape: Recording of The Dynamics
The following songs were recorded: "I Don't Want To Be Lost When Jesus Comes," "Look Into Yourself," "That's What My God Is For," "Why Don't You Follow Me," "I Know That Christ Won't Fail," "Gods Way or No Way At All."
Program held February 6-8, 1981, at Baird Auditorium, National Museum of Natural History, Smithsonian Institution. It explored the richness of black gospel music as one of this country's most powerful contemporary urban music forms. More importantly, the program highlighted Roberta Martin as one of the most significant pioneers and innovators of Black American gospel music in the 1930s. Roberta Martin, inspired by Thomas A. Dorsey and Sallie Martin, became a composer and arranger of gospel music. Martin's first church position was as a pianist for the Young Peoples' Choir of Ebenezer Baptist Church in Chicago. There she worked with Thomas A. Dorsey and Theodore Frye, both of whom helped guide her early career. In 1933, with the help of Dorsey and Frye, Roberta Martin organized the Martin Frye Quartet with Eugene Smith, James Lawrence, Robert Anderson, Willie Webb, and Norsalus McKissick. This group became the Roberta Martin Singers in 1936. In the mid-1940s, the group expanded with the addition of two females, Bessie Folk and Delois Barrett Campbell. The Roberta Martin Singers documented here are Delois Barrett Campbell, Lucy Smith Collier, Archie Dennis, Bessie Folk, Gloria Griffin, Louise McCord, Norsalus McKissick, Eugene Smith, Romance Watson. From Roberta Martin and the Roberta Martin Singers: Program Notes. See Program Notes for additional information on Roberta Martin and the Roberta Martin Singers. The Division of Performing Arts presented the concert as part of the Black American Gospel Music Series. The Black American Gospel Music Series and the Roberta Martin program were organized by Bernice Johnson Reagon, director of the Program in African American Culture (formerly known as the Program in Black Culture). Program number AC408.10.
Field Tape: Interview with Eugene Smith, July 1980 by Bernice Johnson Reagon, Part I. Also includes early music of the Roberta Martin Singers.
Field Tape:Interview with Eugene Smith by Bernice Johnson Reagon, Part II. They discuss the gospel music of the Roberta Martin Singers and the nature of gospel music during the Roberta Martin era.
Field Tape: Interview with Eugene Smith by Bernice Johnson Reagon, Part III. Includes recorded music of the Roberta Martin Singers:
"Nobody Knows"
"Teach Me Lord To Wait"
"It's Amazing"
"When He Set Me Free"
"Only A Look"
"Just Tell Jesus All"
Recorded live: performance by the Roberta Martin Singers
"Only A Look"
"What Would You Do Without Jesus"
"Try Jesus"
"Rock My Soul"
"I'm So Grateful"
"Sinner Man"
"Old Ship of Zion"
"Step In Jesus"
"Grace"
"He's So Divine"
"Just Jesus and Me"
"God Specializes"
"Precious Memories"
Concert held Sunday April 12, 1981 at Baird Auditorium, National Museum of Natural History, Smithsonian Institution. It paid tribute to the Harmonizing Four, an all-male gospel group from Richmond, Virginia, who have been singing together for more than fifty years. The group began singing together on October 27, 1927. The original quartet members were Joseph Williams, Thomas Johnson, Jr., Lawrence Hatchett, and Lawrence Longhorn (the latter two now deceased). The Harmonizing Four began as an informal a cappella group who sang spirituals, hymns, and classic gospel songs. Every member is a leader and soloist and they do all of their own arranging. The present group includes two original members. The Harmonizing Four documented here are Joseph Williams (lead, baritone, manager, and spokesman) Thomas Johnson, Jr. (lead, second tenor) Lonnie Smith Sr. (lead, first tenor) Thomas Ellis Johnson (bass) Rick Monroe (guitarist) From notes on the artists, program nNotes by Dr. Bernice Johnson Reagon. See program notes for additional information about the Harmonizing Four and the Black American Gospel Music Series. The Division of Performing Arts presented the concert as part of the Black American Gospel Music Series. The series and program were organized by Dr. Bernice Johnson Reagon, director, Program in Black American Culture (later known as the Program in African American Culture). Program number AC408.11.
RTC 408.11.1 Opening Song: At The Cross
Opening remarks by Bernice Johnson Reagon
Introduction of the Harmonizing Four
The Harmonizing Four sing the following songs:
"Just Keep Me Near the Cross" "Prayer" "Memories Linger On" "He Lives" "I believe" "Let God Abide" "At the Cross" "Sign Me Up" "Let Me Walk Close to Thee"
"The Lord's Prayer" "Learning to Lean On Jesus" "How Great Thou Are" "Amazing Grace" "There Is A Land Beyond the River" "Let God Abide" "I Started With Jesus"
"Take Your Burdens to the Lord" "He's Sweet"
Program in African American Culture Collection highlighted the exceptional talent of one of the nation's largest gospel singing family. The Scott A. White Family Singers consists of father and mother, fifteen children, fifty grandchildren and at least eight great-grandchildren. There are many other talents in the family. Nine family members are ministers, seven are missionaries, seven are piano players, one is a minister of music, one is an evangelist, seven are songwriters, and three are playwrights. The Scott A. White Family has been singing for more than twenty-five years, presided over by their father, elder Scott A. White, pastor of the New Hope Primitive Baptist Church in Steelton, Pennsylvania. (From unpublished program notes by Pearl Williams Jones. See notes for additional information about the Scott A. White Family). The concert by the Scott A. White Family was held on Sunday, May 17, 1981 at Baird Auditorium, National Museum of Natural History, Smithsonian Institution. The concert was presented as part of the Black Gospel Music Series by the Division of Performing Arts. The series and program were organized by Bernice Johnson Reagon, director, Program in Black Culture (later known as the Program in African American Culture). Program number AC408.12.
RTC 408.12.1 Opening remarks by Pearl Williams Jones. Introduction of the Scott A. White Family by Pearl Williams Jones. The Scott A. White Family Singers sing the following songs: "One Big Family" Prayer "He's Still Alive" "I Couldn't Keep It To Myself" "I Want Jesus To Walk With Me" "It's Worth It All" "I Want To Go To That Place Called Home"
RTC 408.12.2 "His Love" "Yes Lord" "I Want To Be a Christian In My Heart" "Jesus Is the Best Thing That Ever Happened To Me" "Save Our Children" "Where Would I Be" "Hold On"
RTC 408.12.3 "Blessed Memories" Scott White Family Song Closing remarks by Pearl Williams Jones
Concert and colloquium held Friday and Saturday, November 20 and 21, 1981, at Baird Auditorium, National Museum of Natural History, Smithsonian Institution. Program was created to explore examples of quartet styles. Panelists included Bernice Reagon Johnson, Doug Seroff, Thermon Ruth, Portia K. Maultsby, and Reverend Isaac Ravizee. The Sterling Jubilees and Four Eagles, two of the groups featured in this program, are community-based quartets from Jefferson County, Alabama, whose unaccompanied singing style dates to the 1930s. The program also features the Fairfield Four, a quartet from Nashville, Tennessee, and the Sensational Nightingales. From notes in the Program guide. See program guide for additional information on the Black American Gospel Song: The Quartet Tradition. The concert and colloquium were presented by the Division of Performing Arts. The program was organized by Bernice Johnson Reagon. Program number 408.13.
Colloquium (Saturday November 21, 1981)
Panel (in progress): Harmonizing and Arranging Panelists: Dr. Portia Maultsby (facilitator)
Fairfield Four The Sensational Nightingales: Introduction of members of the Fairfield Four. Introduction of members of The Sensational Nightingales. Questions
Remarks by Bernice Johnson Reagon and introduction of panel: Tradition of Quartet Contests Doug Seroff, primary consultant for the quartet program, discusses the origins of quartet contests. Reverend Isaac Ravizee, facilitator, dicusses the history of quartets.
REVEREND. ISAAC RAVIZEE (continued) Questions
Demonstration Performers: Four Eagles
Remarks by the judges Remarks by Bernice Johnson Reagon. Remarks and questions from the audience.
Evening Concert (Saturday November 21, 1981) Opening remarks by Bernice Johnson Reagon and introduction of the quartets. The Sterling Jubilees sing: "Shine On Me," Prayer, "Howdy Do Everybody," "Ring Those Golden Bells for You and Me," "I Want To Be A Christian In My Heart," "Calling Jesus," "By the Grace of My Savior," "I'm Going to Leave You in the Hands of the Lord," "Let the Church Roll On," Remarks by Bernice Johnson Reagon and, introduction of the Four Eagles. The Four Eagles sing: "Walk In Your Way," "God's Gonna Ride On the Rain and Tide," "Alone," "Remember Me Father," "He Watches Me."
The Four Eagles continued "Who Will Be A Witness?" "I Know You've Been So Give," "I'm Coming Home," Introduction of Fairfield Four by Bernice Johnson Reagon. Fairfield Four sing: "Remember Me," "Deep as the Sea," "When My Lord Sounds His Trumpet," "Hold On to His Unchanging Hand," "Savior, Don't You Pass Me By," "A City Called Glory," "I'll Rise Again," "Don't Let Nobody Turn You Round." Remarks and introduction of The Sensational Nightingales by Bernice Johnson Reagon. The Sensational Nightingales sing: "Are You Standing at the Crossroad of Confusion."
The Sensational Nightingales continued "Because He Lives" "Jesus Will Save Your Soul" "Hold On a Little While Longer" "The Lord Will Make a Way" "I'll See You In the Rapture"
Birmingham Quartet Anthology Field Tape Includes the following selections: "I am Climbing Jacobs Ladder" "Before You Get to Heaven" "Where Should I Be When The Trumpet Sounds?"
Four Eagle Quartet Interview Field Tape Includes the following selections: "Walk In Your Way" "There Must Be a Heaven Somewhere" "God's Gonna Ride On the Rain and Tide" "Jesus Is All This World To Me" "I'll Tell It Everywhere I Go" "It Will All Be Over After Awhile" "Peace In the Valley" "What the Lord Has In Store for You" "Since I Found the Lord"
Interview of members of the Four Eagles by Bernice Johnson Reagon Last selection by the Four Eagles "What a Time"
Same as OTC 408.13.13a
Sterling Jubilee Interview by Bernice Johnson Reagon. Includes the following selections: "Shine On Me" "Low Down, Chariot"
Sterling Jubilee Interview - Music Only Includes the following selections: "Shine On Me" "Low Down, Chariot" "I'll Trust In God" "I've Suffered So Long" "Ring Those Golden Bells For You and Me" "Oh Lord Hold My Hand" "I Keep On Toiling" "Have Mercy On Me" "My Jesus Knows" "When My Savior Calls My Name"
Carolina Crusaders Gospel Quartet-Field Tape
Concert and colloquium held February 5-7, 1982, at Baird Auditorium, National Museum of Natural History, Smithsonian Institution. The program was designed to explore blues as a form of literature. Blues music has been described as a feeling, a state of being, a condition, originating from everyday experiences like partialities, pain, struggle, hard times, and personal love. Blues music is a statement about these conditions. From its African American roots in the rural South to worldwide popularity, blues is a sound and a literature voicing the unique experiences that have forged African-American culture. From program guide. The program was organized by Dr. Bernice Johnson Reagon, director, Program in Black American Culture (later known as the Program in African American Culture). It featured songwriters and performers demonstrating and discussing their composition process, performance style, and philosophy. Scholars who discuss blues lyrics as Black American literature joined them. Performances by Chicago-based musicians Willie Dixon, Koko Taylor and Taja Mahal are also included among the materials. Program number AC408.14.
Opening remarks by Bernice Johnson Reagon
J.C. BurrisURRIS, contemporary songwriter and harmonica player, performs:
"One of These Mornings"
"Down On the Farm"
"Born With the Highway Blues"
"There's A River That Flows Through the Life of Everyone"
"The Hand Jive" OTC 408.14.1b, "Inflation Blues"
Remarks by Bernice Johnson Reagon
TAJ MAHAL, musicologist and blues musician, performs:
"Everybody Fightin About That........."
"Stagley Pay"
"City Blues"
"I'm Going To Chicago"
OTC 408.14.2a: "I'm Going To Chicago" continued
"Statesboro Blues"
"Hold the Woodpile Down"
"Sweet Home Chicago"
("Where You Gon To Run To") KOKO TAYLOR, blues musician from Chicago, performs the following songs:
"Rock Me All Night Long"
OTC 408.14.2b: "Rock Me All Night Long" continued
"Let the Good Times Roll"
"I'm A Woman"
"You Can Have My Husband, But Please Don't Mess With My Outside Man"
"Walkin the Back Streets"
"Hey Bartender"
"The Blues Never Die"
OTC 408.14.3a: "The Blues Never Die" continued
"Wang Dang Doodle"
Colloquium, February 6, 1982
Opening remarks by Bernice Johnson Reagon
Sterling Brown, blues poet laureate, discusses his life with the blues, the relationship between blues and jazz, and the poetry in the blues. He reads three poems related to the blues.
OTC 408.14.3b: Sterling continued.
Panel I: Black American Blues: Craft and Tradition
Panelists:
J.C. Burris demonstrate his style of blues.
OTC 408.14.4a: Burris continued
Koko Taylor, discusses her blues career and provides examples of her blues songs.
OTC 408.14.4b: Stephen Henderson, director of the Arts and Humanities Institute at Howard University.
He discusses blues poetry and the poetry of blues aesthetic.
OTC 408.14.5a: Henderson continued
Questions from the audience OTC 408.14.5b: Questions continued
Panel II: Blues Poets: Compositional Principles
Introductory remarks by Dr. Bernice Johnson Reagon Panelists: TAJ MAHAL
Concert performance on February 5, 1982. Opening remarks by Bernice Johnson Reagon
J.C. Burris, contemporary songwriter and harmonica player, performs: "One of These Mornings," "Down On the Farm," "Born With the Highway Blues," "There's A River That Flows Through the Life of Everyone," "The Hand Jive," "Inflation Blues,"
Remarks by Bernice Johnson Reagon Taj MahalAHAL, musicologist and blues musician, performs: "Everybody Fightin About That........." "Stagley Pay," "City Blues," "I'm Going To Chicago."
OTC 408.14.2a: "I'm Going To Chicago" continued
"Statesboro Blues"
"Hold the Woodpile Down"
"Sweet Home Chicago"
("Where You Gon To Run To") Koko Taylor, blues musician from Chicago, performs the following songs:
"Rock Me All Night Long"
OTC 408.14.2b: "Rock Me All Night Long" continued
"Let the Good Times Roll"
"I'm A Woman"
"You Can Have My Husband, But Please Don't Mess With My Outside Man"
"Walkin the Back Streets"
"Hey Bartender"
"The Blues Never Die"
"The Blues Never Die" continued
"Wang Dang Doodle"
Colloquium on February 6, 1982 Opening remarks by Bernice Johnson Reagon Sterling Brown, blues poet laureate, discusses his life with the blues, the relationship between blues and jazz, and the poetry in the blues. He reads three poems related to the blues. Brown continued
Panel I: Black American Blues: Craft and Tradition
Panelists:
J.C. BurrisURRIS demonstrate his style of blues.
Burris continued
Koko Taylor, discusses her blues career and provides examples of her blues songs.
Stephen Henderson, director of the Arts and Humanities Institute at Howard University. He discusses blues poetry and the poetry of blues aesthetic.
Henderson continued
Questions from the audience Panel II: Blues Poets: Compositional Principles
Introductory remarks by Bernice Johnson Reagon Panelists: Taj Mahal
Taj Mahal continued Paul Oliver, associate head, Department of Architecture at Oxford Polytechnic, Oxford, England. He is also the author of Conversation On Blues, and African Retentions in the Blues. Daphne Duval Harrison, associate professor and chairperson, Department of African-American Studies at the University of Maryland, Baltimore County. She specializes in African and African-American music.
Harrison continued Questions Introduction of panelists by Bernice Johnson Reagon. Panel III: Blues Performance: Live and Recorded Panelists:
Harrison continued Questions Introduction of panelists by Bernice Johnson Reagon. Panel III: Blues Performance: Live and Recorded Panelists:
David Evans, professor of music and director of regional studies graduate degree programs and ethnomusicology at Memphis State University. Sandra LiebIEB, assistant professor of literature and popular culture, Department of English, University of Illinois-Chicago Circle. She is also the author of
Lieb continued Willie Dixon, composer, performer, and producer of blues music. He has been a major force in the development of contemporary blues and popular music. Questions from the audience
Concert on February 6, 1982 Introductory remarks by Bernice Johnson Reagon. J.C. Burris performs the following songs:
"If You Lose Your Money, Don't Lose Your Mind, and If You Lose Your Woman, Don't Mess With Mine"
"Mean Woman Blues"
"We Just Hold On To This Upset World"
"Medlin Flyin California"
"Born With the Highway Blues"
"Michael Row the Boat Ashore"
"Hand Jive"
Taj Mahal performs the following songs:
(My Friend Can't Have My Room)
(Everybody Fightin About That......)
"City Blues"
"Stagolee Pay"
"Baby You're My Destiny"
"I'm Going To Chicago"
"I'm In Love With You"
"Rock Me To My Soul" Koko Taylor performs the following songs:
"Why I Sing the Blues"
"I'm Going Down In Louisiana, To Get Me A MoJo"
"Baby Please Don't Dog Me"
"Twenty-Nine Ways To Get To My Baby's Door"
"Walkin' the Back Streets"
"Hey Bartender"
"I'm Not One Of Those Pick-Up Women"
"Wang Dang Doodle"
"Something Strange Goin' On In My House"
Blues At Noon (Sunday February 7,1982) Introductory remarks by Bernice Johnson Reagon J.C. Burris performs the following songs:
"The Battle Is Over, But the War Goes On"
"Born With the Highway Blues"
"The World I'm Livin In, Got To Change"
"There's A River That Flows Through the Life of Everyone"
"Hand Jive"
"Saturday Night Fish Fry" Introductory remarks by Bernice Johnson Reagon
Phil Wiggins - Folk Blues musician.
John Cephus - Folk Blues Musician
Wiggins and Cephus perform the following songs:
"Blueday Blues,"
"I Ain't Got No Lovin' Baby Now,"
"School Girl Blues,"
"You Gone Away,"
"Worried Man Blues,"
"The Richmond Blues,"
"Runnin,' Hidin,'"
"Last Fair Deal,"
Questions from the audience
"Honeybee"
need description
Discusses blacks in radio.
The concert and colloquium held May 7-9, 1982, at Baird Auditorium, National Museum of Natural History, Smithsonian Institution was created to pay tribute to Reverend Charles Albert Tindley, a pioneer in gospel music. Tindley's compositions formed a base upon which the new Black urban sacred gospel music was developed. Tindley's style influenced all of the early gospel music composers including Thomas A. Dorsey, Lucie Elizabeth Campbell, Roberta Martin, and Reverend William Herbert Brewster. The gospel songs composed by Tindley include "Stand By Me", "The Storm Is Passing Over", "We'll Understand It Better By and By", "Nothing Between", and "Leave It There". Tindley's songs moved quickly into the Black oral tradition and today, many of his songs are part of the pool of Black music by unknown composers.
This musical tribute was an original production conceived of and directed by Dr. Bernice Johnson Reagon, director, Program in Black Culture (later known as the Program in African American Culture). The script was created by Eleanor Traylor and featured Reverend Tindley's songs as they were developed within the performancve tradition of Tindley Temple. The colloquium included Black music scholars, theologians, and others who knew and worked under the tutelage of Reverend Tindley. Participates included Reverend Marion Ballard, Dr. Horace C. Boyer, Kenneth Goodman, Dr. William C. Jason, Jr., Ralph H. Jones, Dr. Bernice Johnson Reagon, Wayne Shirley and Pearl Williams-Jones.
The program was presented again on April 28 and 29, 1984 at the Tindley Temple United Methodist Church in Philadelphia, Pennsylvania by the Tribute to Tindley Committee. Program number AC408.15.
The Song Ministry of Reverend Charles Albert Tindley: A Musical Tribute Dramatic biographical presentation by Avery Brooks playing Reverend Tindley.
Opening remarks by Bernice Johnson Reagon "What Are They Doing In Heaven Today", performed by Pearl Williams-Jones. "Stand By Me", Tindley's most well-known work, performed by the Howard University Gospel Choral Ensemble, recreating the songs as they have been sung by three different gospel ensembles. "Leave It There", performed by six women from the Howard University Gospel Choral Ensemble, recreating the style of Clara Ward and the Ward Singers. Remarks by Bernice Johnson Reagon. "The Pilgrim's Song", performed by the male quartet from the Howard University Gospel Choral Ensemble, in the style of the Dixie Hummingbirds.
"I'll Overcome Someday", performed by the Howard University Gospel Choral Ensemble, soloist, Bernice Johnson Reagon. Bernice Johnson Reagon discusses the evolution of the song "I'll Overcome Someday", published in 1901. "We Shall Overcome", performed by the Howard University Gospel Choral Ensemble. Bernice Johnson Reagon discusses the origins of Tindley songs. "Leave It There", performed by Jane Rosenbloom, Joel Rosenbloom, and Wayne Shirley. "The Storm Is Passing Over", performed by the Howard University Gospel Choral Ensemble.
Drama
Narrator One: A man who grew up in Tindley's church speaks about Tindley and his church. "Nothing Between", performed by the Howard University Gospel Choral Ensemble.
Narrator Two: A woman from Tindley's congregation speaks about Tindley's humility, and the inspiration for "Nothing Between". Narrator ThreeHREE: Speaks about Tindley as not only a "Sunday morning preacher" but also a "street preacher". Avery Brooks as Reverend Tindley delivering a sermon.
Tindley sermon by Avery Brooks (continued) "Some Day", performed by Avery Brooks as Reverend Tindley, as part of his sermon. He is joined by the audience and Pearl Williams-Jones. Church service continues. Woman from "congregation" stands up to testify.
Narrator one: Speaks about the hymns Tindley wrote that often illustrated his sermons.
Performed by The Tindley Seven: "The Storm Is Passing Over" "We'll Understand It Better By and By" Avery Brooks, as Reverend Tindley, in his study, singing the "Pilgrim's Song", as he writes it and practicing the delivery of a sermon --" It is hard to reach a moral judgment of someone by noting their actions alone.
Narrator Two: Speaks about Reverend Tindley and the ability of his congregation to organize community activities to raise money for the church.
"Heaven's Christmas Tree", performed by Pearl Williams-Jones.
Narrator One: Speaks about the classes held at Tindley Temple, which were the foundation of the church.
"This Little Light Of Mine", performed by the Howard University Gospel Choral Ensemble.
Narrator One: Speaks about the testimonial meetings in the classes on Sunday mornings.
Avery Brooks as Reverend Tindley gives a sermon: The Rose and the Lily.
"Lily of the Valley", performed by Avery Brooks as Reverend Tindley with the congregation. "Stand By Me", performed by Tindley, joined by the "congregation" and audience. Avery Brooks as Reverend Tindley gives the benediction. "Stand By Me" reprise, performed by all of the performers in the production.
Colloquium, Sat. May 8.
Introductory remarks by Bernice Johnson Reagon. Panel I: Rev. C.A. Tindley-- A Biographical Overview. Panelists:
Ralph Jones, former executive editor of the Philadelphia Tribune; author of a book on Rev. Tindley; christened by Reverend Tindley; lifelong member of Tindley Temple. He gives a biographical overview of Reverend Tindley.
Remarks by Bernice Johnson Reagon.
Dr. William C. Jason, Jr., authority on Black Methodism; baptized by Rev.Tindley; lay member of Delaware Conference for 25 years. He discusses how Methodism reached the Eastern Shore.
Dr. Bernice Johnson Reagon, cultural historian and director of the Program in African-American Culture discusses the culture blends in Black American worship: The Case of Tindley Temple.
Questions
Colloquium (continued) Panel II: The Music of Rev. Charles Albert Tindley. Opening remarks by Bernice Johnson Reagon Panelists:
Dr. Horace C. Boyer, associate professor of music, University of Massachusettes; author; gospel musician, discusses Rev. Tindley: The Composer.
Kenneth Goodman, concert organist; christened by Rev. Tindley; served as Tindley Temple's organist until Rev. Tindley's death. Tindley's Ministry: A Musical History.
Pearl Williams-Jones, a leader in the field of Black music education; gospel musician; associate professor Department of Music, University of the Districtof Columbia. Structure and Spirit: Elements of Gospel Improvisational Style in the Tindley Song Tradition.
Pearl Williams-Jones (continued) Questions
Colloquium Saturday May 8 Remarks by Bernice Johnson Reagon Panel three: Reverend C.A. Tindley's Themes: Songs, Sermons, and Theology
Panelists:
Reverend Marion Ballard, minister of Tindley Temple, 1965-1976; member of the Delaware Conference since 1931, discusses the theological basis of Reverend Tindley's songs. Reverend. Henry H. Nichols, former minister of Philadelphia's James Memorial United Methodist Church, discusses Tindley as a theologist and how he delivered his message through song.
Reverend Nichols (continued) Wayne Shirley, music librarian, Library of Congress; and a programmer of a Smithsonian recording of Reverend Tindley's songs. He discusses the dissemination of Tindley songs through records.
Questions
Song Ministry of Reverend C.A. Tindley: A Musical Tribute (Saturday May 8) Avery Brooks playing Reverend Tindley in biographical dramatic presentation. "We'll Understand It Better By and By", performed by the Howard University Gospel Choral Ensemble.
Opening remarks by Bernice Johnson Reagon "What Are They Doing In Heaven Today", performed by Pearl Williams-Jones "Stand By Me", performed in three different singing styles performed by the Howard University Gospel Choral Ensemble in the style of the "Violinaires"
In the style of the Chicago group, the "Caravans". In the style of the "Five Blind Boys From Alabama". "Leave It There", performed by six women from the Howard University Gospel Choral Ensemble, recreating the style of Clara Ward and the Ward Singers.
Remarks by Bernice Johnson Reagon. "The Pilgrim's Song", performed by the male quartet from the Howard University Gospel Choral Ensemble, in the style of the Dixie Hummingbirds.
"I'll Overcome Someday", performed by the Howard University Gospel Choral Ensemble, soloist, Bernice Johnson Reagon. Bernice Johnson Reagon discusses the evolution of the song "I'll Overcome Someday", published in 1901.
"We Shall Overcome", performed by the Howard University Gospel Choral Ensemble. Bernice Johnson Reagon discusses the origins of Tindley songs. "Leave It There", performed by Jane Rosenbloom, Joel Rosenbloom, and Wayne Shirley. "The Storm Is Passing Over", performed by the Howard University Gospel Choral Ensemble
Drama
Narrator One: A man who grew up in Tindley's church speaks about Tindley and his church. "Nothing Between", performed by the Howard University Gospel Choral Ensemble.
Narrator Two: A woman from Tindley's congregation speaks about Tindley's humility, and the inspiration for "Nothing Between". Narrator Three: Speaks about Tindley as not only a "Sunday morning preacher" but also a "street preacher".
Avery Brooks as Reverend. Tindley delivering a sermon.
"Some Day", performed by Avery Brooks as Reverend Tindley, as part of his sermon.He is joined by the audience and Pearl Williams-Jones. Church service continues. Woman from "congregation" stands up to testify.
Narrator One: Speaks about the hymns Tindley wrote that often illustrated his sermons.
Performed by The Tindley Seven: "The Storm Is Passing Over" "We'll Understand It Better By and By" Avery Brooks, as Reverend Tindley, in his study, singing the "Pilgrim's Song", as he writes it and practicing the delivery of a sermon --" It is hard to reach a moral judgment of someone by noting their actions alone.
Narrator Two: Speaks about Reverend Tindley and the ability of his congregation to organize community activities to raise money for the church.
"Heaven's Christmas Tree", performed by Pearl Williams-Jones.
Narrator One: Speaks about the classes held at Tindley Temple, which were the foundation of the church.
"This Little Light Of Mine", performed by the Howard University Gospel Choral Ensemble.
Narrator One: Speaks about the testimonial meetings in the classes on Sunday mornings.
Avery Brooks as Reverend Tindley gives a sermon: The Rose and the Lily.
"Lily of the Valley", performed by Avery Brooks as Reverend Tindley with the congregation. "Stand By Me", performed by Tindley, joined by the "congregation" and audience. Avery Brooks as Reverend Tindley gives the benediction.
"Stand By Me" reprise, performed by all of the performers in the production.
One-day colloquium held on October 16, 1982, at the Smithsonian Institution. It was created to provide insight on Black American braiding traditions and to provide a forum for discussions of aesthetics, culture, health, politics, and economics of braiding. Tulonnie Jordan, a braid designer seeking an opportunity for braiders to gather, exchange information, and share their experiences, provided the initial idea for the program. Bernice Johnson Reagon and Marquette Folley of the Program in African American Culture then organized the program. It featured braid designers from across the United States who presented their work through slide shows and demonstrations on live models. The program also included three panel discussions and a technique workshop on braiding. Program number AC408.16.
Introductory remarks by Bernice Johnson Reagon
Remarks by Amina Dickerson
Panel one: Black American Hair Design: Historical Perspectives
Introduction by Bernice Johnson Reagon.
Panelists:
Rosalyn Walker (curator, Museum of African Art): African heritage of hair braiding. History of hair braiding designs in Africa. Cultural, religioius, social, and economic representations of hair braiding.
Bernice Johnson Reagon (director, Program in African American Culture): The Middle Passage - Black American hair care from the time of slavery to the invention of relaxers and perms.
Stephanie Honeywood Comparative aspects between east and west coast hair braiding designers.
Panel II : Creating Black Hairstyles: Aesthetics and Performance
Introductory remarks and introduction of panelists by Bernice Johnson Reagon.
Panelists:
Rosalyn Jeffries (consultant and lecturer, Metropolitan Museum of Art): Black hair sculpture, an art historian's view
Shabu Anna Jackson (braid designer): Braiding Styles
Naweeli Iyeo (Los Angeles braid designer): The beauty of small braids, choosing a design, client/braider relationship.
Malakia Hilton (braid designer): Braids, their artistry and growth.
Technique Workshop - Introductory remarks and introduction of participating braiders by Bernice Johnson Reagon.
Braiders:
Fawna Smith demonstrates the braiding process for small braids.
Ernestine Corbin assisted by Donna Merrit, demonstrates the braiding process for medium and long braids
Acknowledgment of other hair braiders present at the conference.
Panel III: Black-American Hairstyles: Issues of Economics, Health, and Politics
Introductory remarks by Bernice Johnson Reagon
Panelist: Tulonnie Jordan: Maintaining a Black Cultural Heritage- The Status of Black Hair Business in the Community.
One in a series of programs including a concert and colloquium highlighting and honoring the work of gospel music composers. Brewster, pastor of the East Trigg Baptist Church in Memphis, Tennessee was considered one of the most gifted orators in the country. Born and raised in Tennessee, he became one of the mid-South's first radio ministers on radio station WDIA. Brewster wroteitten over two hundred 200 gospel songs including "Jesus Is All," "Peace Be Still," and ALeaning and Depending On the Lord. Many of his songs are gospel standards and considered treasures in the church. He was head of the Education Department of the National Baptist Convention and established the Brewster Clinic of Theology in Memphis. This series documents the concert and colloquium "Reverend William Herbert Brewster: Song Journey," held December 17-19, 1982 at the Smithsonian Institution. The concert and colloquium were sponsored by the Division of Performing Arts and organized by Dr. Bernice Johnson Reagon, director of the Program in Black Culture (later known as the Program in African American Culture). Audio cassette tapes OTC 408.17.1 - 3 are missing. Program number AC408.17.
OV 408.17.1:Concert, December 17, 1982
opening remarks and narration by Reverend William H. Brewster Sweet Honey In the Rock perform the following songs:
"I Found the Keys to the Kingdom"
"Leaning and Depending On the Lord"
"Speak To Me Jesus"
"Jesus Is All"
"Peace Be Still"
"Our God Is Able"
"Have Faith In God/Faith Moves the Mountains"
OV 408.17.2: Have Faith In God/Faith Moves the Mountains, continued
"How Far Am I From Canaan"
"Just Over the Hill"
"Old Time Landmark"
"Climbing Higher and Higher"
"I Feel Something Drawing Me On"
"Payday"
OV 408.17.4:Concert, December 18, 1982
Opening remarks by Bernice Johnson Reagon
Remarks by Mayor Marion Barry, Washington, DC
Presentation to Reverend William H. Brewster
Narration by Reverend William H. Brewster
Sweet Honey In the Rock perform:
"I Found the Keys to the Kingdom"
"Leaning and Depending On the Lord"
"Speak To Me Jesus"
Narration by Reverend William H. Brewster
"Peace Be Still"
"Jesus Is All"
"Our God Is Able"
Narration by Reverend William H. Brewster
"Have Faith In God/Faith Moves the Mountains"
OV 408.17.5: Concert, continued
"Never Heard of A City"
"How Far Am I From Canaan"
Questions from the audience
OV 408.17.6:Concert, continued
Payday
Move On Up A Little Higher
Narration by Reverend William H. Brewster
"How I Got Over"
Remarks by Reverend William H. Brewster
OV 408.17.7: Gospel Drama, December 19,1982
Introductory remarks by Bernice Johnson Reagon
Remarks by Reverend William H. Brewster
Gospel Drama: "Sowing In Tears, Reaping In Joy" composed, directed, and produced by Reverend William Herbert Brewster.
Anna Lois Brooks, accompanist Sylvia Banks, choir director Cast: Congregation, East Trigg Baptist Church, Memphis, Tennessee.
Gospel Drama: "Sowing In Tears, Reaping In Joy", continued composed, directed, and produced by Reverend William Herbert Brewster.
Anna Lois Brooks, accompanist Sylvia Banks, choir director Cast: Congregation, East Trigg Baptist Church, Memphis, Tennessee.
OV 408.17.9: Colloquium, December 18, 1982
Introductory remarks by Bernice Johnson Reagon
Panelists:
Bernice Johnson Reagon,"Reverend Williams Herbert Brewster: A Cultural Biography"
Horace C. Boyer,"Reverend William Herbert Brewster:His Music and Its Impact - Composition Analysis"
OV 408.17.10: Horace Boyer, continued)
William H. Wiggins, Jr., "From Auction Block To... Canaan: An Analysis of Reverend William Herbert Brewster's Religious Dramas"
OV 408.17.11: Questions, continued
Anthony Heilbut, AA Survey of Recorded Brewster Compositions
Questions from the audience
Demonstration Workshop, Working With the Composer
The Brewster Ensemble, East Trigg Baptist Church, Memphis, Tennessee
The Brewster Ensemble perform Brewster compositions
OV 408.17.12: Workshop, continued
OTC 408.17.4a: Continuation of colloquium.
Anthony Heilbut, A Survey of Recorded Brewster Compositions
Questions from the audience
Workshop, Working with the Composer
Bernice Johnson Reagon introduces the Brewster Ensemble
Brewster Ensemble sings:
"If You Walk By Faith and Not By Sight" "You'll Never Walk Alone"
OTC 408.17.4b: "Only the Crumbs"
"Wonderful To Be In the Presence of the Lord"
"This I Believe"
Introduction of members of the Brewster Ensemble
Remarks by Pearl Williams-Jones
OTC 408.17.4a: Continuation of colloquium
Anthony Heilbut, A Survey of Recorded Brewster Compositions
Questions from the audience
Workshop, Working with the Composer
Bernice Johnson Reagon introduces the Brewster Ensemble
Brewster Ensemble sing:
"If You Walk By Faith and Not By Sight"
"You'll Never Walk Alone"
OTC 408.17.4b: "Only the Crumbs"
"Wonderful To Be In the Presence of the Lord"
"This I Believe"
Introduction of members of the Brewster Ensemble
Remarks by Pearl Williams-Jones
OTC 408.17.5a: Pearl Williams-Jones, continued Closing remarks by Reverend William H. Brewster Concert, December 18, 1982 Opening remarks by Bernice Johnson Reagon Remarks by Mayor Marion Barry of Washington, DC Presentation to Reverend William H. Brewster. Narration by Reverend Brewster
Sweet Honey In the Rock sing:
"I Found the Keys to the Kingdom"
"Leaning and Depending On the Lord"
"Speak To Me Jesus"
Narration by Reverend Brewster
"Peace Be Still"
OTC 408.17.5b:"Jesus Is All"
"Our God Is Able"
Narration by Reverend Brewster
"Have Faith In God/Faith Moves the Mountains"
"Never Heard of A City"
"How Far Am I From Canaan"
Narration by Reverend Brewster
"Just Over the Hill
OTC 408.17.5a: Pearl Williams-Jones, continued Closing remarks by Reverend William H. Brewster Concert, December 18, 1982 Opening remarks by Bernice Johnson Reagon Remarks by Mayor Marion Barry of Washington, DC Presentation to Reverend William H. Brewster. Narration by Reverend Brewster
Sweet Honey In the Rock sing:
"I Found the Keys to the Kingdom"
"Leaning and Depending On the Lord"
"Speak To Me Jesus"
Narration by Reverend Brewster
"Peace Be Still"
OTC 408.17.5b:"Jesus Is All"
"Our God Is Able"
Narration by Reverend Brewster
"Have Faith In God/Faith Moves the Mountains"
"Never Heard of A City"
"How Far Am I From Canaan"
Narration by Reverend Brewster
"Just Over the Hill
OTC 408.17.6a: "Old Time Landmark"
"Climbing Higher and Higher"
Narration by Reverend Brewster
"I Feel Something Drawing Me On"
"Payday"
"Move One Up A Little Higher"
OTC 408.17.6b: Presentation to Reverend Brewster
Remarks by Reverend. Brewster
AHow I Got Over
Remarks by Reverend Brewster
OTC 408.17.6a: "Old Time Landmark"
"Climbing Higher and Higher"
Narration by Reverend Brewster
"I Feel Something Drawing Me On"
"Payday"
"Move One Up A Little Higher"
OTC 408.17.6b: Presentation to Reverend Brewster
Remarks by Reverend. Brewster
AHow I Got Over
Remarks by Reverend Brewster
OTC 408.17.7a: Gospel Drama, December 19, 1982
Introductory remarks by Bernice Johnson Reagon
Remarks by Reverend William H. Brewster
Gospel Drama: "Sowing In Tears, Reaping In Joy", composed, directed, and produced by Reverend William Herbert Brewster. Anna Lois Brooks, accompanist, and Sylvia Banks, choir director
Cast: Congregation, East Trigg Baptist Church in Memphis,Tennessee.
OTC 408.17.7b: "Sowing In Tears, Reaping In Joy", continued
OTC 408.17.7a: Gospel Drama, December 19, 1982
Introductory remarks by Bernice Johnson Reagon
Remarks by Reverend William H. Brewster
Gospel Drama: "Sowing In Tears, Reaping In Joy", composed, directed, and produced by Reverend William Herbert Brewster. Anna Lois Brooks, accompanist, and Sylvia Banks, choir director
Cast: Congregation, East Trigg Baptist Church in Memphis,Tennessee.
OTC 408.17.7b: "Sowing In Tears, Reaping In Joy", continued
OTC 408.17.8a: "Sowing In Tears, Reaping In Joy", continued
OTC 408.17.8a: "Sowing In Tears, Reaping In Joy", continued
OTC 408.17.9a: Field tape: interview with Reverend William Herbert Brewster, August 16, 1982 by Bernice Johnson Reagon, part one
OTC 408.17.9b: Field tape: interview with Reverend William Herbert Brewster, August 16, 1982 by Bernice Johnson Reagon, part two
OTC 408.17.9a: Field tape: interview with Reverend William Herbert Brewster, August 16, 1982 by Bernice Johnson Reagon, part one
OTC 408.17.9b: Field tape: interview with Reverend William Herbert Brewster, August 16, 1982 by Bernice Johnson Reagon, part two
OTC 408.17.10a: Field tape: Monday Night Church Service at East Trigg Baptist Church, Memphis Tennessee, part one
OTC 408.17.10a:Field Tape: Monday Night Church Service at East Trigg Baptist Church, Memphis Tennessee, part one
OTC 408.17.lla:Field Tape: Monday Night Church Service, East Trigg Baptist Church, Memphis Tennessee, part two
OTC 408.17.lla:Field Tape: Monday Night Church Service, East Trigg Baptist Church, Memphis Tennessee, part two
OTC 408.17.12a: Field tape: interview with Anna Lois Brooks, August 17, 1982 by Bernice Johnson Reagon, part one
OTC 408.17.12b: Field tape: interview with Anna Lois Brooks, August 17, 1982 by Bernice Johnson Reagon, part two
OTC 408.17.12a: Field tape: interview with Anna Lois Brooks, August 17, 1982 by Bernice Johnson Reagon, part one
OTC 408.17.12b: Field tape: interview with Anna Lois Brooks, August 17, 1982 by Bernice Johnson Reagon, part two
OTC 408.17.13a: Field tape: Sermon by Reverend William H. Brewster, part one
Includes the following selections composed by Reverend Brewster:
"All This For Me"
"Have Faith In God/Faith Moves the Mountains"
OTC 408.17.13a: Field tape: Sermon by Reverend William H. Brewster, part one
Includes the following selections composed by Reverend Brewster:
"All This For Me"
"Have Faith In God/Faith Moves the Mountains"
OTC 408.17.13a: Field tape: Sermon by Reverend William H. Brewster, part one
Includes the following selections composed by Reverend Brewster:
"All This For Me"
"Have Faith In God/Faith Moves the Mountains"
OTC 408.17.14a: Field tape: Sermon by Reverend William H. Brewster
"The Cross, the Tomb, the Throne and the Crown"
OTC 408.17.14a: Field tape: Sermon by Reverend William H. Brewster
"The Cross, the Tomb, the Throne and the Crown"
OTC 408.17.15a: Field tape: Sweet Honey In the Rock Performing
Songs:
"I Found the Keys to the Kingdom"
"My Jesus Is All"
"Old Landmark"
"How Far Am I From Canaan"
"Just Over the Hill"
"I Feel Something Drawing Me On"
OTC 408.17.15a: Field tape: Sweet Honey In the Rock Performing
Songs:
"I Found the Keys to the Kingdom"
"My Jesus Is All"
"Old Landmark"
"How Far Am I From Canaan"
"Just Over the Hill"
"I Feel Something Drawing Me On"
OTC 408.17.16a: Field tape: Sermon by Reverend William H. Brewster, at the National Baptist Convention, September 12, 1980
OTC 408.17.16a: Field tape: Sermon by Reverend William H. Brewster, at the National Baptist Convention, September 12, 1980
OTC 408.17.17a: Field tape: Sermon by Reverend William H. Brewster, December 29, 1975
"Watchman Pilgrim"
OTC 408.17.17a: Field tape: Sermon by Reverend William H. Brewster, December 29, 1975
"Watchman Pilgrim"
OTC 408.17.18a: Field tape: Sermon by Reverend William H. Brewster at Greater Community Temple, December 31, 1978
OTC 408.17.19a: Morning Edition, National Public Radio (NPR), December 17, 1982.
Segment on Reverend William H. Brewster and his music.
OTC 408.17.20a: Field tape: An Evening in Honor of Reverend William H. Brewster, July 11, 1982 Featuring the following Brewster songs:
"Never Left Alone"
"Camp Meeting Tonight"
"Speak To Me Jesus"
"How I Got Over"
Poem - "Try" "Old Landmark"
"He's Worthy"
Tribute to Reverend Brewster by Dr. Mary Ross
OTC 408.17.20b: Tribute to Reverend Brewster, continued
"All For Me"
"Have Faith In God/Faith Moves the Mountains"
Poem: "I Am Determined To Be Somebody Someday"
Sermon by Reverend Brewster
OTC 408.17.20a: Field tape: An Evening in Honor of Reverend William H. Brewster, July 11, 1982 Featuring the following Brewster songs:
"Never Left Alone"
"Camp Meeting Tonight"
"Speak To Me Jesus"
"How I Got Over"
Poem - "Try" "Old Landmark"
"He's Worthy"
Tribute to Reverend Brewster by Dr. Mary Ross
OTC 408.17.20b: Tribute to Reverend Brewster, continued
"All For Me"
"Have Faith In God/Faith Moves the Mountains"
Poem: "I Am Determined To Be Somebody Someday"
Sermon by Reverend Brewster
OTC 408.17.21a: Compositions by Reverend Brewster, records
OTC 408.17.21a: Compositions by Reverend Brewster, records
Program presented in January 1983 in Washington, DC. Transcript captures the conversation of Dr.Bernice Johnson Reagon, Ms. Baker, and Bob Moses bforefor a live audience. Exact location of the event and full description is not available.
Part of project co-sponsored by Howard University and the Smithsonian Institution aimed at learning more about Howard University and to recognize the students and instructors who were activists involved in the Civil Rights Movement., and in order to discuss their traveling exhibit on Civil Rights Movement photography, curated by Worth Long: "We'll Never Turn Back". The August conference discussed the March on Washington in 1963, in honor of the twentieth anniversary. Those who spoke at the conferences were Dr. Bernice Johnson Reagon, Philippa Jackson, Dr. Caroline Lena Ware, Dr. Marian Musgrave, Dr. Gloster Current, John Lewis, Walter Fauntroy, and John Raines.
Project co-sponsored by Howard University and the Smithsonian Institution. On March 23 and August 23, 1983, conferences on the Civil Rights Movement were held at the National Museum of American History, Smithsonian Institution, with the intention of learning more about Howard University, aiming to recognize the students and instructors who were activists involved in the Civil Rights Movement, and in order to discuss their traveling exhibit on Civil Rights Movement photography, curated by Worth Long: "We'll Never Turn Back". The August conference discussed the March on Washington in 1963, in honor of the twentieth anniversary. Those who spoke at the conferences were Dr. Bernice Johnson Reagon, Philippa Jackson, Dr. Caroline Lena Ware, Dr. Marian Musgrave, Dr. Gloster Current, John Lewis, Walter Fauntroy, and John Raines.
Program recorded at the National Museum of American History, Smithsonian Institution, Washington, DC. Philippa Jackon, Project Director for the Voices of the Civil Rghts (VCRM) provided introduction. copy text about the program and traveling exhibition We'll never turn back and communities and activist invole in eah city. It examined the 1963 March on Washington. Dr. Anna Arnold Hedgeman provided opening address. Panelists included Dr. Bernice Johnson Reagon, Dr. Gloster, and the Honorable Walter Fauntroy.
Concert and colloquium held April 29-30, 1983, at Baird Auditorium, National Museum of Natural History, Smithsonian Institution. Program highlighted the blues tradition that came out of Memphis, Tennessee, during the 1920s and 30s, a time when Memphis was thriving as the center of black American blues. The Memphis blues is a conglomeration of the crying vocal blues from western Tennessee, the rhythmic blues of northern Mississippi and the chanting style of the Mississippi Delta. The major cultural center for black American blues music in the mid-south was Beale Street. Vaudeville and blues performers like Ma Rainey and Bessie Smith appeared regularly. [From program guide by Bill Barlow. See program guide for additional information on the concert, colloquium and Memphis blues.] Program organized by Dr. Bernice Johnson Reagon, director, Program in Black Culture (later known as the Program in African American Culture). Program number AC408.18.
Concert on April 29, 1983. Opening remarks by Bernice Johnson Reagon Performance by Memphis Slim, songs include: "Freedom Bound" "How Long" "Baby Please Come Home" "Lonesome Traveler" "When I Been Drinkin" "Last Night" "I'm Lost Without You" "Beer Drinking Woman" "Stuball" "Moving On" "One More Time" "Everybody's Blue" "Going Back Home" "By Myself" "Bye, Bye"
Remarks by Bernice Johnson Reagon Remarks by George Ware of the Black Music Association.
Presentation of an award to Nat D. Williams, black music pioneer, accepted by A.C. Williams. Performance by Bobby Blue Bland, songs include: "Aint I Loving You Right" "I'll Take Care of You" "I Want To Come Back Home" "Today I Started Loving You Again" "It's a Shame" "I Like What I See" "That's the Way Love Is" "The Feeling Is Gone" "What a Difference a Day Makes"
Remarks by Bernice Johnson Reagon
Performance by B.B. King, songs include: "Everyday I Have the Blues" "Don't Want a Soul Hanging Around, When I'm Not at Home" "Let the Good Times Roll" "You Left Me For Somebody Else" "Caldonia" "I Just Can't Leave Your Love Alone" "Got a Good Mind to Give Up Living"
"The Thrill Is Gone" "You're My Mule" "I've Been Downhearted, Ever Since We Met"
Introductory remarks by Bernice Johnson Reagon
Opening remarks by B.B. King, he gives a demonstration of blues music, and discusses his career in blues music.
Remarks by Bernice Johnson Reagon
Panel I: The Memphis Blues Story: The Early Period. Introductory remarks by Bernice Johnson Reagon Panelists:
George McDaniel, director of Research and Special Projects at the Center for Southern Folklore-If Beale Street Could Talk: A Portrait of A Black Community, 1910-1950. Includes a discussion about the photodocumentation of Rev. L.O. Taylor, Ernest Withers, C.H. Poland, and J.C. Coovert.
Samuel Charters, record producer and author-Early Blues Recordings, Performance and Repertoire.
Samuel Charters continued
Questions Memphis Slim, blues musician: Memphis Blues Piano - Discussion and Demonstration
Panel II: Memphis Blues: Post World War II. Introductory remarks by Bernice Johnson Reagon
Panelists:
Bill Barlow, a radio producer and professor, School of Communications, Howard University-Historical Overview of Post World War II Memphis Blues.
Bill Barlow continued Remarks by Bernice Johnson Reagon
A.C. Williams, a disc jockey at WDIA-AM, Memphis-Nat D. Williams and WDIA-AM:The New Blues Era.
A.C. Williams continued
Sam Phillips, a producer at Sun Records, who recorded earlier blues records-Sun Records, The Birth of Memphis Blues Recordings.
Remarks by Bernice Johnson Reagon
Questions
The program included two colloquiums, one on Friday, July 8, and one on Saturday July 9, 1983, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The Friday morning session included an opening and "Black American Cultural Programs and Projects: Public and Political Policy". The Friday afternoon sessions included "Researching, Teaching, and Practice: The State of the Field" and "Changing Definitions and Boundaries: Breaking Stereotypes". The Friday Cultural Presentation and Discussion was entitled Oh Death Have Mercy: Afro-American Death and Dying, was presented in six parts, and was followed by a discussion. A note of the presentation: "Easy Lawd" is a performance based song/narration delivered in folk speech and standard English, containing literary selection Jonah's Gourd Vine by Zora Neal Hurston, Jubilee by Margaret Wlker, Death and Burial on Yamacraw by Pat Conroy, and a sermon by James Weldon Johnson. The presentation was accentuated by hymns, gospels, blues ballads, and jubilees.
The Saturday morning session included an opening and "Black American Culture and Media: Positive and Negative Intervention". The Saturday afternoon sessions included "Continuing and Creating Traditions" and "Black American Culture: Theory and Analysis". Panelists and performers included Horace Boyer, Avery Brooks, Archie L. Buffkins, June Dobbs, Edward Cabbell, John Cephas, Gerald Davis, Jeff Donaldson, James Early, Sharon Farmer, Dennis Folly, Leonard Goines, Linda Goss, John Gwaltney, Kings of Harmony of the United House of Prayer for All People, Richard long, Portia Maultsby, Ethelbert Miller, Flora Molton, Antonia Pantoja, Bernice Johnson Reagon, Sterling Stuckey, Sweet Honey in the Rock, Eleanor W. Traylor, Pearl Williams-Jones, and Kalamu ya Salaam.
The conference was made possible through the Smithsonian's Educational Outreach Program and the following individuals: S. Dillon Ripley, secretary; Roger Kennedy, director, National Museum of American History; Josiah Hatch, director, Office of Public and Academic Programs; Dr. Bernice Johnson Reagon, director, Program in Black American Culture; Fatimah Proctor, conference production coordinator; Niani Kilkenny, production assistant; and Harold A. Closter, technical director. Program number AC408.19.
Concert and colloquium celebrated the songs and people who were a significant force in the Civil Rights Movement and in the organization of the March on Washington. Program held August 26-27, 1983, at Howard University in Washington, DC. It was organized by Dr. Bernice Johnson Reagon, director, Program in Black American Culture (later known as the Program in African American Culture). Program number AC408.20.
Colloquium
Panel Discussion I: A History of Activisim Introductory remarks by Philippa Jackson, project director for Voices of the Civil Rights Movement.
Bernice Johnson Reagon reads a letter from Dr. Anna Arnold Hedgeman, one of the first women to serve on an executive cabinet. Panelists:
Dr. Gloster Current, discusses the march on Washington 1963 from the perspective of a member of the administrative committee of the National March on Washington.
John Louis, city councilman, Atlanta, discusses organizing for the March on Washington of 1963, from the perspective of one who worked in the south and was chairman of the Student Non-violent Coordinating Committee (SNCC).
Mr. Robinson?, discusses the labor movement during the Civil Rights Movement Discussion by James Foreman
Walter Fauntroy, who was the coordinator for the D.C. Council for the Mobilization for the March on Washington, discusses the efforts of organizing locally.
Discussion
Concert and colloquium on Lucie Elizabeth Campbell held on Saturday, December 17, 1983, at Carmichael Auditorium, National Museum of American History, Smithsonian Institution. Program highlighted the life of Lucie Elizabeth Campbell, the first Black female gospel music composer. Campbell was an active worker and organizer with the National Baptist Convention. She was one of the original organizers in 1916. She sat on National Convention music committees, and was Music Director for the Baptist Congress, where she selected compositions for publication. Campbell composed over eighty gospel music classics, including: "In the Upper Room with Jesus", made famous by Mahalia Jackson; "He Understands, He'll Say, Well Done", and "Something Within." From notes in the program guide. See program guide for additional information about Lucie Elizabeth Campbell. The concert and colloquium were sponsored by the Office of Public and Academic Programs. The program was organized by Dr. Bernice Johnson Reagon, Director of the Program in Black American Culture (later known as the Program in African American Culture). Program number AC408.21.
Colloquium on December 17, 1983. Introductory remarks by Bernice Johnson Reagon Panel I: Lucie E. Campbell: A Cultural Biography Introduction of panelists by Bernice Johnson Reagon Panelists:
Dr. Charles Walker - Composer, pianist, chairman, Foreign Mission Board, National Baptist Convention, USA, Inc.
Luvenia A. George- Researcher, consultant, doctoral candidate in ethnomusicology, University of Maryland, Baltimore.
Dr. Horace Boyer- Professor of Music, University of Massachusetts.
Remarks by Bernice Johnson Reagon.
Afternoon Concert and Lecture The Songs of Lucie E. Campbell: A Concert of Black American Gospel Music
Opening remarks by Bernice Johnson Reagon
Introduction of performing artists by Bernice Johnson Reagon.
Performing the songs of Lucie E. Campbell are:
The Boyer Brothers singing: "He Understands, He'll Say, Well Done" "When I Get Home" "Touch Me Lord Jesus" "We'll Walk the Road to Glory" "Just to Behold His Face" The Year of Jubilee, The Boyer BrothersROTHERS singing: "The Lord Is My Shepard" "Sometime Soon" "Footprints of Jesus" "Something Within" "Jesus Gave Me Water" "In the Upper Room With Jesus" "He Understands, He'll Say, Well Done"
Remarks by Dr. J. Robert Bradley. He sings:
"Is He Yours?"
Afternoon Concert and Lecture, December 17,1983 The Songs of Lucie E. Campbell: Composer and Teacher
A concert and lecture by Reverend J. Robert Bradley, Music Director, the National Baptist Convention Sunday School and student of Lucie E. Campbell. Introduction of Reverend J. Robert Bradley by Bernice Johnson Reagon. He is accompanied by Pearl Williams-Jones singing: "We Shall (Walk?) Through the Valley With Jesus" "Nobody Else But Jesus" "Just To Behold His Face" "Is He Yours?" "There Is Sunshine"
Lecture continued: "Something Within" "I'm Traveling"
Remarks by Bernice Johnson Reagon
Annual Martin Luther King, Jr. commemoration included a song workshop by the singing group "In Process…" held on January 14, 1984, at the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The program was created to remember the freedom songs of the Civil Rights Movement that represented the quest for freedom and equality in America. The Civil Rights Movement presented an opportunity for equality on all fronts for Blacks in America. Between the years of 1955 and 1965, the civil rights movement shook American society with civil unrest, and through social and political protest. The Movement (forced) this change through freedom songs. These songs such as "We Shall Not Be Moved," "We Shall Overcome," and "Ain't Gonna Let Nobody Turn Me Round" empowered the Movement by creating a bond between communities. These freedom songs galvanized the community and gave people new courage, and a new sense of unity. These songs are rooted in the traditional Black American churches. The program was organized by Bernice Johnson Reagon and/or Niani Kilkenny. Program number AC408.22.
Opening remarks by Niani Kilkenny, director of the Program in African American Culture. Introduction of the group In ProcessROCESS, an all female a cappella singing group, based in Washington, DC IN PROCESS leads in singing the following songs: "This Little Light of Mine" "We Shall Not Be Moved" "You'd Better Leave Segregation Alone" "We Are Soldiers In the Army" "Moving On" "Calypso Freedom" "Dogs" "If You Miss Me From the Back of The Bus" "I Woke Up This Morning With My Mind Set On Freedom" "Aint Gonna Let Nobody Turn Me Round" "Oh Pritchett, Oh Kelly"
"Oh Pritchett, Oh Kelly", continued "Oh Wallace" "Demonstrating G.I. From Ft. Braggs" "I'm So Glad" "Everybody Got A Right To Live" "We Shall Overcome"
The concert and colloquium was held February 3-4, 1984, at the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The program was created to highlight the songs of the African American worship tradition known as spirituals. These unique songs, deeply rooted in the tradition of African choral songs, play a significant role in African American worship. Program events illustrated the evolution of the spiritual from styles of black congregational singing, to compositions reflecting the influences of European choral music. The program was organized by Dr. Bernice Johnson Reagon, director of the Program in Black Culture (later known as the Program in African American Culture). Panelists included Sterling Stuckey, Bernice Reagon Johnson, Evelyn Davidson White, Nathan Carter, Rebecca T. Cureau with a master classes led by composers Eva Jessye and William L. Dawson. There was a song service led by leaders from the Mt. Early Baptist Church and Antioch Baptist Church both from ALbany, Geogia. Program rogram number AC408.23.
OV 408.23.1: Master class led by composer Eva Jessye
Introductory remarks by Bernice Johnson Reagon Eva Jessye discusses composing spirituals and their significance to the community and the art of music.
OV 408.23.2: Jessye continued
OV 408.23.3: Evening Concert, February 3, 1984 Song Service, led by traditional song leaders
Introductory remarks by Bernice Johnson Reagon
Song Leaders: Reverend Robert Drake, pastor, Friendship Baptist Church, Oakfield, Georgia
Reverend R.L. Chapman, Jordan Grove Baptist Church, Lee County, Georgia Helen Lee, Blue Springs Baptist Church, Albany, Georgia Sara Drake, Mt. Early Baptist Church, Worth County, Georgia
Beatrice Johnson, Cutlett Grove Baptist Church, Albany, Georgia. Stuart Franklin Robinson, St. James C.M.E. Church, Dawson, Georgia Alice Drake, Mt. Early Baptist Church, Worth County, Georgia
Rosa Chapman, Greater Grace Church and God and Christ, Albany, Georgia Bernice Johnson Reagon The song leaders sing the following songs:
"Lord I Thank You For My Joy"
"The Lord's Prayer"
"In Your Name"
"Give God Your Glory"
Remarks by Bernice Johnson Reagon
OV 408.23.4: The Concert Spiritual
Selections by The Morgan State University Choir, directed by Nathan Carter. Selections:
"Have You Got Good Religion"
"Swing Low, Swing Chariot"
"Until I Found the Lord"
"I Got Shoes"
"We Shall Walk Through the Valley In Peace"
"Rock My Soul In the Bosom"
"Somebody's Knocking At Your Door"
"Song of Jubilee"
"Zions Walls"
"Bound for Canans Land"
"Hush, Somebody's Calling My Name"
OV 408.23.5: Appears Blank
OV 408.23.6: Song Service (same as OV 408.23.3)
OV 408.23.7: Concert Spiritual, edited version, same as OV 408.23.4
OV 408.23.8: Continuation of concert spiritual. Selection by Morgan State University Choir: "Hush, Somebody's Calling My Name"
OV 408.23.9: Colloquium, morning session, February 4, 1984 Panel: Black American Choral Song: The Folk Tradition Opening remarks by Bernice Johnson Reagon Panelists:
Bernice Johnson Reagon - The Power of Communal Song Sterling Stuckey - The Spiritual: A Restatement of African Patterns. Stuckey is a professor of history at Northwestern University.
OV 408.23.10: Stuckey continued Questions from the audience Remarks by Bernice Johnson Reagon
Discussion by Eva Jessye
OV 408.23.11: Colloquium, afternoon session, February 4, 1984 Panel: Black American Choral Song: The Spiritual Arrranged for Concert Performance Opening remarks by Bernice Johnson Reagon. Panelists:
Evelyn Davidson White, professor of music, Howard University discusses the Survey of Black American Composers and Arrangers.
OV 408.23.12: Nathan Carter - Practice and Repertoire: A Choir Director's Perspective
Rebecca T. Cureau, associate professor of music, Southern University - Field Collector, Arranger, Composer: A Case Study of Willis Laurence James
OV 408.23.13: Curreau continued.
Master class led by William L. Dawson, who organized the School of Music at Tuskegee Institute in 1931. Introductory remarks by Bernice Johnson Reagon
OV 408.23.14: William L. Dawson continued.
OV 408.23.15: Evening concert, February 4, 1984
Song Service
Introductory remarks by Bernice Johnson Reagon
Song service led by traditional song leaders
(Same song leaders as in OV 408.23.3)
Selections:
"Down In My Heart"
Prayer
"Oh Lord Come By Here"
"The Lord's Prayer"
"I'm So Glad"
"God Has Smiled On Me, He's Been Good To Me"
"Guide Me While I Run This Race"
OV 408.23.16: The Concert Spiritual
Remarks by Bernice Johnson Reagon
The Morgan State University Choir
Selections:
"Have You Got Good Religion"
"Swing Low, Sweet Chariot"
"Until I Found the Lord"
"Rock My Soul In the Bosom"
"I Got Shoes"
"Ezekial Saw the Wheel"
"Ole Poor Little Jesus"
"Oh Freedom"
"Hallelujah" "Didn't It Rain"
"Precious Lord"
"Hush, Somebody's Calling My Name"
"Children Go Where I Send Thee"
OV 408.23.17: "True Religion"
"Lord Look Down Upon Us, We're Going To Make It Through These Times"
OV 408.23.18: Evening concert, February 4, 1984
Song Service
Introductory remarks by Bernice Johnson Reagon
Song service led by traditional song leaders
(Same song leaders as in OV 408.23.3) Selections:
"Down In My Heart"
Prayer
"Oh Lord Come By Here"
"The Lord's Prayer"
"I'm So Glad"
"God Has Smiled On Me, He's Been Good To Me"
"Guide Me While I Run This Race"
OV 408.23.19: The Concert Spiritual
Remarks by Bernice Johnson Reagon
The Morgan State University Choir
Selections:
"Have You Got Good Religion"
"Swing Low, Sweet Chariot"
"Until I Found the Lord"
"Rock My Soul In the Bosom"
"I Got Shoes"
"Ezekial Saw the Wheel"
"Ole Poor Little Jesus"
"Oh Freedom"
"Hallelujah"
"Didn't It Rain"
"Precious Lord"
"Hush, Somebody's Calling My Name"
"Children Go Where I Send Thee"
OV 408.23.20: "True Religion"
"Lord Look Down Upon Us, We're Going To Make It Through These Times"
O7T 408.23.1: Evening Concert, February 3, 1984 Song Service, led by traditional song leaders
Introductory remarks by Bernice Johnson Reagon
Song Leaders: Reverend Robert Drake, pastor, Friendship Baptist Church, Oakfield, Georgia
Reverend R. L. Chapman, Jordan Grove Baptist Church, Lee County, Georgia
Helen Lee, Blue Springs Baptist Church, Albany, Georgia
Sara Drake, Mt. Early Baptist Church, Worth County, Georgia
Beatrice Johnson, Cutlett Grove Baptist Church, Albany, Georgia
Stuart Franklin Robinson, St. James C.M.E. Church, Dawson, Georgia
Allice Drake, Mt. Early Baptist Church, Worth County, Georgia
Rosa Chapman, Greater Grace Church and God and Christ, Albany, Georgia The song leaders sing the following songs:
"Lord I Thank You For My Joy"
"The Lord's Prayer"
"In Your Name"
"Give God Your Glory"
O7T 408.23.2: Remarks by Bernice Johnson Reagon The Concert Spiritual
Selections by The Morgan State University Choir, directed by Nathan Carter Selections:
"Have You Got Good Religion"
"Swing Low, Swing Chariot"
"Until I Found the Lord"
"I Got Shoes"
"We Shall Walk Through the Valley In Peace"
"Rock My Soul In the Bosom"
"Somebody's Knocking At Your Door"
"Song of Jubilee"
"Zions Walls"
"Bound for Canans Land"
"Hush, Somebody's Calling My Name"
O7T 408.23.3: Master class led by composer Eva Jessye
Introductory remarks by Bernice Johnson Reagon Eva Jessye discusses composing spirituals and their significance to the community and the art of music
O7T 408.23.4: Jessye continued
O7T 408.23.5: Colloquium, Morning Session, February 4, 1984 Panel: Black American Choral Song: The Folk Tradition Opening remarks by Bernice Johnson Reagon Panelists:
Bernice Johnson Reagon - The Power of Communal Song Sterling Stuckey - The Spiritual: A Restatement of African Patterns. Stuckey is a professor of history at Northwestern University.
O7T 408.23.6: Stuckey continued Questions from the audience Remarks by Bernice Johnson Reagon
Discussion by Eva Jessye
O7T 408.23.7: Colloquium, Afternoon Session, February 4, 1984 Panel: Black American Choral Song: The Spiritual Arranged for Concert Performance Opening remarks by Bernice Johnson Reagon. Panelists:
Evelyn Davidson White, professor of music, Howard University discusses the Survey of Black American Composers and Arrangers.
Nathan Carter - Practice and Repertoire: A Choir Director's Perspective
O7T 408.23.8: Nathan Carter continued Rebecca T. Cureau, associate professor of music, Southern University - Field Collector, Arranger, Composer: A Case Study of Willis Laurence James
O7T 408.23.9: Master class led by William L. Dawson, who organized the School of Music at Tuskegee Institute in 1931. Introductory remarks by Bernice Johnson Reagon
O7T 408.23.10: William L. Dawson continued
O7T 408.23.11: Evening Concert, February 4, 1984
Song Service
Introductory remarks by Bernice Johnson Reagon
Song service led by traditional song leaders (Same song leaders as in O7T 408.23.1) Selections:
"Down In My Heart"
Prayer
"Oh Lord Come By Here"
"The Lord's Prayer"
"I'm So Glad"
"God Has Smiled On Me, He's Been Good To Me"
"Guide Me While I Run This Race"
O7T 408.23.12: The Concert Spiritual
Remarks by Bernice Johnson Reagon
The Morgan State University Choir
Selections:
"Have You Got Good Religion"
"Swing Low, Sweet Chariot"
"Until I Found the Lord"
"Rock My Soul In the Bosom"
"I Got Shoes"
"Ezekial Saw the Wheel"
"Ole Poor Little Jesus"
"Oh Freedom"
"Hallelujah"
"Didn't It Rain"
"Precious Lord"
"Hush, Somebody's Calling My Name"
"Children Go Where I Send Thee"
"True Religion"
"Lord Look Down Upon Us, We're Going To Make It Through These Times"
O7T 408.23.13a: Field Tape: Fisk Jubilee Singers-Art Shifrin
Songs included:
"Hallelujah"
"Gonna Sing All Over Gods Heaven"
"I Hear the Gentle Voice"
"Get Together Children (for the great camp meeting in the promised land)"
"Gonna Sing All Over Gods Heaven"
"Swing Low, Sweet Chariot"
"There Is a Light Shining For Me"
"Mary"
"Good News"
"Get Together Children (for the great camp meeting in the promised land)"
"Lord Help.....In This World"
"Rise and Shine"
"Hallelujah"
O7T 408.23.13b: Fisk Jubilee Singers continued
"I'm Bound To Carry My Soul To Jesus"
"Down By the Riverside"
"Roll Jordan Roll"
"I Know the Lord Has Layed His Hands On Me"
"I Want To Be Ready"
"Getaway Jordan"
"My Soul Is A Witness For the Lord"
"My Soul Is A Witness For the Lord"
"Were You There When They Crucified My Lord"
"Lord I've Done What You Told Me To Do"
"Better Get Somebody On Your Mind"
"Look Away"
O7T 408.23.14: Field Tape: Lining hymns - Dr. Robert Williams records traditional hymns sung in black religious settings. All of the lining hymns were recorded in black church services in Florida over a ten-year period from 1972-1982. Tape supports Dr. Williams dissertation.
Project co-sponsored by Howard University and the Smithsonian Institution. Conference held on March 2, 1984 at the National Museum of American History, Smithsonian Institution. The program discussed civil rights during wartime and the March in 1963. Those who spoke at the conference were Dr. Caroline Lena Ware, Philippa Jackson, Dion Diamond, Michael Thelwell, Courtland Cox, Cleveland Robinson, James Forman, Walter Fauntroy, and Dr. Bernice Johnson Reagon.
Program held on Friday April 27, 1984, at the National Museum of American History, fourth floor West conference Room, Smithsonian Institution. It was designed to unite a small group of scholars in an interdisciplinary discussion to explore historical and contemporary issues of Black aesthetics. The scholars also hoped to address major issues in the development of a conceptual database on aesthetics and to establish a framework for the validity of work done in African American culture. This program was organized by Dr. Bernice Johnson Reagon, Director of the Program in Black American Culture (later known as the Program in African American Culture). Program number AC408.24.
The roundtable discussion on Black Aesthetics: Historical and Contemporary Issues documented in the Program in African American Culture Collection was designed to unite a small group of scholars in an interdisciplinary discussion to explore historical and contemporary issues of Black aesthetics. The scholars also hoped to address major issues in the development of a conceptual data base on aesthetics and to establish a framework for the validity of work done in African American culture. This collection documents a roundtable discussion on Black Aesthetics: Historical and Contemporary Issues, held Friday April 27, 1984, at the National Museum of American History, fourth floor West conference Room, Smithsonian Institution. This program was organized by Dr. Bernice Johnson Reagon, Director of the Program in Black American Culture (later known as the Program in African American Culture).
Opening remarks by Bernice Johnson Reagon Introduction of panelists by Bernice Johnson Reagon. Each panelist discusses black aesthetics as it relates to their field of expertise. Bernice Johnson Reagon discusses the conflict of style of gospel music using the case of the congregation at United Methodist Church on John's Island. Jeff Donaldson is a professor of art at Howard University, specializing in African-American art history. He is a researcher, lecturer and visual artist. He discusses African-American visual art aesthetics. Clyde Taylor is an associate professor of english at Tufts University, specializing in African-American literature, Black popular culture, independent black cinema and third- world cinema. He discusses black popular culture aesthetics and historical issues.
Rosalyn Walker is a curator, curatorial collections and exhibitions, at the National Museum of African Art. She discusses African and western aesthetics and its influence on African art, and the process of selecting African art for museums.
Hale Smith is one of America's most distinguished composers. He is a professor Emeritus at the University of Connecticut. He is a writer, consultant, and co-chair of the National Endowment for the Arts Composers Panel. He discusses improvisational art expression and its origins and its affects on cultural expression.
Mike Malone is a choreographer, dancer, and artistic director of Young Audiences, DC Chapter and of the Richard Allen Center for Culture and Art, New York. He discusses dance and its influence on popular culture.
Tulani Jordan is a hair sculptress, braider, writer and educator. She discusses the issue of beauty and hair. Haile Gerima, is a professor of film at Howard University. He is an award winning filmmaker. He discusses film aesthetics as it relates to African-Americans.
Pearl Williams-Jones is an associate professor of music at the University of the District of Columbia. She is a performer, researcher and lecturer on Black American gospel music. She discusses the black aesthetic in black gospel music.
Continuation of Pearl Williams-Jones.
Barbara Hampton is an ethnomusicologist at Hunter College in New York, specializing in African and African-American music. She discusses institutional resistance to the history of black arts.
John Gwaltney is a professor of anthropology at the University of Syracuse. He is a cultural anthropologist in Black studies, specializing in oral history. He discusses the ethnological background of aesthetic tradition. FATH RUFFINS, is a historian in the Department of Social and Culture History at the National Museum of American History. She discusses the changes of aesthetics over time and how it relates to African-American culture.
Ruffins continued Eleanor Traylor is an associate professor at Montgomery College, Rockville, Maryland, specializing in African-American drama and literature. She discusses the transmission of African-American text and the black aesthetic in black literature.
Open discussion Issues addressed: How African-American culture is displayed in museums. Programs where African-American text can be presented. Attitudes toward art by African-Americans.
Open discussion continued Issues addressed: The human element in African-American art. African Art The influence of popular culture on black cultural forms. Visual images (hair, film, television, art) and their influence on self-perception of African-Americans and African-American culture. Black aesthetics as a method of behavior.
Issues addressed: The importance of colors in design and art. Dualism and multiplicity that deals with time and space and its relationship to African art. The art of Romeare Bearden. Images portrayed in African-American art. Issues in African-American filmmaking.
Issues addressed: African-American and American filmmaking continued. Conflicts within the African-American communities concerning culture. The connection between African music and musical instruments and the music and musical instruments of African diasporic communities, specifically in the the Caribbean (maroon communities in Jamaica). The responsibility of black scholars despite adversity from white scholars. Finding a vocabulary to describe black phenomena.
Program held Saturday, April 28, and Sunday, April 29, 1984, as a musical tribute and colloquium honoring Reverend Charles Albert Tindley presented by the Tribute to Tindley Committee. The program was conceived of and directed by Bernice Johnson Reagon with script created by Eleanor Traylor. It was held at the Tindley Temple United Methodist Church on Broad and Fitzwater Streets in Philadelphia, Pennsylvania. The same program was presented at the National Museum of American History, Smithsonian Institution May 1982.
The Saturday afternoon program included "Reverend C. A. Tindley: A Cultural Biography" and "Tindley's Themes: Songs, Sermons, and Theology". Sunday afternoon featured "Tindley's Songs: Musical Analysis and History". The Song Ministry of Reverend Charles Albert Tindley: A Musical Tribute took place in the evenings. Eleanor Traylor featured songs developed within the performance tradition of Reverend Tindley. The cColloquium featured panels of African American scholars, theologians and oral informants including Reverend Marion Ballard, Dr. Horace C. Boyer, Kenneth Goodman, Dr. William C. Jason Jr., Ralph H. Jones, Dr. Bernice Jonson Reagon, Wayne Shirley and Pearl Williams Jones. Program number AC408.25.
On September, 6, 1984, a concert entitled "A Smithsonian Evening of Classic Gospel Song" was held in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The performing artists were Dr. J. Robert Bradley, The Boyer Brothers, Sweet Honey in the Rock, and The Voices Supreme. On September 7, 1984, a colloquium entitled "Gospel Pearls: Gospel Music and the National Baptist Convention" was held in the Hall of Musical Instruments, National Museum of American History, Smithsonian Institution. The colloquium explored the role of the convention in the development, dissemination, and propagation of the new gospel songs through reminiscences and song demonstrations. The panelists were Reverend William Herbert Brewster, composer; Thomas Shelby, performer with the Goodwill Singers of the National Baptist Convention; and Sallie Martin, composer and performer. The events were made possible by Josiah O. Hatch, Assistant Director for Public Programs in the Department of Public Programs at the National Museum of American History, and Dr. Bernice Johnson Reagon, Director of the Program in Black American Culture. The program consists of audio and video recordings. Program number AC408.26.
OTC 408.26.1a: Concert, September 6, 1984
Opening remarks by Bernice Johnson Reagon
Remarks by Pearl Williams-Jones
Performing the songs of Charles Albert Tindley:
Sweet Honey In The Rock singing "By and By"
The Voices Supreme singing "Stand By Me"
The Boyer Brothers singing "What Are They Doing In Heaven Today"
OTC 408.26.1b: Dr. J. Robert Bradley singing "I'll Overcome Someday"
Remarks and introduction of Thomas Shelby by Pearl Williams-Jones
Performing the songs of Lucie E. Campbell:
The Boyer Brothers singing Alead Me To Thy Home Above
Sweet Honey in the Rock singing "In the Upper Room"
The Voices Supreme singing (misunderstood)
OTC 408.26.2a:
Dr. J. Robert Bradley singing "Nobody Else But Jesus"
Remarks and introduction of Sallie Martin by Pearl Williams-Jones
Performing the songs of Thomas A. Dorsey:
The Boyer Brothers singing "I'm Going To Live the Life I Sing About"
Dr. J. Robert Bradley singing "When I Gave My Heart To Jesus"
The Voices Supreme singing "Peace In the Valley"
Sweet Honey In The Rock singing "Highway To Heaven"
OTC 408.26.3a: Remarks by Pearl Williams-Jones
The song "Precious Lord" lead by Pearl Williams-Jones
Introduction of Reverend William Herbert Brewster by Pearl Williams-Jones
Performing the songs of Reverend Williams Herbert Brewster:
The Voices Supreme singing "Where Are the Keys of the Kingdom"
Sweet Honey In The Rock singing "The Old Time Way"
Dr. J. Robert Bradley singing "Speak To Me Jesus," accompanied by Pearl William-Jones
OTC 408.26.3b: The Boyer Brothers singing "God Is Able" Remarks by Pearl Williams-Jones
Performing the songs of Roberta Martin, Kenneth Morris, and Doris Acres:
Sweet Honey In The Rock singing "Try Jesus"
The Voices supreme singing "Yes God Is Real"
The Boyer Brothers singing ''I'm Not Alone"
OTC 408.26.4a: Dr. J. Robert Bradley singing "I Love the Lord" and "Be A Witness"
Pearl Williams-Jones acknowledges performing artists.
OTC 408.26.5a: Colloquium, September 7, 1984
Introduction of panelists by Bernice Johnson Reagon
Panel:
Reverend William Herbert Brewster, composer of gospel music
Thomas Shebly, performer with the Goodwill Singers of the National Baptist Convention
Sallie Martin, composer and performer who introduced many of the songs composed by Thomas A. Dorsey
Panel I: Gospel Pearls: Gospel Music and the National Baptist Convention
Each panelist shares their personal experiences and their work in gospel music and with particular emphasis on the relationship between their careers and the National Baptist Convention.
Remarks by Bernice Johnson Reagon
OTC 408.26.5b: Sallie Martin opens with a musical selection. Her presentation includes "There's No Friend Like the Lord"
Remarks and introduction of Thomas Shelby by Bernice Johnson Reagon
Thomas Shelby
OTC 408.26.5a: Colloquium, September 7, 1984
Introduction of panelists by Bernice Johnson Reagon
Panel:
Reverend William Herbert Brewster, composer of gospel music
Thomas Shebly, performer with the Goodwill Singers of the National Baptist Convention
Sallie Martin, composer and performer who introduced many of the songs composed by Thomas A. Dorsey
Panel I: Gospel Pearls: Gospel Music and the National Baptist Convention
Each panelist shares their personal experiences and their work in gospel music and with particular emphasis on the relationship
between their careers and the National Baptist Convention
Remarks by Bernice Johnson Reagon
OTC 408.26.5b: Sallie Martin opens with a musical selection. Her presentation includes "There's No Friend Like the Lord"
Remarks and introduction of Thomas Shelby by Bernice Johnson Reagon
Thomas Shelby
OTC 408.26.6a: Remarks and introduction of Reverend William Herbert Brewster by Bernice Johnson Reagon.
OTC 408.25.6b: Reverend William Herbert Brewster discusses (?) and sings "A Wonderful Blessing Is In Store For You"
OTC 408.26.6a: Remarks and introduction of Reverend William Herbert Brewster by Bernice Johnson Reagon.
OTC 408.25.6b: Reverend William Herbert Brewster discusses (?) and sings "A Wonderful Blessing Is In Store For You"
As part of the commemoration of the birthday of Dr. Martin Luther King Jr., the Program in African American Culture presents "Of Songs, Peace, and Struggle". This annual public program series is dedicated to the presentation of Civil Rights Movement history and culture. Each year the program calls on activists of the Movement who engaged in civil disobedience and nonviolent confrontation to share their experiences with an audience, answer questions and promote discussion. The series also includes musical performances and exhibition tours.
need description
Program number AC408.?
Concert and colloquium held February 7-8, 1985, at the National Museum of American History, Smithsonian Institution. Program discussed and illustrated the various styles of jazz improvisation from its early twentieth century origins to its recent avant-garde forms. Jazz improvisation is considered one of the core elements of the jazz experience and a significant component in the forming of the jazz tradition. Improvisation is described as a spontaneous composition. It has been used in the musical expressions of all cultural groups. From unpublished program notes. See program guide for additional information about this colloquium and concert.
The concert and colloquium formed part of the Frank Nelson Doubleday Lecture Series and was presented by the National Museum of American History and the Doubleday Book and Music Clubs, Incorporated. Program content was created by Bernice Johnson Reagon, director of the Program in African American Culture (PAAC). Program number AC408.29.
Concert (February 7, 1985) Introductory remarks by Roger Kennedy, director, the National Museum of American History Leonard Goines, professor of jazz history, New York University, discusses the meaning and importance of jazz improvisation and jazz improvisational performance.
Performance by Clark Terry and the Jolly Giants Selections: "Blues Walk", now known as "Somebody Done Stole My Blues" "One Foot In the Gutter" "The Smithsonian Institute Blues" "On the Trail"
Concert (continued) "Somewhere Over the Rainbow" "Ow" "Lemon Drop"
Colloquium (February 7, 1985) Opening remarks by Bernice Johnson Reagon Roundtable Discussion: Facilitator: Leonard Goines
Participants: Eddie Barefield - jazz saxophonist Doc Cheatham - jazz trumpeter Archie Shepp - jazz saxophonist Clark Terry - jazz trumpeter
The participants discuss their backgrounds and their approaches to jazz improvisation.
Roundtable Discussion (continued) The participants discuss the use of space and time in playing jazz, approaching jazz improvisation with the many styles of jazz performance, jazz improvisation styles after the 1950s Questions
Jazz Festival Opening remarks by Roger Kennedy
Remarks by Leonard Goines
Doc Cheatham and the Sweet Basil Quintet perform: "New Orleans" "Dixieland One-Step"
Eddie Barefield, saxophone, performs: "Body and Soul" Bobby Pratt, trumpet, performs: "I Remember You" Doc Cheatham and the Sweet Basil Quintet perform: "I'm Looking For a Little Girl To Call My Own" "Caravan"
Remarks by Leonard Goines Clark Terry and the Jolly Giants perform: "TeePee Time" "Satin Doll" "You Can't Win None of 'Em" "Is It True What They Say About Dixie" "God Bless the Child That's Got His Own" "Somewhere Over the Rainbow" "Sho' Nuff"
Remarks by Leonard Goines
The Archie Shepp Quartet perform avant-garde jazz improvisation
"Round Midnight" "Steam"
Interview with Archie Shepp by Leonard Goines about early influences and avant-garde jazz improvisation.
Opening remarks by Bernice Johnson Reagon Panel/Demonstration: Survey of Improvisational Styles
Participants: Raymond Kennedy, professor of music, John Jay College, City University of New York, discusses the roots of jazz through to the 1950s, and surveys various jazz styles. The Leonard Goines Quintet demonstrates examples of various jazz styles.
David Baker, professor of music, Indiana University, discusses jazz from the 1950s to the present.
David Baker (continued) Demonstration by Leonard Goines Quintet "So What" David Baker, Raymond Kennedy, and Leonard Goines discuss jazz improvisation and various jazz styles.
Discussion (continued) -- the future of jazz and the influence of technology. Questions
Event performed on February 7, 1985 in the Flag Hall, National Museum of American History, Smithsonian Institution, Washington, DC. Performances by Doc Cheatham and the Sweet Basil Quintet featuring Eddie Barefield and Bobby Pratt, Clark Terry and his Jolly Giants, and the Archie Shepp Quartet.
Concert and colloquium held March 9, 1985, at the National Museum of American History, Smithsonian Institution. Program examined and celebrated the lives and work of those women, who chose to ignore the standards and dictates of society during the 1920s, 30s, and 40s, and do the unusual, become performing artists. The women documented in this program and many others rejected the usual roles--wife, mother, homemaker for lifestyles they fashioned for themselves. Though they may have made homes, married, and had children, they were primarily artists, business women, and working women. They worked at night in the clubs and theater tours in the growing Black urban centers of the nation. The live entertainment these women offered was a break from the pressures of everyday life and became a part of the weekly diet and celebration. The program was organized by Dr. Bernice Johnson Reagon, director, Program in Black Culture (later known as the Program in African American Culture). Program number AC408.30.
Colloquium Panel I: Singing A Woman's Blues Opening remarks by Shirley Cherkasky, coordinator of Museum Programs at the National Museum of American History. Facilitator: Bernice Johnson Reagon
Introductory remarks and introduction of panelists by Bernice Johnson Reagon Panelists: Laura Petaway - Nightlife in Washington, DC, 1920 through 1940 Questions
Mary Jefferson - Blues, Live in DC.: The Howard Theater and More Daphne Duval Harrison - The Uncrowned Queens
Questions Introductory remarks by Bernice Johnson Reagon Rosetta Reitz - The Legacy of Black Women Blues Singers on Film, included in her discussion is a presentation of film clips.
Reitz continued
Concert Opening remarks by Bernice Johnson Reagon Laura Petaway sings: "St. Louis Blues" "Good Doin' Daddy" "Can't Help Loving That Man Of Mine" "Why Was I Born To Love You" "Wrap Your Troubles In Dreams and Dream Your Troubles Away"
Mary Jefferson and the Jazz Spontaneity sing: "C.C. Rider" "Jelly Roll" "Kate Took My Man Away" "Stormy Monday" "He May Be Your Man, But He Come To See Me Sometimes"
Remarks by Bernice Johnson Reagon
Dakota Staton sings: "Country Man" "Trust In Me" "Fat Daddy" "How Did He Look, Did He Ask About Me"
"I Can't Quit You Baby" "Where Flamingos Fly" "Play Your Hands, Girls" "Ain't No Use" "Love For Sale" "If You Still Love Me, You Won't Let Me Go" "The Late, Late Show" "Willow Weep For Me"
Field Tape: Interview with Laura Petaway by Bernice Johnson Reagon
Field Tape: Interview with Mary Jefferson by Bernice Johnson Reagon
Music of Carrie Smith - Blues singer Carrie Smith sings: "Cakewalkin' Babies" "St. Louis Blues" "Good Ole Wagon" "When I Been Drinkin "Ill Wind" "Don't You Want A Woman Like Me" "Nobody Wants You When Your Down and Out" "Trouble In Mind"
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Offered two Sundays of the month, this program focused on the music of jazz pioneer Sidney Bechet and featured the musical talents of the Charlie Young Quintet.
Program held on Friday, May 24, and Saturday, May 25, 1985, and included a concert and a colloquium in the Baird Auditorium, National Museum of Natural History, Smithsonian Institution. The colloquium included "Black Music Scholarship: Selective Specialties" and "Pedagogy and Performance". The performing artists were Thomas J. Flagg, pianist and former Dean of the College of Fine Arts of Howard University; Fred Irby III, teacher, performing artist, and director of the Howard University Jazz Ensemble; Nelda Ormond, vocal coordinator for the Music Department of the University of the District of Columbia; Rawn Spearman, baritone and former member of the Fisk Jubilee Singers; Trio Pro Viva, group, consisting of piano, violoncello, and flute; and The Evelyn White Chamber Singers, group of 28 singers from different professions around the Washington, DC metropolitan area. The panelists were Celia Elizabeth Davidson, D. Antoinette Handy, Doris McGinty, Ulysses Simpson Kay, Hildred Elizabeth Roach, George Shirley, Wendell Phillips Whalum, and Evelyn Davidson White. Program number AC408.31.
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Offered two Sundays of the month, this program included a mixture of popular and obscure swing compositions by various vocalists who dominated the period from 1930-1940 and featured the musical talents of the Shirley Horn Trio.
Program held on Saturday, June 8, 1985, and featured a tour of the NMAH exhibits Nation of Nations and We the People, led by Jeffrey Filcik in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution; a lecture Celebrating Emancipation by William H. Wiggins, Jr.; and a singing workshop of Black American Traditional Songs, conducted by Bernice Johnson Reagon, including spirituals, worksongs, playsongs, gospel hymns, and blues. The event was made possible by Roger Kennedy, director, National Museum of American History; Josiah O. Hatch, Assistant Director for Public Programs; Bernice Johnson Reagon, director, Program in Black American Culture; and Shirley Cherkasky, Coordinator of Museum Programs. Program number AC408.32.
Program included discussion and performance exploring the music and career of Thomas A. Dorsey, facilitated by Bernice Johnson Reagon and held on October 26, 1985. The colloquium "Thomas A. Dorsey: Father of Gospel Music" took place in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The concert "A Smithsonian Evening of Classic Gospel Song" took place in the Pendulum Hall. Panel included Pearl Williams-Jones, Michael Harris, Horace C. Boyer. Performers included the Harmonizing Four of Richmond, Virginia; the Reverend Donald Vails Choir; the Henry Davis Singers and Ronald Lee Huff. Program number AC408.33.
On November 3 and 17, 1985, another program in a series of Sunday afternoon concerts was held in the Palm Court and was produced by Arnae Burton. Concerts offered the public classic jazz repertory featuring the talents of regional artists who examined important jazz traditions created between 1890 and 1940. This session featured the pianist Aaron Graves [Cedric Lawson] interpreting classic compositions by "Jelly Roll" Morton. Program number AC408.34.
On December 1 and 15, 1985, another program in a series of Sunday afternoon concerts was held in the Palm Court and was produced by Arnae Burton. Concerts offered the public classic jazz repertory featuring the talents of regional artists who examined important jazz traditions created between 1890 and 1940. This session featured the New York pianist Bross Townsend performing in solo and with the accompaniment of Bob Cunningham and Michael Carvin [Percy Smith] on bass and drummer, respectively. The program compares the piano stylings of Earl "Fatha" Hines and James P. Johnson, undisputed piano leaders of the 1920s, and also Thomas "Fats" Waller and Willie "The Lion" Smith, key performers of this jazz piano tradition. Program number AC408.35.
Program in a series of Sunday afternoon concerts held in the Palm Court of the American History Museum. Concerts offered the public classic jazz repertory featuring the talents of regional artists. This program is unidentified.
Program in a series of Sunday afternoon concerts held in the Palm Court of the American History Museum. Concerts offered the public classic jazz repertory featuring the talents of regional artists. This program ed.
On January 5 and 19, 1986, another program in a series of Sunday afternoon concerts was held in the Palm Court and produced by Arnae Burton. Concerts offered the public classic jazz repertory featuring the talents of regional artists who examined important jazz traditions created between 1890 and 1940. This session featured the artist Wallace Burton, an educator, pianist, and Chicago native who delved into Ammons' unique approach to the blues music that flourished in Chicago during the latter half of the 1920s. Program number AC408.36.
On January 18, 1986, a program on African American Culture's Annual Martin Luther King, Jr. commemoration held on January 18, 1986 in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. A video presentation and lecture were given by Mary Ethel (Jamila) Jones, Civil Rights Movement activist, and a song workshop was conducted by Mary Ethel (Jamila) Jones and Minnie McCants, members of the original Montgomery Trio. A tour of museum objects and exhibitions related to the history of social change in America was also given. Program on African American Culture's annual event commemorating Martin Luther King, Jr. held at the National Museum of American History on January 18, 1986. Featured lecture by Mary Ethel (Jamila) Jones, Civil Rights Movement activist, who discussed her experience as a young participant in the Montgomery Boycott. Also included a song workshop conducted by Mary Ethel (Jamila) Jones, Minnie McCants, and members of the original Montgomery Gospel Trio, one of the song-leading units for Movement activities. In addition, Museum docent led a tour of museum objects and exhibitions related to the history of social change in American.
On February 2 and 16, 1986, another program in a series of Sunday afternoon concerts held in the Palm Court and produced by Arnae Burton. Concerts offered the public classic jazz repertory featuring the talents of regional artists who examined important jazz traditions created between 1890 and 1940. This session featured artist Chris Royal with his Quintet-Gregory Royal, trombone; Kevin Levi, clarinet and saxophone; Gail Freeman, piano; and Fred Kern, guitar-—presenting the New Orleans repertoire of the Hot Five ensemble. Program number AC408.37.
Symposium held Friday, February 7 and Saturday 8, 1986, at the National Museum of American History, Smithsonian Institution. Friday included a welcome, a roundtable discussion "Black-Owned and Black-Oriented Radio: The Dissemination of Rhythm and Blues", and a concert in the Pendulum Hall. Saturday included a lecture "Rhythm and Blues: Overview of Music Styles", a roundtable discussion "Inside the Studio: Rhythm and Blues Record Production", and a panel "Record Companies and the Promotion of Rhythm and Blues" in Carmichael Auditorium and concert in the Pendulum Hall. Artists included Ruth Brown, The Orioles, Paul "Hucklebuck" Williams, and The Spaniels. Panelists were William "Hoss" Allen III, Dave Clark, David "Panama" Francis, Jack Gibson, Evelyn Johnson, Portia K. Maultsby, Joe Medlin, Albert "Diz" Russell, and Arnold Shaw. The events were made possible by Roger G. Kennedy, director, National Museum of American History; Lonn W. Taylor, Assistant Director for Public Programs, Department of Public Programs; and Bernice Johnson Reagon, director, Program in Black American Culture. Program number AC408.38.
Fannie Lou Hamer: "This Little Light": A Portrait documented in the Program in African American Culture Collection highlighted the life of Fannie Lou Hamer, a sharecropper, determined voter registrant, and field worker for the Student Nonviolent Coordinating Committee (SNCC). She was an orator, political activist, and founder of the Mississippi Freedom Democratic Party. In addition to these contributions, she is noted for her speeches and singing, which influenced many during the Civil Rights Movement. Her strong religious background was often expressed through a sacred hymn before each of her speeches. She opened many gatherings with "This Little Light of Mine", one of her favorite songs.
Linda Reed. "Fannie Lou Hamer" in Black Women in America: An Historical Encyclopedia. Volume A-L. New York: Carlson Publishing Incorporated, 1993.
Program was a dramatic presentation Fannie Lou Hamer: "This Little Light" - A Portrait held March 8, 1986, at Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The program was organized by Dr. Bernice Johnson Reagon, director, Program in Black Culture (later known as the Program in African American Culture). Program number AC408.40.
Dramatic presentation of the life of Fannie Lou Hamer played by Billie Jean Young
Questions and comments by Billie Jean Young as Fannie Lou Hamer.
Program presented survey of women vocalists during the classic blues era (1920-1933) including Ethel Waters, Mamie Smith, Valaida Snow, and Alberta Hunter at the National Museum of American History's Palm Court. Offered two Sundays of the month, the program included performances by vocalist Arnae, with the New Line Trio, featuring pianist Michael Beardon, bassist Michael Bowie, and drummer Nasar Abadey. Program number AC408.39.
Program held on April 5, 1986, at the National Museum of American History, Smithsonian Institution. Easy Lawd is a performance-based song narrative recreating Afro-American experiences of dying and beliefs in death and the time after death. Delivered in folk speech and Standard English, the presentation contains literary selections from Jonah's Gourd Vine by Zora Neale Hurston, Jubilee by Margaret Walker, Death and Burial on Yamacraw by Pat Conroy, and a sermon by James Weldon Johnson. The program was organized by Dr. Bernice Johnson Reagon, director, Program in Black Culture (later known as the Program in African American Culture). Materials include audio cassettes, a script, and a program guide. Program number AC408.41.
Opening remarks by Howard Bass, program coordinator for the Saturday Live program. Lecture: On Death and Dying: Afro-American Mythology and Folklore Bernice Johnson Reagon discusses Afro-American folktales and superstitions about death, based on oral tradition; and an exploration of the catharsis of the Afro-American funeral.
Performance and Discussion: Easy Lawd , developed and directed by Eleanor W. Traylor, a specialist in Afro-American drama and literature. Narrator I - Eleanor Traylor Narrator II - Bernice Johnson Reagon Narrator III - Avery Brooks The performance is presented in six parts
Opening Set I - Prologue
Narrator III Performed by Sweet Honey in the Rock, a women's a cappella group: "Oh Lord" "Travelin Shoes"
Set II - Death Watch
Narrator I
Blues selection by John Cephas and Phil Wiggins
Blues selection continued
"Soon One Mornin, Death Come Creepin in My Room", performed by Sweet Honey in the Rock
Narrator I
Sweet Honey in the Rock continued
Set III - Wake Narrator I
Narrator II
Blues selection John Cephas and Phil Wiggins
Narrator III
Narrator II
"They Are Falling All Around Me" performed by Sweet Honey in the Rock
Set IV - Funeral
Processional - "There Is Rest For the Weary", performed by Avery Brooks with Sweet Honey in the Rock.
Narrator I
"He'll Understand and Say Well Done", performed by Sweet Honey in the Rock.
Narrator III
"Precious Lord"
Set V - Burial
Narrator I
Narrator II
Set VI - Saints Go Marchin In
"Saints Go Marchin In" "In the Morning When I Rise", performed by Sweet Honey in the Rock.
Closing remarks by Bernice Johnson Reagon
Annual program held on Sunday, May 25, 1986, featured an afternoon of performance and discussion in the Hall of Musical Instruments, National Museum of American History, Smithsonian Institution. Performing artists included William E. Terry, Raymond Jackson, Janese Sampson, Pamela Barr, Leon D. Neal, Gregory Hopkins, Reginald Evans, Sylvia Olden Lee, Henry Burroughs, and The Morgan State University Singers, including Nathan Carter, director; Margaret Lindsay-Johnson, soprano; James Bradley, tenor; and Eric Conway, pianist. They performed music from Frederick Tillis, David Baker, Samuel Snaer, William Grant Still, Sylvia Olden Lee, William Dawson, R. Nathaniel Dett, Olly Wilson, Adolphus Hailstork, Hale Smith, Ulysses Kay, Undine Smith Moore, and Thomas Greene Bethune. The lecture was given by Eileen Southern. Program number AC408.42.
Lecture and song workshop held June 7, 1986 at the National Museum of American History, Smithsonian Institution. It examined the sacred music tradition of the African Methodist Church focusing on the 1801 Richard Allen hymnal. Richard Allen, hymn writer, publisher and pastor, was born a slave in Philadelphia in 1760. By the late 1700s, Allen, a devout Methodist, had resolved to build a Black Methodist Church that would address the needs of black people whose worship tradition grew out of camp meeting spiritual songs. In 1787, he led a group of free blacks out of the St. George Methodist Church to form their own organization, the Free African Protection Society. Their mission was to build a church with the freedom to develop their own religious practice and songs. In 1791, his congregation established the Mother Bethel African Methodist Episcopal Church, in central Philadelphia. Allen's hymnal entitled Collection of Spiritual Songs and Hymns from Various Authors by Richard Allen, African Minister, was the first of several he published. They contained worship songs in the black tradition in addition to those learned by blacks in white churches. The program organized by Dr. Bernice Johnson Reagon, director, Program in African American Culture (PAAC). Program number AC408.43.
Opening remarks by Bernice Johnson Reagon
Roland Braithwaite, Beull Gordon Gallagher professor of Humanities and college organist, Talladega College, Talladega, Alabama discusses the work of Richard Allen and the Richard Allen Hymnal of 1801.
Questions
Song Workshop (June 7, 1986)
Remarks by Bernice Johnson Reagon Remarks by Evelyn Simpson Curenton, vocal ensemble director. Singing from the 1801 Hymnal, a vocal ensemble performs in the traditional singing style. "When I Can Read My Title Clear" Discussion of singing in the traditional style.
"When I Can Read My Title Clear" "Remember Me" "How Blessed Be The Time Divine" "The Voice of Free Grace" Discussion of style Questions
Field Tape: Interview with Katherine Dawkins, descendant of Richard Allen.
Field Tape: Interview with Martha Butler. She discusses the melodies of spirituals.
Field Tape: Mrs. Bennett and Mrs. Flemming and an unidentified male at Mother Bethel African Methodist Episcopal Church. Discussion on the traditional worship in the church and traditional singing styles.
Field Tape: Choir rehearsal, singing from The Richard Allen Hymnal of 1801.
Concert and colloquium held Saturday, October 25, 1986, at the National Museum of American History, Smithsonian Institution as a tribute to one of gospel music's most distinguished composers and publishers. Kenneth Morris was born August 28, 1917, in New York City. While attending grammar school he began piano lessons, which he continued throughout high school. Morris had a profound interest in jazz and by the age of sixteen had decided to become a jazz musician. However, he studied piano, composition, arranging, and orchestration at the Manhattan Conservatory of Music. His career in the Chicago gospel movement began at the Bowles House of Music, owned by Lillian Bowles, a Chicago publisher. He arranged many songs that later would become gospel standards. In 1940, Morris joined with Roberta Martin, another noted gospel composer, to form the Martin and Morris Studio of Music. It is the oldest continuously operating Black gospel music publishing firm in the nation. Morris notated and arranged the music of other composers. He was also responsible for selling music at the studio. In the 1970s Morris became the sole black music distributor for all publishers of gospel music. He has distributed the music of such artists as Andrae Crouch, Edwin and Walter Hawkins, Sandi Patti, Amy Grant, and Bill Gaither. The program was organized by Dr. Bernice Johnson Reagon, director, Program in Black American Culture (later known as the Program in African American Culture). Program number AC408.43.
Colloquium
Panel One: Kenneth Morris - Dean of the Chicago Publishing Dynasty Horace Boyer, curator, Division of Musical Instruments, National Museum of American History.
Wayne D. Shirley - Music specialist, Music Division, Library of Congress.
Same as OTC 408.44.1
Interview with Kenneth Morris by Bernice Johnson Reagon, September 30, at the Morris Music Company.
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Offered two Sundays of the month, the program paid tribute to "Ma" Rainey, one of the earliest African-American professional blues singers to record and often referred to as "Mother of the Blues.". The program featured the vocal talents of singer Aisha Kahlil.
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Offered two Sundays of the month, the program focused on the influence of string instruments and featured the musical talents of guitarist Gerry Eastman.
Program in a series of Sunday afternoon concerts held in the Palm Court, National Museum of American History, Smithsonian Institution, Washington, DC. Concerts offered the public classic jazz repertory featuring the talents of regional artists. This program featured Dwight Bowers, curator in Division of Performing Arts.
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. The program was offered two Sundays of the month. Full description of this program was not available. the program paid tribute to "Ma" Rainey, one of the earliest African-American professional blues singers to record and often referred to as "Mother of the Blues.". The program featured the vocal talents of singer Aisha Kahlil.
Annual Martin Luther King, Jr. commemoration held on January 17, 1987, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. Program focused on the Nashville Sit-In Movement. It included a lecture and a song workshop, both given by Bernard Lafayette. It also included a tour of objects and exhibitions related to the history of social change in America. Program number AC408.45.
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Offered two Sundays of the month, the program focused on the influence of string instruments and featured the musical talents of pianist Wallace Burton.
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Offered two Sundays of the month, the program focused on the influence of string instruments and featured the musical talents of violist Ak bar Ali.
Annual Black History Month celebration based on the National Museum of American History's permanent exhibition After the Revolution: Everyday Life in America. The two-day program focused on 18th century African American life and culture. The first day of the conference included scholarly papers with session one focusing on Native Americans and African Americans. The second session examined the issues of race and class in the urban North. Dress, music and performance finished the program day. Day two primarily focused on the African American experience and culture in various regions including America and the Caribbean. In addition, an evening session performance, Quilting: A Docu-drama, was performed. Program number AC408.47.
The National Museum of American History, Smithsonian Institution, held the dramatic presentation "The Times of Richard Allen", with Michael W. Howell in the Philadelphia Tavern on Thursdays, February 19 and 26, and March 12 and 19. Workshops in early African American Episcopal worship song, "The Songs of Richard Allen", led by pianist and composer Evelyn Simpson-Curenton with the assistance of the vocal ensemble Opus I, were held Saturdays, February 21 and 28, and March 14 and 21, in the Hall of Musical Instruments. Program number AC408.46.
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Offered two Sundays of the month, the program was a tribute to bandleader, musician, composer, singer, and arranger Cora "Lovie" Austin and featured the musical talents of pianist Geri Allen.
A public program related to the National Museum of American History exhibition "Field to Factory: Afro-American Migration, 1915-1940", included a lecture and a discussion by Toni Cade Bambara and a workshop, featuring children's games in the tradition of Black American southern culture, led by Bernice Johnson Reagon in the Carmichael Auditorium. Program also included tour of the exhibition. The program was co-sponsored by the Program in Black American Culture and the Saturday After Noon Series, Department of Public Programs, National Museum of American History, Smithsonian Institution. Program number AC408.48.
On Sunday, May 3, 1987, the Program in Black American Culture held a lecture and a concert in the Hall of Musical Instruments, National Museum of American History, Smithsonian Institution. The lecturer was Olly Wilson, and the performing artists were William E. Terry, Fred Irby, III, Carol Yampolsky, Sheila Gautreaux, Mareda Gaither Graves, John Robinson, Valerie Capers, Gregory Hopkins, Sylvia Olden Lee, Lorraine Faxio, Veronica Johnson, Gwendolyn Boyd, Reathea Holmes, James Holliday, Mark Robinson, David Daniel, Leroy Dorsey, and members of the Evelyn White Chamber Singers, directed by Evelyn White. Basile Barès, Frederick C. Tillis, Francis (Frank) Johnson, Valerie Capers, William Howard Moore, David Baker, and Olly Wilson composed the music. Program number AC4089.49.
On Sunday, May 3, 1987, the Program in Black American Culture held a lecture and a concert in the Hall of Musical Instruments, National Museum of American History, Smithsonian Institution. The lecturer was Olly Wilson, and the performing artists were William E. Terry, Fred Irby, III, Carol Yampolsky, Sheila Gautreaux, Mareda Gaither Graves, John Robinson, Valerie Capers, Gregory Hopkins, Sylvia Olden Lee, Lorraine Faxio, Veronica Johnson, Gwendolyn Boyd, Reathea Holmes, James Holliday, Mark Robinson, David Daniel, Leroy Dorsey, and members of the Evelyn White Chamber Singers, directed by Evelyn White. The music performed was composed by Basile Barès, Frederick C. Tillis, Francis (Frank) Johnson, Valerie Capers, William Howard Moore, David Baker, and Olly Wilson. The program consists of audio cassette tapes.
Program held on May 5, 1987 at the National Museum of American History, Smithsonian Institution. Full description of the program was not available.
A full desription of the program was not available. Program number AC408.123.
A full description of the program was not available.
Three-set docu-drama presented June 6 and 7, 1987, National Museum of American History, Smithsonian Institution. Script, written by Eleanor Traylor, revealed the contradictions inherent in the fiber and soul of the American experience – contradictions as vivid as pieces of a patchwork quilt. The performance and testimony, in the words of African Americans, European settlers, and Native Americans, were drawn from text based upon writings, narratives and performance repertoire of the 18th century. Set One: Who is the American; Set Two: How Shall Americans be Governed, Set Three: The Cultural Sound of a New Nation: American Sacred Music. Performers included The American Indian Society of Washington DC, the Continuum Chamber Singers, The Kankouran West African Dance Company, the Patuxent Martial Musick, Bernice Reagon Johnson, Anna Bergman, Aplhredine Brown, and Evelyn Simpson. Program number AC408.51.
Program presented in conjunction with the Office of the Committee for a Wider Audience held on Thursday, September 24, and Friday, September 25, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The goal was to provide professionals within museums, cultural agencies, and community based cultural institutions a forum to present and analyze the philosophy and theory that places outreach on the contemporary museum agenda. Thursday included three panel sessions and an Easy Lawd performance developed and directed by Eleanor W. Taylor. Friday included four panel sessions, featuring three presenters each. Presenters and performers included Robert McC. Adams, Roger G. Kennedy, Vera Hyatt, Roger Abrahams, Eduardo Matos, Rajeev Sethi, Ralph Rinzler, Bernice Johnson Reagon, Jorge Bribiesca, Ethel Raim, Alicia Gonzalez, Michael W. Howell, Eleanor Taylor, John Cephas, Phil Wiggins, Kings of Harmony of the United House of Prayer for All People, Sweet Honey in the Rock, Wu Tung, Nashormeh N.R. Wilkie, Janice Majewski, Laura Palmer, Jose Gamaliel Gonzalez, Spencer Crew, Suzanne LeBlanc, Rex Ellis, Frank Proschan, Sally Wickham Mollomo, Marta Moreno Vega, and Rayna Green. Program number AC408.
Program held October 2, 1987, National Museum of American History, Smithsonian Institution. A full description of the program was not available. Program number AC408.52.
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Offered two Sundays of the month, this program focused on Ragtime the first composed Black American musical style, which became broadly popular in America. It featured the musical talents of pianist Hilton Felton.
Program in Black American Culture held a colloquium and concert in the Baird Auditorium, National Museum of American History, Smithsonian Institution. The colloquium was entitled "The Life and Work of Professor Alex Bradford", and the panelists were Alberta Carter Bradford, Charles Campbell, and Pearl Williams-Jones. The concert was entitled "A Smithsonian Evening of Classic Gospel Song", and the performers were Alberta Carter Bradford, The Jones Tabernacle Baptist Church Combined Choirs, and The Alberta Carter Bradford Ensemble. Program number AC408.50.
Concert performed in Baird Auditorium, National Museum of Natural History. Performances featured the Greater Abyssinian Baptist Church Choir from Newark, New Jersey and Alberta Carter Bradford. Formed part of a program that also included a colloquium. The colloquium, The Life and Work of Professor Alex Bradford, included presentations by Pearl Williams Jones, professor of music, University of the District of Columbia (UDC) and Bradford's widow Alberta Carter Bradford.
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Program offered on December 6 and December 20 and featured Charlie Young.
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Program offered two Sundays of the month. Title and full description not available for this program.
Smithsonian Institution negative number 87-3268
Smithsonian Institution negative number 87-3269
Smithsonian Institution negative number 87-87
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Offered two Sundays of the month this program presented compositions covering the span of his recorded music career as well as historical commentary supporting the material being presented was a tribute to pioneer Albert Ammon's Chicago boogie-woogie and featured the musical talents of pianist Wallace Burton.
Annual Martin Luther King, Jr. commemoration held Saturday, January 16, 1988, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The program included a lecture and discussion given by Dorothy Cotton and a song workshop conducted by Dorothy Cotton, with a special appearance by the Original Student Nonviolent Coordinating Committee (SNCC) Freedom Singers, including Rutha Harris, Bernice Johnson Reagon, Charles Neblett, and Cordell Reagon. The program also included a museum tour of objects and exhibitions related to the history of social change in America
Program number AC408.53.
Black History Month program featuring keynote speaker John Franklin, keynote address by Sterling Stuckey, medley of spirituals by recording artist MarGueritte Santiago presented in the Carmichael Auditorium at the National Museum of American History. Program sponsored by the Smithsonian Institution's Office of Equal Opportunity.
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Program was offered on February 5th and 19th and featured musicians James Howard, cornet; Tommy Williams, trumpet; Calvin Jones, trombone; Charlie Young, clarinet; Thomas Short, tuba; and Nasar Abadey, drums. Program presented the New Orleans brass band in early twentieth-century jazz through the performance of an eclectic set of quadrilles, marches, Funeral processions, popular rags, blues and works of early jazz composers.
Program created in observance of Black History Month held on Friday, February 5 and 6, 1988, including colloquiums in the Hall of Musical Instruments, National Museum of American History, and a concert in the Baird Auditorium, National Museum of Natural History, Smithsonian Institution. The conference offered the public a unique opportunity to hear leading scholars and oral history informants' present research and testimony on the distinctiveness and diversity of the Afro American urban community from the 19th century through the post-World War II period. Conference sponsored in conjunction with the Afro-American Communities Project and the exhibition "Field to Factory: Afro-American Migration, 1915-1940". Political scientists and oral history informants discussed the 19th-century urban community—particularly Black women—the 20th-century encouragements to leave the South; the Washington, DC, migrant experience; Marcus Garvey's appeal to migrants; and the Migration and the post-1950's Civil Rights movement. The panelists were James O. Horton, George Wright, Anthony Martin, James Grossman, Joe W. Trotter, Douglas Daniels, Alan Ballard, Emma Jones Lapsansky, Spencer R. Crew, Peter Gottlieb, Raymond Arsenault, Gary B. Nash, Elizabeth Clark-Lewis, Jeffrey C. Stewart, Henry Taylor, and Karen Mittelman. Program number AC408.54.
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. The program was offered on February 5 and featured Afro-American urban traditions.
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. The program was offered two Sundays of the month and featured musician Boss Townsend.
The National Museum of American History, Smithsonian Institution, held the dramatic presentation "The Times of Richard Allen", with Michael W. Howell in the Philadelphia Tavern on Thursdays, February 19 and 26, and March 12 and 19. Workshops in early African Methodist Episcopal (A.M.E.) worship song, "The Songs of Richard Allen", led by pianist and composer Evelyn Simpson-Curenton with the assistance of the vocal ensemble OPUS I, were held Saturdays, February 21 and 28, and March 14 and 21, in the Hall of Musical Instruments.
Program held at the National Museum of American History, Smithsonian Institution on February June 29, 1988. Fill description of the program was not available.
Program held March 5, 1988 in the Hall of Musical Instruments, National Museum of American History, Smithsonian Institution. It related to the Museum's exhibition "After the Revolution: Everyday Life in America, 1780-1800" and was in celebration of International Women's Day. The program consisted of a lecture by poet, activist, and teacher June Jordan, presenting her essay "The Difficult Miracle of Black Poetry in America or Something Like a Sonnet for Phillis Wheatley." Later, Alphredine Brown read selected poems by Phillis Wheatley, and a tour of the National Museum of American History's exhibition, "After the Revolution: Everyday Life in America, 1780-1800" was given. This program was a presentation of the Program in Black American Culture and the Saturday After Noon series. Program number AC408.55.
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. It was offered on March 6 and March 20, 1988 and featured the music of Ida Cox by local artist Arnae.
Program concieved by Dr. Bernice Johnson Reagon and the first occasion on which Smithsonian research took the stage. The Black American Gospel Music Series: A Twentieth Century Song and Performance Tradition presented a concert in the Departmental Auditorium, National Museum of American History, Smithsonian Institution, entitled "We'll Understand It Better By and By.". The program featured performances by the Sterling Jubilees, Robert Anderson, and the Richard Smallwood Singers. The program formed part of the Frank Nelson Doubleday Lecture Series and was presented by the National Museum of American Historroy and the Doubleday Book and Music Clubs, Incorporated. Program number AC408.57.
Program held on May 12, 1988, Natioanl Museum of American Historyroy
Program presented at the National Museum of American History (NMAH) as part of the Frank Nelson Doubleday lecture series. It featured Robert Anderson, the Sterling Jubilees and the Richard Smallwood Singers.
On Sunday, May 15, 1988, the Program in Black American Culture, National Museum of American History, welcomed another Music of the Black American Composer program — a concert series created in 1984 to celebrate African American composers — celebrating Black women composers, in the Hall of Musical Instruments. The program included a lecture by D. Antoinette Handy and a concert, featuring music composed by Gertrude Rivers Robinson, Amanda Ira Aldridge, Zenobia Powell Perry, Valerie Gail Capers, Florence Beatrice Price, Julia Amanda Perry, Undine Smith Moore, Betty Jackson king, Lena Johnson McLin, and Dorothy Rudd Moore. The performing artists were Reginald Jackson, soprano and saxophone; Constance Hobson, piano; Manuel Melendez, tenor; Hortense Kerr, accompanist; Ada Saunders, oboe; Janese Sampson, flute; Elvira Green, mezzo soprano; Sylvia Olden Lee, accompanist; Thomas J. Flagg, piano; the Tigot String Quartet, including Marc Ramirez, Awadagin Pratt, Michelle La Course, and Daniel Malkin; and the Morgan State University Singers, directed by Nathan Carter. Program number AC408.56.
A program in a series of Sunday afternoon concerts held in the Palm Court and produced by Arnae Burton. Concerts offered the public classic jazz repertory featuring the talents of regional artists who examined important jazz traditions created between 1890 and 1940. This session featured pianist Charles Covington paying tribute to the rich musical legacy of James Hubert Blake, whose compositional and performance approaches helped shape the Eastern ragtime movement.
A program in a series of Sunday afternoon concerts held in the Palm Court and produced by Arnae Burton. Concerts offered the public classic jazz repertory featuring the talents of regional artists who examined important jazz traditions created in the 1920s.Featured artists included Arnae on vocals and Mark Batson on piano.in
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Offered two Sundays of the month this program focused on the music of Duke Ellington.
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Offered two Sundays of the month, these programs could not be identified.
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Offered two Sundays of the month, this program featured artist Bross Townsend.included
A program in a series of Sunday afternoon concerts held in the Palm Court and produced by Arnae Burton. Concerts offered the public classic jazz repertory featuring the talents of regional artists who examined important jazz traditions created between 1890 and 1940. This session featured the artist Toshi Reagon, guitar-vocal; Aaron Graves, piano and Nasar, drums, and they demonstrated aspects of the music of the black migration experience in songs by William "Big Bill" Broonzy, "Memphis Minnie McCoy, William "Jazz" Gillum and others who were influential in defining and popularizing the 1930s Chicago urban blues tradition.
The Program in Black American Culture and Saturday After Noon presented another program on African American Culture's annual Martin Luther King, Jr. commemoration in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution, on Saturday, January 14, 1989. The Civil Rights Movement: Stirring the Soul of America / An Afternoon with Reverend Fred L. Shuttlesworth included a lecture by Rev. Fred L. Shuttlesworth, a song workshop conducted by Rev. Fred L. Shuttlesworth, and a tour of objects and exhibitions related to the history of social change in America. A special community concert was held in the evening, featuring Sweet Honey in the Rock and "In Process...". Program number AC408.58.
Thursday, February 2, through Saturday, February 4, 1989, a conference was held to provide examination of the strength of the oral tradition in twentieth century Black America. Each session of the conference was shaped by a song service led by members of five congregational groups. Congregational groups included the McIntosh County Shouters, Sweet Honey in the Rock, the Blue Spring Missionary Baptist Association, Dr. D.C. Johnson and Family, the Vision Singers of St. Augustine's College, the John Island Senior Lights, and the United Southern Prayer Band of Washington, Maryland and Virginia. The song service was followed by a panel of scholars and experts who discussed the repertoire and performance traditions as well as the strength of oral transmission within the communities. "The African American Ring Shout: Tradition and Circularity in African and African-based Cultural Expression" panel discussion was held on Thursday, in the Baird Auditorium, National Museum of Natural History, Smithsonian Institution. "The African American Traditional Chorus" and the "Dr. C. J. Johnson—Master Hymnodist, Song Leader, and Composer" panel discussions were held on Friday, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The "Atlantic Coastal Region: The Song and Shout Tradition of Johns Island, South Carolina" and the "Prayer Bands and the Survival of Worship Traditions" panel discussions were held on Saturday, in the Carmichael Auditorium. The panelists included Horace Clarence Boyer, Guy Carawan, Spencer Crew, William T. Dargan, John W. Franklin, Joan R. Hillsman, Reverend. Claude Joseph Johnson, Alan Lomax, Worth Long, Mike Malone, Phyllis May-Machunda, Bernice Johnson Reagon, Deacon William Rearden, Gwendolyn Keita Robinson, Fath Davis Ruffins, Mrs. Maggie Russell, David Warren Steel, Sterling Stuckey, and Robert Farris Thompson. Program number AC408.59.
Another program in a series of Sunday afternoon concerts held in the Palm Court at the National Museum of American History. Concerts generally offered the public jazz repertory featuring the talents of regional artists who examined important jazz traditions. This session featured the music of Johnny Mercer, a lyricist who sometimes collaborated with other composers. Guest artists Carolyn German, Jane Pesci-Townsend and Georgia Richardson performed many of his popular works such as "Accentuate the Positive," "Dream," "Something's Gotta Give," and "Moon River.".
A program in a series of Sunday afternoon concerts held in the Palm Court and produced by Arnae Burton. Concerts offered the public classic jazz repertory featuring the talents of regional artists who examined important jazz traditions created between 1890 and 1940. The performance of an eclectic set of quadrilles, funeral processions, marches, popular rags, blues and works of early jazz composers reveals the influence of the New Orleans brass band in early twentieth-century jazz. This session featured the artists James Howard, cornet; Tommy Williams, trumpet; Calvin Jones, trombone; Charlie Young, clarinet; Thomas Short, tuba; and Nasar Abadey, drums.
In celebration of International Women's Day, the National Museum of American History presented the Historical Legacy of Madame C. J. Walker, a public program related to the exhibition "Field to Factory: Afro-American Migration, 1915-1940", on Saturday, March 4, in the Carmichael Auditorium, and on Sunday, March 5, 1989, in the Palm Court. Saturday consisted of presentations, a film, a panel, a tour of the exhibition led by docent Annetta Williams, and AfroAmerican hair-styling demonstrations given by Julia Butler and Nat Mathis. The program participants included A'Leila Bundles, Alex Haley, Stanley Nelson, and Gwedonlyn Keita Robinson. On Sunday, the Jazz in the Palm Court series presented Mary Lou Williams: "First Lady of Jazz Piano". Program number AC408.60.
A program in a series of Sunday afternoon concerts held in the Palm Court and produced by Arnae Burton. Concerts offered the public classic jazz repertory featuring the talents of regional artists who examined important jazz traditions created between 1890 and 1940. This program celebrated the work of this highly regarded pianist, composer, arranger, and bandleader. This session featured the artists Carline Ray [Robert Hurst], bass; Geri Allen, piano; and Nasar Abadey [Ralph Peterson, Jr.], drums. Program number AC408.61.
On Sunday, May 7, 1989, the Program in Black American Culture, National Museum of American History, welcomed another Music of the Black American Composer program—a concert series created in 1984 to celebrate African American composers—honoring the preservation of the spiritual, in the Hall of Musical Instruments. This program honored the work of Francis Hall Johnson and Wendell P. Whalum and included a lecture by Doris Evan McGinty and a concert with Reginald Pindell, baritone; Sylvia Olden Lee, accompanist; the Moorehouse College Quartet, including Troy Ellis, Illya Davis, James Duke, Theodore Debro, and David Morrow; and the Evelyn White Chamber Singers. Program number AC408.62.
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Offered two Sundays of the month this program focused on and featured
A program in a series of Sunday afternoon concerts held in the Palm Court and produced by Arnae Burton. Concerts offered the public classic jazz repertory featuring the talents of regional artists who examined important jazz traditions created between 1890 and 1940. This session featured the artist Mark Batson on piano, studying the works of Edward Kennedy Ellington. Program number AC408.63.
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Offered two Sundays of the month this program focused on the repertory of the Washingtonians, Ellington's first New York-based orchestra. Featured artists included Charlie Young, Calvin vJones, James Howard, Charles Covington, Thomas Short, and Nasar Abadey.
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Offered two Sundays of the month this program focused on and featured
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Offered two Sundays of the month this program featured artists Mark Batson, Clarence Seay and Rod Youngs performing such Ellington musical masterpieces as "Misty Morning," "Dusk," "Azure," "Awful Sad," "Ko-Ko," and "Mood Indigo."
The National Museum of American History sponsored a public program on African American Culture's annual Martin Luther King, Jr. commemoration, The African American Church: Fuel of the Freedom Struggle, in the Carmichael Auditorium, on January 13, 1990. The program included a lecture and discussion with Civil Rights Movement activist, author, and senior pastor of the Canaan Baptist Church of Christ in Harlem, Dr. Wyatt Tee Walker. It also included a song workshop, conducted by Dr. Walker, and he led the audience and the community choir in traditional hymns that have historically been used by African Americans in protest, as well as Civil Rights movement "freedom songs." The community choir, formed specifically for this workshop, was directed by Evelyn SimpsonCurenton. The program also included a museum tour of objects and exhibitions related to the history of social change in America. The program was produced by Niani Kilkenny and Alberta Johnson, coordinators; Eve Ferguson, program assistant; Nicole Williamson, production assistant; and Greta Climer, intern. Program number AC408.64.
Program present at the National Portrait Gallery by for
Conference held on Friday, February 2, and Saturday, February 3, 1990, in the Hall of Musical Instruments and the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The program included panel discussions, dance performances, concerts, and a video presentation. The panelists included Joyce Aschenbrenner, Felix O. Begho, Sherill Berryman-Miller, Joan Myers Brown, Brenda Dixon, Katherine Dunham, Katrina Hazzard-Gordon, Richard A. Long, Dianne McIntyre, Jacqueline D. Malone, Pearl Primus, Gwendolyn Keita Robinson, Sally Sommer, Robert Farris Thompson, Iantha L. Tucker, Roslyn Adele Walker, Kariamu Welsh-Asante, and Cynthia S. West-Coard. The performers were Olu Dara, Johné Forgés, Onwin Primus-Borde, and Don Pullen. Program number AC408.65.
Program explodes the parallel histories of jazz music and dance and how they influenced and shaped each other. During the 1930s creative tapping routines became a standard attraction to Ellington's floor shows and he in turn created musical compositions to support such creative movements. Program held at the National Museum of American History's Palm Court and featured the talents of Calvin Jones, James King, and Nasar Abadey.
Program presented Duke Ellington's music between the years 1931-1942 when Ivie Anderson was his premier female vocalist. It was held in the National Museum of American History's Palm Court and featured performances by Arnae', Charlie Young, Mark Batson, Clarence Seay, and Rod Youngs.
In celebration of International Women's Month, the Program in African American Culture presented this public program related to the exhibition "Field to Factory: Afro-American Migration, 1915-1940", on Saturday, March 10, 1990, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The program included a lecture, "The Economic Status of Black Women", by Margaret Simms; an oral history testimony by Addie L. Wyatt; a performance by "In Process…"; and a museum tour of the exhibition, given by docent Phyllis Glaude. Program number AC408.66.
Program held March 21, 1990 National Museum of American History, Smithsonian Institution
Program held April 5-7, 1990, National Museum of American History, Smithsonian Institution
Progam held April 1990
Program held April 27, 1990, National Museum of American History, Smithsonian Institution
Program number AC408.67.
On May 13, 1990, the Program in African American Culture at the National Museum of American History, Smithsonian Institution, held a lecture and a concert in the Hall of Musical Instruments. The lecture "Gospel and Jazz: Substance and Style" was given by Horace Clarence Boyer, and the concert "The Deep River Concert: Praise Song from My People" was performed by the David Murray Quartet and the Wesley Boyd Gospel Choir with Gwendolyn Keita Robinson as narrator. Program number AC408.68.
Program held May 11, 1990, National Museum of American History, Smithsonian Institution
Program as part of a series intended to feature accomplished regionally based jazz artists performing classic jazz repertoire at the National Museum of American History's Palm Court. Offered two Sundays of the month, this program included
Program held October 12, 1990 at the National Museum of American History, Smithsonian Institution. Program number AC408.131.
Program held January 17, 1991 at the National Museum of American History, Smithsonian Institution. Program number AC408.132.
On Saturday, January 19, 1991, the Program in African American Culture presented African American Student Movements: The Art of Struggle Program in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution, in commemoration of the birthday of Dr. Martin Luther King, Jr. The program included two lectures and a song workshop, featuring John Bracey, Bernice Johnson Reagon and the Student Non-Violent Coordinating Committee Freedom Singers. It also included a museum tour of objects and exhibitions related to the history of social change in America. The program consists of audio and video recordings. Program number AC408.69.
The Program in African American Culture presented a public program related to the exhibition "From Parlor to Politics: Women and Reform in America, 1890-1925" in the Hall of Musical Instruments, National Museum of American History, Smithsonian Institution, on Saturday, February 23, 1991. The program included an overview, "The Ideology of Organizing: African American Women's Culture" by Jacqueline A. Rouse; a lecture, "Modjeska M. Simkins: Embodiment of Race and Gender Politics" by Barbara A. Woods; an oral history testimony from Mrs. Modjeska M. Simkins; a dramatization of speeches from African American women trailblazers and torchbearers; and a tour of the exhibition. Program number AC408.70.
need description of program
The Program in African American Culture and the Duke Ellington Collection National Museum of American in partnership with the District of Columbia Public Schools featured the creative talents of the students. Teachers challenged students to create projects encompassing themes in literature, art, dance, social studies, foreign languages, drama and music. The program was held on Friday, April 26, 1991, and included an art exhibition in the Palm Court, a program in the Star Spangled Banner Hall, performances, an awards presentation given by James C. Early, and a reception in the Palm Court. The performances were done by Duke Ellington School of the Arts, Eastern Senior High School, Kelly Miller Junior High School, Shaw Junior High School, and Woodrow Wilson Senior High School. Program number AC408.71.
Annual commemoration of the birthday of Martin Luther King, Jr. held in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution, on January 18, 1992. Program featured a lecture by sociologist, educator, activist, community leader, and vice president for Academic Affairs at Howard University Joyce Ladner. Dorie Ladner, social worker, activist, community organizer, clinical social worker at DC General Hospital, and Student Nonviolent Coordinating Committee (SNCC) field secretary from 1961-1966 provided remarks. In addition, the program provided a song workshop conducted by the Program in African American Culture's Community Choir; a museum tour of objects and exhibitions related to the history of social change in the America; and a concert, featuring "In Process…" and Sweet Honey in the Rock. Program number AC408.72.
From Thursday, February 6, to Saturday, February 8, 1992, the Program in African American Culture at the National Museum of American History sponsored the conference Will the Circle Be Unbroken?: Historical Perspectives on the African American Diaspora in the Carmichael Auditorium. The sessions included presentations of papers, discussions with audience participation, demonstrations-performances, concerts, and games. Panelists included George Reid Andrews, Allison Blakely, Roy S. Bryce-Laporte, Spencer R. Crew, Yvonne Payne Daniel, James Counts Early, Robert L. Hall, Joseph E. Harris, Linda M. Heywood, John Higginson, Robert A. Hill, Thomas C. Holt, Gerald Charles Horne, Herbert S. Klein, Franklin W. Knight, Jane Gilmer Landers, Catherine Macklin, Ali A. Mazrui, Joseph Calder Miller, Diana Baird N'Diaye, Jack H. O'Dell, Colin A. Palmer, Orlando Patterson, Gwendolyn Keita Robinson, Robert Farris Thompson, Emory Tolbert, Michel-Rolph Trouillot, and Ronald Walters. The cultural presenters were Asanteman-Kuo, Batuque, Mario Bauza, Djimo Kouyate, DC's Finest, Archie Edwards, Jerry Gonzalez and the Fort Apache Band, René Lopez, Liziba, ODADA!, Kombo Omolara, One Nation, Roebuck "Pops" Staples, Tech-Tropical, Third Eye, and Trinidad and Tobago Steel Band. Program number AC408.73.
The Smithsonian Interdisciplinary Committee presented a salsa demonstration and performance on Saturday, February 8, 1992, in the Carmichael Auditorium, National Museum of American History, and an Afro-Cuban jazz performance in the Baird Auditorium, National Museum of Natural History, Smithsonian Institution. Richard Kurin, Director, Office of Folklife Programs, and Steven C. Newsome, Director, Anacostia Museum, gave the Welcomes; folklorist René Lopez introduced the band; and Jerry Gonzalez and the Fort Apache Band performed, featuring Jerry Gonzalez, trumpet and congas; Andy Gonzalez, bass; Steve Berrios, drums and percussion; Larry Willis, piano; Joe Ford, soprano and alto saxophone; Carter Jefferson, tenor saxophone; and Milton Cardona, percussion and vocals.
In celebration of Women's History Month, program held on Saturday, March 7, 1992, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The program included lecture and readings from Toni Cade Bambara and Vertamae Grosvenor, a discussion with audience participation, and a concert by "In Process…" Program number AC408.74.
The Program in African American Culture and the Duke Ellington Collection National Museum of American in partnership with the District of Columbia Public Schools featured the creative talents of the students. Teachers challenged students to create projects encompassing themes in literature, art, dance, social studies, foreign languages, drama and music. Program number AC408.75.
Program held on April 16, 1992 at the National Museum of American History, Smithsonian Institution. Program number AC408.134.
The Program in African American Culture, the Anacostia Museum, and the Malcolm X Day Committee sponsored another part of the American Classical Music Series on Saturday, May 23, 1992, at the Union Temple Baptist Church. The program included a symposium and a music concert in commemoration of the birthday of Malcolm X, El-Hajj Malik El-Shabazz. The event provided an opportunity to analyze and discuss Malcolm X, the philosophical and social basis for his ideology and leadership, his life and ministry, and his impact on the political and cultural landscape of America. The program featured lectures by James H. Cone and Acklyn Lynch, a discussion with audience participation, and a concert performed by Supernova. Program number AC408.75.
need a descritption
In commemoration of the birthday of Dr. Martin Luther King, Jr., the Program in African American Culture presented A Conversation with Reverend Dr. Charles Earl Cobb and Charles Earl Cobb, Jr. on Saturday, January 16, 1993, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The program included an oral history presentation and discussion with Dr. Charles Earl Cobb, former Executive Director of the United Church of Christ's Commission for Racial Justice, and his son Charles Earl Cobb, Jr., field secretary for the Student Nonviolent Coordinating Committee (SNCC). It also included a song workshop conducted by the Program in African American Culture's Community Choir, under the direction of Evelyn Simpson Curenton, and a museum tour of exhibition "Feld to Factory: African American Migration, 1915,1940" led by docents Peg Donnellan and Jo Wade. The program consists of audio and video recordings. Program number AC408.76.
In commemoration of the birthday of Dr. Martin Luther King, Jr., the Program in African American Culture presented A Conversation with Reverend Dr. Charles Earl Cobb and Charles Earl Cobb, Jr. on Saturday, January 16, 1993, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The program included an oral history presentation and discussion with Dr. Charles Earl Cobb, former Executive Director of the United Church of Christ's Commission for Racial Justice, and his son Charles Earl Cobb, Jr., field secretary for the Student Nonviolent Coordinating Committee (SNCC). It also included a song workshop conducted by the Program in African American Culture's Community Choir, under the direction of Evelyn Simpson Curenton, and a museum tour of exhibition "Feld to Factory: African American Migration, 1915,1940" led by docents Peg Donnellan and Jo Wade. The program consists of audio and video recordings.
In celebration of African American History Month, the Program in African American Culture presented "We'll Understand It Better By and By": A National Conference on African American Gospel Music Scholarship in Tribute to Pearl Williams Jones, from Thursday, February 4, through Saturday, February 6, 1993, in the Flag Hall, Palm Court, and the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The sessions included roundtable discussions, performances, presentations of papers, selected readings, and oral histories. Participants included Doris Akers, The Bible Way Radio and Television Choir, Horace Clarence Boyer, Lisa Pertillar Brevard, Evelyn Simpson Curenton, Jacqueline Cogdell DjeDje, Luvenia A. George, Michael W. Harris, Anthony Heilbut, Michelle Lanchester, Judi Moore Latta, Gwendolyn R. Lightner, Portia K. Maultsby, William Howard Moore, Priscilla Ann Neely, Yvonne Jones Pettice, The Philadelphia Ambassadors Chorale and Ensemble, Bernice Johnson Reagon, Toshi Reagon, Reverend Eugene D. Smallwood, Sweet Honey in the Rock, Reverend Donald Vails, "The Voices," Reverend Charles Walker, Jacquie Gales Webb, Ernest P. White, Jr., William H. Wiggins, and The Williams and Jones Family Singers. Program number AC408.77.
In celebration of Women's History Month, the Program in African American Culture and the Anacostia Museum, Smithsonian Institution, presented A Dialogue with Women on the Ways of Work on Saturday, March 6, 1993, in the Carmichael Auditorium, National Museum of American History. The program included the presentation of Freedom Bags and the introduction of panelists, given by Elizabeth Clark-Lewis; oral history interviews with panelists Ella Walker Johnson, Elizabeth Brown Keys, Viola Lomax Winfield, Mary Rhodes, and Elizabeth Johnson; a discussion with audience participation; a concert, featuring The Bruton Singers and Laura M. Petaway; and a museum tour of "Field to Factor: Afro-American Migration, 1915-1940" led by docent Henriene Martin. Program number AC408.78.
The Program in African American Culture and the Duke Ellington Collection National Museum of American in partnership with the District of Columbia Public Schools featured the creative talents of the students. Teachers challenged students to create projects encompassing themes in literature, art, dance, social studies, foreign languages, drama and music.
Performances (Listed in Order of Appearance)
Junior High School Band Salute the Duke, arranger Paul Yoder "Take the "A" Train" "Satin Doll" "Flamingo" "Perdido" Music Director: Edward B. Anderson
Junior High School String Ensemble "Don't Get Around Much Anymore," Duke Ellington Music Directors: Carolyn Bastian and Barbara Maxwell
Junior High School Choir "Come Sunday" (from Black, Brown and Beige), Duke Ellington "David Danced" (from the First Sacred Concert), Duke Ellington "Ain't But the One" (from My People), Duke Ellington Music Directors: Patricia Braswell and Jewel Jenkins Accompanists: Anita Jones and James Lewis
Rap Performance "Once Upon A Time," Yusef Trowell, Dunbar High School
Drama Act I, Scene II from The Tempest, William Shakespeare Calibran: Woodrow Wilson tenth grade ladies Prospero: Woodrow Wilson tenth grade gentleman "Such Sweet Tnunder" Shakespearean Suite, Duke Ellington/Billy Strayhorn Instructor: Delois Jones Director: Douglas Johnson
Dance The Nutcracker Suite, Duke Ellington/Billy Strayhorn "The Volga Vouty" (Russian Dance) "Sugar Rum Cherry" (Dance of the Sugar Plum Fairy) "Entr'acte" Dancers: Duke Ellington School of the Arts Choreography: Melba Lucas
Senior High School Band Duke Ellington Medley "Satin Doll" "It Don't Mean a Thing (If It Ain't Got That Swing)" "Caravan" "Sophisticated Lady" Music Director: Anthony L. Boyd
Senior High School Choir "The Lord's Prayer" from the Third Sacred Concert, Duke Ellington "Will You Be There?" from the First Sacred Concert, Duke Ellington "I'm Beginning to See the Light," arr. Joyce Garrett, Duke Ellington "Jump for Joy" from Jump for Joy, arr. Evelyn Curenton, Duke Ellington Music Director: Joyce Garrett Accompanists: Eveylyn Curenton and Kenneth King
Program number AC408.80.
what is this
The Program in African American Culture of the National Museum of American History, Smithsonian Institution, presented Duke Ellington's Great Ladies of Song from July 9 to July 10, 1993, in conjunction with "Beyond Category: The Musical Genius of Duke Ellington" and in partnership with Anacostia Museum, Smithsonian Institution, Traveling Exhibition Service, Smithsonian Jazz Masterworks Orchestra, Duke Ellington School of the Arts, DC ART/WORKS, and Summerworks '93. The program included a presentation of awards to honorees, a performance of the repertoire of Duke Ellington's Great Ladies of Song, a roundtable discussion, and a concert. The scholars were Dr. Marcia M. Greenlee and Anthony Brown. The honorees were Adelaide Hall, Joya Sherrill, Kay Davis, Maria Ellington Cole, Dolores Parker Morgan, and June Norton. The performers were Mary Jefferson, Nitanju Bolade Casel, Bonnie Harris, Jeannie Marshall, and The Smithsonian Movement in Classic Jazz. Program number AC408.80.
The Program in African American Culture of the National Museum of American History, Smithsonian Institution, and Howard University's African American Resource Center presented a two-day symposium on African American Literary and Intellectual Thought in the Carmichael Auditorium, including testimonies, performances, panel discussions, and a poetry festival. The honoree was Stephen E. Henderson. The participants were E. Ethelbert Miller, Amiri Baraka, Andrew Billingsley, Ahmos Zu-Bolton II, Harold Burke, James Counts Early, Archie Edwards, Roland Freeman, Reuben Jackson, Jennifer Jordan, Pinkie Gordon Lane, Haki Madhubuti, Marilyn Sanders Mobley, David Murray, David Nicholson, Eugene B. Redmond, Sonia Sanchez, Eleanor Traylor, and Rudy Walker. Program number AC408.81.
The Program in African American Culture presented a reading and book signing in the Carmichael Auditorium, National Museum of American History, Smithsonian, on November 15, 1993. The program celebrated the twentieth anniversary of the African American all-female a capella group, featuring Bernice Johnson Reagon, Ysaye Maria Barnwell, Nitanju Bolade Casel, Shirley Childress Johnson, Aisha Kahlil, and Carol Maillard. Each offered selected readings from then newly-released book We Who Believe in Freedom: Sweet Honey in the Rock … Still on the Journey by Bernice Reagon Johnson and Sweet Honey in the Rock. Program number AC408.82.
The Program in African American Culture presented a reading and book signing in the Carmichael Auditorium, National Museum of American History, Smithsonian, on November 5, 1993. The program celebrated the twentieth anniversary of the African American all-female a capella group, featuring Bernice Johnson Reagon, Ysaye Maria Barnwell, Nitanju Bolade Casel, Shirley Childress Johnson, Aisha Kahlil, and Carol Maillard. Each offered selected readings from then newly-released book We Who Believe in Freedom: Sweet Honey in the Rock…Still on the Journey by Bernice Reagon Johnson and Sweet Honey in the Rock.
The Program in African American Culture presented in commemoration of the birthday of Martin Luther King, Jr., Band of Sisters and Brothers, in a Circle of Trust, Remembrances through Stories and Songs with Reginald Robinson and Charles F. McDew. Robinson and McDew, both members of the Student Nonviolent Committee (SNCC) "circle of trust,", shared their memories of some of the events that spearheaded the Student Nonviolent Committee (SNCC) into the vanguard of the Civil Rights Movement. After the lecture and discussion Robinson and McDew led the audience in songs of the movement followed by tours of the Museum's "Field to Factory" and "From Parlor to Politics" exhibitions. The program took place on Saturday, January 15, 1994, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. Program number AC408.86.
The Program in African American Culture, National Museum of American History; Anacostia Museum, Smithsonian Institution; Howard University, School of Divinity; and Schomburg Center for Research in Black Culture, New York Public Library sponsored performances, presentations of papers, a drumming workshop, demonstrations, and panel discussions in the Carmichael Auditorium, the Palm Court, the Taylor Gallery, and the Flag Hall from Thursday, February 3, 1994, to Saturday, February 5, 1994. The panelists were Marimba Ani (Dona Richards), Mao Clemmons, Floyd Coleman, C. Daniel Dawson, Jualynne E. Dodson, K. Kia Bunseki Fu-Kiau, Amitiyah Elayne Hyman, Rosalind Robinson Jeffries, Lawrence N. Jones, Leslie King-Hammond, Jacqui Malone, John Mason, Rafaa B. McRae, Rob Parsell, John Parks, Bernice Johnson Reagon, Cheryl J. Sanders, Joyce J. Scott, Robert Farris Thompson, Eleanor W. Traylor, Kaylynn Sullivan Twotrees, and Sheila S. Walker. The performers were Alpha Phi Alpha, Anthony Brown, Bucketmasters, Milton Cardona, Yolonda Coleman, Get Set V.O.P., Kupigana Ngumi Afrikan Warriors, C.K. Ladzekpo, Lee "Mixashawn" Rozie, Moving Star Hall, New York Grupo de Capoeira Angola, Baba Ngoma, Kombo Omolara, 3 Levels of Genius (3LG), Urban Bush Women, Felipe Garcia Villamil, Sule Greg Wilson, and Women of the Calabash. Program number AC408.83.
The Program in African American Culture and the Duke Ellington Collection National Museum of American in partnership with the District of Columbia Public Schools featured the creative talents of the students. Teachers challenged students to create projects encompassing themes in literature, art, dance, social studies, foreign languages, drama and music. This program included an art exhibit opening and performances by the Senior High School Choir and Band, the Junior High School Choir and Band, the Combined String Orchestra, McKinley/Penn Senior High School, Woodrow Wilson Senior High School, and Duke Ellington School of the Arts Dance Department.
Performances (Listed in Order of Appearance)
Senior High School Choir
"The Majesty of God" (from the Third Sacred Concert), Duke Ellington Music Director: Edward Jackson
Junior High School Choir
"I Like the Sunrise" (from The Liberian Suite), Duke Ellington "What Color is Virtue?" (from My People), Duke Ellington "Tell Me It's the Truth" (from the First Sacred Concert), Duke Ellington Music Coordinator: Patricia Braswell Accompanists: Anita Jones and James Lewis
Junior High School Band
"Sophisticated Lady Medley," Duke Ellington, arr. John Edmondson Music Director: Edward B. Anderson
Combined String Orchestra
"I Got it Bad and That Ain't Good," Duke Ellington "I'm Beginning to See the Light," Duke Ellington Music Directors: Carolyn Bastian and Barbara Maxwell
Drama
Balcony Scene from Romeo and Juliet, William Shakespeare "Star Crossed Lovers" Shakespearean Suite, Duke Ellington/ Billy Strayhorn McKinley/Penn Senior High School Instructor: Darlene Turner Act IV, Scene I from Midsummer Night's Dream (excerpt), William Shakespeare Shakespearean Suite, Duke Ellington/Billy Strayhorn Woodrow Wilson Senior High School Instructor: Delois Jones
Dance
"Martin Luther King" The Three Black Kings, Duke Ellington Spoken Excerpts from Martin Luther King's "I've Been to the Mountain Top" and "I Have a Dream Speeches." Dancers: Duke Ellington School of the Arts Dance Department Second Year Class Choreographer: Melba Lucas
Senior High School Choir
"Is God a Three Letter Word for Love?" (from the Third Sacred Concert), Duke Ellington Soloist, Tramellia Wright, Woodson Senior High School "Heritage" ("My Mother, My Father") (from My People), Duke Ellington Soloist, Taiwan Norris "Love You Madly," Duke Ellington Music Directors: James Curtis Brown and Dianna Robinson
Medley of Duke Ellington Selections
Senior High School Band Music Director: Anthony Boyd
Program number AC408.87.
The Program in African American Culture and Documentary Arts, Incorporated presented African American Cowboys in Texas on Saturday, May 21, 1994, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The program included lectures, storytelling and singing, discussions with audience participation, and cowboy blues and church songs. The participants were Mack Williams, Alice Mae Barefield Williams, E. J. Garza, Tony Lott, Alfred Johnson, Elton Laday, A. J. Walker, Anthony Walker, Vincent Jacobs, Nudie E. Williams, Alan Govenar, and Ottawa W. Harris. Program number AC408.84.
The Smithsonian Institution Traveling Exhibition Service, the Smithsonian Associates' Department of Performing Arts, and the National Museum of American History's Program in African American Culture presented a concert on Tuesday, June 7, 1994, in the Baird Auditorium, National Museum of Natural History, Smithsonian Institution. The program was funded by America's Jazz Heritage, A Partnership of the Lila Wallace-Reader's Digest Fund and the Smithsonian Institution. The welcome was given by Marquette Folley, project director of the Smithsonian Institution Traveling Exhibitions Service (SITES), and Penne Dann, manager of the Department of Performing Arts, Smithsonian Associates. The introduction was given by Luvenia A. Geroge, coordinator of the Duke Ellington Youth Project. The Young People's Concert included Wynton Marsalis featuring The Wynton Marsalis Septet. Program number AC408.89.
The Program in African American Culture of the National Museum of American History presented World War II Retrospectives on Friday, October 7, 1994, at the Lincoln Theatre, in conjunction with the exhibition "GI: The American Soldier in WWII". The program included lectures, a roundtable discussion, audience questions, and a concert. The participants were Charles Johnson, Jr., Ph.D., Lieutenant Colonel, United States Army (retired); John Thomas Martin, Colonel, United States Army (retired); Martha S. Putney, Ph.D., former commissioned officer in the Women's Army Corps (WACS) 1943-1946; Frederick Coleman, Lieutenant Colonel, United States Army (retired); John D. Howard, Lieutenant Colonel., United States Army (retired); Harold Montgomery, Lieutenant Colonel, United States Army (retired); Margaret Barnes Jones, former captain in public relations office; Paul Parks, Sr., Ph.D., former platoon sergeant; Helen Montgomery, Army wife; the Smithsonian Movement in Classic Jazz Quartet: Calvin Jones, director, and piano; James King, bass; Nasar Abadey, drums; and Donald Dial, tenor saxophone; featuring Bonnie Harris and Dick Smith on vocals. Program number AC408.85.
In commemoration of the birthday of Dr. Martin Luther King, Jr., program held on Saturday, January 14, 1995, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution, in conjunction with the exhibition "Sitting for Justice: The Greensboro Sit-In of 1960". The program included a lecture and roundtable discussion, audience discussion, song workshop, and museum tour of exhibitions and other objects related to social change in America. The participants were Diane Nash; Apostle Dr. Jibreel A-A; K-A. Khazan; Dr. Ezell A. Blair, Jr.; Dr. Franklin E. McCain; MajorBrig. General Joseph A. McNeil, United States Airforce (USAF) Reserve; and the Program in African American Culture's Community Choir under the directior of Pam Rogers. Program number AC408.91.
Program in African American Culture and the Ethnic Imagery Project of the Archives Center of the National Museum of American History, Smithsonian Instituion; the Black Film Institute of the University of the District of Columbia; and the Black Film Review sponsored this program. Program held from Wednesday, February 1, through Saturday, February 4, 1995, in the Carmichael Auditorium and the Taylor Gallery. The symposium included panel discussions, film screenings, lectures, presentations of papers, and performances. The participants included:
Orlando Bagwell, film maker, producer, and director
Toni Cade Bambara, Black film historian; professor of film,Temple University
Steven Torriano Berry, cinematographer and director of photography
Camille Billops, film maker and sculptor
Jaqueline Bobo, Ph.D., associate professor, film and television studies, University of North Carolina at Chapel Hill
Donald Bogle, author, critic, and leading authority on African Americans in American popular culture
India Cooke, violinist, composer, and educator
Thomas Cripps, Ph.D., University Distinguished Professor of History, Morgan State University, Baltimore, Maryland
Manthia Diawara, Ph.D., professor of comparative literature and film, director of Africana Studies Program and the Institute of Afro-American Affairs, NYU
Carl Erikson, Boston based community activist and developer of Roxbury Cinema Multimedia Center
Gloria J. Gibson-Hudson, Ph.D., assistant director, Black Center/Archive; assistant professor, Department of Afro-American Studies, Indiana University
William Greaves, film maker, director, producer, actor
Frederick Dennis Greene, J.D., president of New York-based Lenox/Greene Films
Ed Guerrero, Ph.D., professor of film and literature, University of Delaware
George Hill, Ph.D., author, journalist, publicist, and entrepreneur
George Jackson and Doug McHenry, producers and partners in Jackson/McHenry Company
Clarence Lusane is an author, activist, lecturer, and freelance journalist in DC
Michelle Parkerson, writer and independent film maker from DC
Mark A. Reid, Ph.D., associate professor, African American and African Studies Program and the English Department, University of California, Davis
Jesse Algernon Rhines, Ph.D., assistant professor of political economy in the African American Studies Department, Rutgers University
Program number AC408.92.
In celebration of Women's History Month, program held on Saturday, March 4, 1995, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The program included a welcome address by Niani Kilkenny; slide show presentation by Lydia Douglas; screening and discussion of the films Dreadlocks and the Three Bears and Mz Medusa by American film producer, writer and director Alile Sharon Larkin; and a dramatic reading by American playwright and poet Ntozake Shange. The progam ended with audience questions and comments. In addition, Ntozake Shange signed copies of her book Liliane. Program number AC408.93.
The Program in African American Culture and the Duke Ellington Collection National Museum of American in partnership with the District of Columbia Public Schools and America's Jazz Heritage, a Partnership of the Lila Wallace-Reader's Digest Fund and the Smithsonian Institution, featured the creative talents of the students. Teachers challenged students to create projects encompassing themes in literature, art, dance, social studies, foreign languages, drama and music. On Friday, April 28, 1995, the program included an art exhibition opening at the Taylor Gallery, performances at the Flag Hall, and a presentation of awards. The music, poetry readings, dances, and musical skit were performed by students at Balou Senior High School, Calvin Coolidge High School, Alice Deal Junior High School, Douglass Junior High School, Paul Lawrence Dunbar High School, Duke Ellington School of the Arts, Hart Junior High School, L.G. Hine Junior High School, Kelly Miller Junior High School, Abraham Lincoln Multicultural Middle School, McKinley Senior High School, School Without Walls, Shaw Junior High School, Spingarn Stay High School, Woodrow Wilson Senior High School, and H.D. Woodson Senior High School.
Performances (In Order of Appearance):
Junior High School Band
Salute the Duke, arranger. Paul Yoder: "Take the "A" Train", "Satin Doll." "Flamingo", "Perdido" Music Director: Edward B. Anderson,
Drama
Balcony Scene from Romeo and Juliet by Shakespeare Music: Shakespearean Suite by Ellington and Strayhorn Shaw Junior High School Teacher: Annette Nicholas
Combined String Ensemble
"Sophisticated Lady," "Mood Indigo," "It Don't Mean a Thing," Music Director: Barbara Maxwell
Junior High School Choir
"Duke's Place" (Based on C Jam Blues), "Azure/Daydream," "Bli-Blip" (from Jump for Joy) Coordinator: Patricia Braswell
Poetry
"A Tribute to Duke Ellington" Hart Junior High School Shaw Junior High School Teachers: Annette Nicholas and Ethel Rivers
Dance
Tap Dance: I Bakaari Wilder, choreographer
II Vincent Bingham, choreographer Music: "In a Mellow Tone" Performed by: The Ballou Soul Tappers: Phillip Atkins (soloist), Erica Bass, Sharon Beech, Vincent Bingham (soloist), Jamara Broome, LaKeisha Grimmes, Delano Lewis, Paul Streeter. Instructors: Yvonne Edwards and Myrna Sislen Sponsor: Camille Inez, Washington Performing Arts Society.
Drama
The Taming of the Shrew, Act II, Scene I by Shakespeare Music from the Shakespearean Suite by Ellington and Strayhorn Woodrow Wilson Senior High School Teacher: Delois Jones
Dance
The River ("Lake" section) Danced by Kiana Bailey, Odara Nash, Jaqueta Wilson, Sheri Hill, Tramecee Jeffries, Kevin Goodwine- Duke Ellington School of the Arts The River ("Vortex" section) Danced by Dionne Figgins- Wilson High School and Jones-Haywood School of Ballet Choreographer: Peter Alex. Romero, Duke Ellington School of the Arts
Musical Skit "Rappin' Rhapsody in Tribute to the Duke" Teacher: Darlene Turner; Assistant: Gregory Ware Spingarn-Stay High School
Poetry
Rochelle Harrod, Woodson High School
Senior High School Choir
"Amen" from Duke Ellington's Sacred Concerts Soloist: Alexander Brown, IV, Woodson Senior High "Portrait of Duke Ellington" arr. John Cacavas Accompanists: Ernest Mitchell, piano; Joseph Chisholm, guitar; Chip Powell, drums Music Director: James Curtis Brown
Senior High School Ensemble
"Come Sunday" Clarinet Ensemble "Standard" Music Director: Benjamin Sands
Senior High School Big Band
"Sophisticated Lady" "Take the "A" Train" (1941 Version) Music Director: Davey Yarborough
Program number AC0408.94.
In commemoration of the birthday of Dr. Martin Luther King, Jr., program held on Saturday, January 13, 1996, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The program included a roundtable discussion, an audience discussion, a reunion concert, and a museum tour of exhibitions and other objects related to social change in America. The participants at the roundtable discussion were activists and organizers who participated in the Montgomery Bus Boycott including Idessa Redding, Mary Frances Witt, Doris Dozier Crenshaw, Ann Pratt, Thelma Glass, Antoinette Carson Franklin, Minnie McCants, Bertha Howard, Gladys Carter Dawkins, and Jamilla (Mary Ethel Dozier) Jones. The reunion concert was a song workshop by the Montgomery Gospel Trio. Program number AC408.953.
The conference was cosponsored by the National Association for the EqualOpportunity in Higher Education, The Office for the Advancement for Public Black Colleges, The College Fund/UNCF, the Anacostia Museum and the Center for African American History and Culture. Funding for the program was made possible in part by a grant from Nissan Motor Corporation, USA.
Mind on Freedon was inspired by research done by Spencer Crew, then Museum director, and Lonnie G. Bunch, then associate director for the National Museum of American History's research, documentation, exhibition and collection project Go Forth and Serve. The conference was designed to examine the relationship African Americans have had with education in the United States, the historical evolution of Historical Black Colleges and Universities (HBCUs), and the importance of these institutions on the life and culture of this nation. The program was held from Thursday, February 1, through Saturday, February 3, 1996, and it included panel discussions and performances.
Participants:
James D. Anderson, Ph.D., professor and head, Department of Educational Policy Studies, University of Illinois, Urbana-Champaign
Bettye J. Gardner, Ph.D., professor of history, Coppin State College; and national president of the Association for the Study of Afro-American Life and History
Phyllis Boanes, Ph.D., associate professor of history; director of the Program of African American Studies, Earlham College
Lonnie G. Bunch, associate director for historical resources, National Museum of American History
Alan K. Colon, Ph.D., assistant to the provost and professor of history, Hampton University
Spencer R. Crew, Ph.D., director of the National Museum of American History
William T. Dargan, Ph.D., professor of music and head of the Department of Music, St. Augustine's College, Raleigh, North Carolina
Willis "Bing" Davis, professor of the School of Art, Central State University
Glenda Dickerson, professor and chair of drama and dance at Spelman College
Richard K. Dozier, Arch. D., AIA, associate dean of the School of Architecture, Florida A&M University, Tallahassee, Florida
James C. Early, director of cultural studies and communications, Office of Folklife Programs and Cultural Studies, Smithsonian Institution
James N. Eaton, distinguished professor of history, Florida A&M University; and founder and director of the Black Archives, Research Center and Museum
William P. Foster, Ph.D., chair of the Music Department and director of bands, Florida A&M University
V.P. Franklin, Ph.D., is professor of history, Drexel University
Myrtle Gonza Glascoe, Ed.D., associate professor of educational foundations, School of Education, College of Charleston, South Carolina
Deborah Neman Ham, Ph.D., professor of African history and archival methods, Morgan State University, Baltimore, Maryland Alferdteen Harrison, Ph.D., professor of history and the director of the Margaret Walker Alexander National Research Center
Darlene Clark Hine, Ph.D., John A. Hannah Professor of History, Michigan State University, East Lansing, Michigan.
William C. Hine, Ph.D., professor of history, South Carolina State College
Alton Hornsby Jr., Ph.D., Fuller E. Callaway Professor of History, Morehouse College; editor of the Negro Journal
Elizabeth Clark-Lewis, Ph.D., director of the graduate program and associate professor, Department of History, Howard University
Cynthia Neverdon-Morton, Ph.D., professor of history, Coppin State College
Thomas D. Pawley III, Ph.D., faculty member, Department of Speech and Theatre, University of Missouri, Jefferson City, Missouri
Linda Marie Perkins, Ph.D., associate professor of educational policy studies, University of Illinois, Urbana Champaign
Bernice Johnson Reagon, Ph.D., distinguished professor of history, American University; and curator emerita, National Museum of American History
Stephanie J. Shaw, Ph.D., associate professor, Department of History and Center for Women's Studies, Ohio State University
Bradley Skelcher, Ph.D., assistant professor, Department of History and Political Science, University of Delaware at Dover
J. Clay Smith, J.D., visiting professor, Georgetown Law Center
Jessie Carney Smith, Ph.D., university librarian and William and Camille Cosby Professor, Fisk University
Johnny E. Tolliver, Ph.D., dean of the School of Arts and Sciences and professor of English, Delaware State University at Dover
Eleanor W. Traylor, Ph.D., chairperson and professor, English Department, Howard University
Ronald Walters, Ph.D., professor and chairman, Political Science Department, Howard University
David K. Wiggins, Ph.D., professor of physical education, George Mason University Daniel Thomas Williams, Ed.D., university archivist and curator, Daniel "Chappie" James Memorial Hall, Tuskegee University
Cultural Presenters
The Howard University Choir, director J. Weldon Norris The Morgan State University Choir, director Nathan Carter The Virginia State University Concert Choir, director Johnnella L. Edmonds Alpha Kappa Alpha Sorority, Incorporated Delta Sigma Theta Sorority, Incorporated Zeta Phi Beta Sorority, Incorporated Phi Beta Sigma Fraternity, Incorporated Omega Psi Phi Fraternity, Incorporated Kappa Alpha Psi, Incorporated Alpha Phi Alpha Fraternity, Incorporated
Jerry Florence, Vice President for brand and consumer marketing for Nissan Motor Corporation, USA
Program number AC0408.96.
The Program in African American Culture and the Duke Ellington Collection National Museum of American in partnership with the District of Columbia Public Schools featured the creative talents of the students. Teachers challenged students to create projects encompassing themes in literature, art, dance, social studies, foreign languages, drama and music. On Friday, April 26, 1996, the University of the District of Columbia hosted A Tribute to Mercer Ellington in the University Auditorium on the Van Ness Campus. The program included a welcome, given by Spencer R. Crew; a statement of theme, given by Luvenia George; a greeting from John Conyers, Jr.; and band, ensemble, choir, and dance performances. The schools involved were Ballou Senior High School, Alice Deal Junior High School, Bell Multicultural Senior High School, Duke Ellington School of the Arts, Fillmore Art Center, Fletcher-Johnson Education Center, Frederick Douglass Junior High School, Hart Junior High School, H.D. Woodson Senior High School, Kelly Miller Junior High School, Lemon G. Hine Junior High School, Lincoln Multicultural Middle School, Patricia Roberts Harris Education Center, Paul Laurence Dunbar High School, School Without Walls Senior High School, Shaw Junior High School, Theodore Roosevelt High School, and Woodrow Wilson High School.
Performances (listed in order of appearance)
Senior High School Band
"The Mooch" "Daybreak Express" Jazz Masterworks Editions No. 1 Music Director: Davey S. Yarborough,
String Ensemble
"Don't Get Around Much Anymore" "I'm Beginning to See the Light" "Just Squeeze Me (But Don't Tease Me)" Music Director: Barbara Maxwell
Junior High School Band
A Tribute to the Duke, arr. Larry Kerchner Music Director: Edward B. Anderson,
Dance
"Such Sweet Thunder," Duke Ellington and Billy Strayhorn "A Little Max" Choreographer: Peter Alex. Romero
Junior High School Choir
"Hit Me with a Hot Note and Watch Me Bounce!" "I Let a Song Go Out of My Heart" "Things Ain't What They Used to Be," Mercer Ellington Music Coordinator: Patricia Braswell
Senior High School Choir
"Mood Indigo" "Caravan" "Don't Get Around Much Anymore" "Solitude" "Come Sunday"
Duke Ellington School of the Arts Show Choir
Junior/ Senior High School Choirs and Dancers
"Take the "A" Train," Billy Strayhorn "It Don't Mean a Thing (If it Ain't Got That Swing) Music Director: Samuel Bonds Choreographer: Peter Alex. Romero,
Program number AC408.97.
Hispanic Heritage Month program honoring Tito Puente presented at the National Museum of American History. The program followed the donation ceremony of a set of Mr. Puente's timbales. It was sponsored by the Program in African American Culture and the Division of Cultural History. Rene Lopez, primarily a record producer of traditional and popular Caribbean music, provided biographical information on Mr. Puente. National Museum of American History Curator Marvette Perez interviewed Tito Puente. Niani Kilkenny presented a Lifetime Achievement Award to him. In addition, there was a musical tribute by the LaJazz band whose history in Washington DC spans back to 1958.
Participants:
René Lopez, record producer of traditional and popular Caribbean music Marvette Pérez, Interviewer Tito Puente, musician LaJazz, musical group
Program number AC0408.98
Annual commemoration of the birthday of Dr. Martin Luther King, Jr. presented on January 18, 1997. Niani Kilkenny made welcome remarks. Program offered a conversation with Reverend C. T. Vivian, Anne Braden and Bernice Johnson Reagon, audience questions and discussion. A musical concert in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution featured the Student Nonviolent Coordinating Committee (SNCC) Freedom Singers, Betty Mae Fikes, Rutha Mae Harris, and Charles Neblett, with Bernice Johnson Reagon in memory of Cordell Hull Reagon. Program number AC0408.99.
The Program on African American Culture's annual Martin Luther King, Jr. commemoration presented "Frozen in Black and White": Images of Challenge and Change from the Civil Rights Movement, a public program presented in conjunction with the exhibition "We Shall Overcome: Photographs from America's Civil Rights Era", on Saturday, January 18, 1998, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The program included a welcome from Niani Kilkenny, images of challenge and change, slide lecture presentations, audience questions and discussion, a son workshop, and a museum tour related to the history of social change in America, including the "Field to Factory" exhibition and the Greensboro Lunch Counter. The participants were Charles Moore, Ernest Withers, Worth Long, and the Program in African American Culture Community Ensemble, directed by Pamela Rogers.
Program in African American Culture of the National Museum of American History, in collaboration with the African Voices Project of the National Museum of Natural History, the Anacostia Museum and the Center for African American History and Culture, the Center for Folklife Programs and Cultural Studies, the Louisiana State Museum, and the Black Film Review, presented this symposium and cultural festival. Program focused on the roots and evolution of the Franco-Creole diaspora in the Americas, from Wednesday, February 5, through Saturday, February 8, 1997, in honor of the sixteenth annual national observance of African American History Month. The program included performances, films, demonstrations, oral histories, conversations, and workshops. The symposium took place from Friday to Saturday, including presentations, panel discussions, roundtable discussion, audience discussions, and performances.
Participants:
Dignitaries
His Excellency Lucien Tonoukouin, Ambassador of Benin
His Excellency Jean Casimir, Ambassador of Haiti
His Excellency General Mamadou Mansour Seck, Ambassador of Senegal
The Honorable William Jefferson, Congressman, Louisiana's Second District
Gwendolyn Midlo Hall, Ph.D., professor emerita of history, Rutgers University
Michel-Rolph Trouillot, Ph.D., born in Port-au-Prince, Haiti; Kreiger-Eisenhower Distinguished Professor and chair of the Anthropology Department and director of the Institute for Global Studies in Culture, Power, and History, Johns Hopkins University
Panelists
Liberata Ahimba, culture bearer in the Washington area Senegalese community
Keith Allen Cartwright, English faculty, Coastal Georgia Community College, Brunswick
Irène Assiba d'Almeida, Ph.D., associate professor of French and Francophone African literature, University of Arizona
Wonda Lee Fontenot, Ph.D., administrator and faculty member, University of New Orleans
Jessica B. Harris, Ph.D., faculty member, Office of Special Programs, Queens College
Joseph E. Harris, Ph.D., distinguished professor of history, Howard University
Michael S. Laguerre, Ph.D., professor of anthropology and Afro-American studies, University of California at Berkeley
Gorgui N'Diaye, loan officer, World Bank, Washington, DC
Sulayman S. Nyang, Ph.D., chairman of the Department of African Studies, Howard University; lead developer for the African Voices Project, National Museum of Natural History
Marie M.B. Racine, Ph.D., professor of foreign languages, University of the District of Columbia
Elliot Percival Skinner, Ph.D., Franz Boas Professor of Anthropology, Columbia University
Marie- Thérèse Labossière Thomas, cultural consultant
Michael Gerard White, Ph.D., associate professor of Spanish and instructor of Afro-American music, Xavier University, New Orleans, Louisiana
Herbert Joseph Wiltz, assistant principal, Lafayette High School, Louisiana
Cultural Presenters
Marc A. Christophe, Ph.D. received his M.A. in French from Howard University and his Ph.D. in French from George Washington University
Djimo Kouyate, Griot, is an oral historian and musician of Manding traditions
Thomas "Big Hat" Fields and His Foot Stompin' Zydeco Band are based in Louisiana
The Smithsonian Movement in Classic Jazz Quartet is part of an ensemble composed of Washington, DC - based musicians specializing in early twentieth-century jazz repertory
Program number AC408.100.
The Program in African American Culture and the Duke Ellington Collection National Museum of American in partnership with the District of Columbia Public Schools featured the creative talents of the students. Teachers challenged students to create projects encompassing themes in literature, art, dance, social studies, foreign languages, drama and music. On Thursday, April 24, 1997, the University of the District of Columbia hosted The Keeper of the Flame: Mercer Kennedy Ellington in the University Auditorium on the Van Ness Campus. The program included an opening, given by Niani Kilkenny; a welcome from Martha Morris; greetings from John Conyers, Jr.; and ensemble, band, dance, and choir performances. The schools involved were Alice Deal Junior High School, Ballou Senior High School, Bell Multicultural Senior High School, Coolidge Senior High School, Douglass Junior High School, Duke Ellington School of the Arts, Dunbar Senior High School, Hardy Middle School/Fillmore Arts Center at Rosario, Fletcher/Johnson Educational Center, P. R. Harris Education Center, Hart Junior High School, L.G. Hine Junior High School, Evans Middle School/Kelly Miller Junior High School, Roper Middle School, Shaw Junior High School, School Without Walls, Woodrow Wilson Senior High School, and H. D. Woodson Senior High School.
Performances (listed in order of appearance)
String Ensemble
"I Got It Bad and That Ain't Good: "I'm Beginning to See the Light" Coordinator: Joe Theiman
Junior High/Middle School Band
"Sophisticated Lady Medley" arranger John Edmonton "Don't Get Around Too Much Anymore" "Mood Indigo" "Caravan" "Duke Ellington's Sophisticated Lady: Music Director: Edward B. Anderson
Senior High School Band
"Harlem Airshaft" "Solitude" "Rocking in Rhythm" Selections are form the Wynton Marsalis Lincoln Center Collection Music Director: Davey S. Yarborough
Dance
"A Little Max" "Such Sweet Thunder" (from the Shakespearean Suite) Choreographer: Peter Alex Romero Costumes: Jaqueline Duhart
Junior High/ Middle School Choir
"Praise God and Dance" (from The Sacred Concerts) "Just a-Sittin' and a-Rockin'" "Don't Get Around Much Anymore" Coordinator: Patricia Braswell
Senior High School Choir
"Something 'Bout Believin'" (from The Sacred Concerts) "Father Forgive" (from The Sacred Concerts) "The Beauty of God" (from The Sacred Concerts), arranger Roscoe Gill "It Don't Mean a Thing (If It Ain't Got that Swing)" arranger. Mac Huff Music Director: Samuel L.E. Bonds
Program number AC0408.101.
In conjunction with the exhibition, the National Museum of American History presented a series of public programs celebrating the living musical heritage of America's African American churches. "Wade in the Water: African American Sacred Music Traditions" was organized and circulated by the Smithsonian Institution Traveling Exhibition Services. The programs stretched over various days in the months of October, November, and December, and they included concerts, a roundtable discussion, demonstrations, and a panel discussion. They were typically held in the Carmichael Auditorium or the Hall of Musical Instruments, National Museum of American History, or in the Baird Auditorium, National Museum of Natural History, Smithsonian Institution.
Participants included:
Opening Celebration
Niani Kilkenny, Director, Program in African American Culture
Spencer R. Crew, Ph.D., Director, National Museum of American History
Aaronetta Pierce, National Director for the Arts, The Links, Incorporated
Margaret Batchelor White, Ph.D., Chairperson of the Washington, DC - Maryland -Virginia Cluster, The Links Incorporated
Lonnie Bunch, Associate Director for Curatorial Affairs, NMAH
Bernice Johnson Reagon, Curator Emerita, NMAH
Howard University Concert Choir, J. Weldon Norris, Director
October Events
Sacred Music Concert, October 17, 1997
"No Compromise" Ensemble Lloyd Jones co-director Margaret Jones co-director Matthew Jones Betty Sawyers Carol Phillips Charles Phillips Jr. Marcia Bradley Carl Booknight Gloria Booknight Donyell Tibbs
Gospel Radio Roundtable, October 29, 1997
Ray Edwards, WOL-AM Patrick Ellis, WHUR-FM J.C. Alexander, WYCB-AM Robin Breedon, WPGC-AM Jacquie Gales Webb, WHUR-FM, moderator
Noontime Concert, October 31, 1997
Archbishop John Carroll High School Choir, Ruth Jones, director
November Events
Ministers of Music Symposium, November 1, 1997
Metropolitan Baptist Church, Thomas Tyler, director Plymouth Congregational United Church of Christ Senior Choir, Alece Morgan, director Holy Comforter - St. Cyprian Catholic Church, Kenneth Louis, director Evelyn Simpson Curenton, moderator
Noontime Concert, November 6, 1997
Robert Sims, Chicago baritone
Sacred Song Institute, November 8, 1997
United Prayer Bands of Baltimore, Maryland and Washington, DC Morgan State University Choir, Dr. Nathan Carter, director St. Augustine Catholic Church Gospel Choir, Valeria Foster, director
Evening Concert, November 8, 1997
Morgan State University Choir, Dr. Nathan Carter, director St. Augustine Catholic Church Gospel Choir, Valeria Foster, director Dr. Bernice Johnson Reagon, NMAH curator emeritus
Noontime Concert, November 10, 1997
"Pure in Heart," Trenillo Walters, director
Noontime Concert, November 11, 1997
"In Process…", an a capella ensemble
Noontime Concert, November 13, 1997
Bladensburg High School Concert Choir, Gwendolyn Jenifer, director
Noontime Concert, November 18, 1997
Eleanor Roosevelt High School Gospel Choir, Dr. Barbara W. Baker, director
Sacred Music Concert, November 19, 1997
Virginia State University Choir, Johnella L. Edmonds, director
Sacred Music Concert, November 21, 1997
Chancel Choir, Stephen Gibson, director
Sacred Music Concert, November 22, 1997
"Sargent Gospel-Aires," "Timbrel," and "EMI" musical ensembles Sargent Memorial Presbyterian Church, Marilyn Gross, director
Sacred Music Concert, October 29, 1997
African American Harp Ensemble, Annetta Williams-Harrod, director Praise and Worship Ministry, First Baptist Church of Glenarden, Maryland, Doretha McDaniel, director
December Events
Noontime Concert, December 1, 1997
Dunbar High School Concert Choir, Anita Jones, director
Noontime Concert, December 3, 1997
Duke Ellington High School Show Choir, Samuel Bonds, director
Noontime Concert, December 4, 1997
High Point High School Concert Choir, Ned Lewis, director
Program number AC408.102.
In conjunction with the exhibition, the National Museum of American History presented a series of public programs celebrating the living musical heritage of America's African American churches. "Wade in the Water: African American Sacred Music Traditions" was organized and circulated by the Smithsonian Institution Traveling Exhibition Services. The programs stretched over various days in the months of October, November, and December, and they included concerts, a roundtable discussion, demonstrations, and a panel discussion. They were typically held in the Carmichael Auditorium or the Hall of Musical Instruments, National Museum of American History, or in the Baird Auditorium, National Museum of Natural History, Smithsonian Institution. Program number AC408.102.
Annual commemoration of the birthday of Martin Luther King, Jr. Program presented in conjunction with the exhibition "We Shall Overcome: Photographs from America's Civil Rights Era", on Saturday, January 18, 1998, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The program included a welcome from Niani Kilkenny, images of challenge and change, slide lecture presentations, audience questions and discussion, a son workshop, and a museum tour related to the history of social change in America, including the "Field to Factory" exhibition and the Greensboro Lunch Counter.
Participants:
Adele Logan Alexander, Ph.D., assistant professor of history, George Washington University
Ira Berlin, Ph.D., professor of history, University of Maryland, College Park
Richard J.M. Blackett, Moores Distinguished Chair of History and African American Studies, University of Houston
David W. Blight, professor of history and black studies, Amherst College
W. Jeffrey Bolster, associate professor and director of the graduate program in history, University of New Hampshire
Laurence Glasco, Ph.D., associate professor of history and director of the Program for the Study of Race and Ethnicity in World Perspective, University of Pittsburgh
James Oliver Horton, Benjamin Banneker Professor of American Studies and History, George Washington University
Lois E. Horton, Ph.D., professor of sociology, George Mason University
Leon Litwack, Ph.D., Alexander F. and May T. Morrison Professor of American History and chair of the Committee on the Library, Academic Senate, University of California, Berkeley
Marie Tyler-McGraw, Ph.D., historian and education specialist, History Office of the National Park Service, Washington, DC
Joanne Pope Melish, Ph.D., visiting assistant professor, Department of History, Brown University
Fred Morsell, president of Fremarjo Enterprises, Incorporated; a nonprofit organization that produces cultural events and seminars on race relations
Carla L. Peterson, Ph.D., professor, Department of English and the comparative literature program
Joseph P. Reidy, Ph.D., professor of history, Howard University
Richard Allen Singers, Evelyn Simpson Curenton, Director
Rita Roberts, Ph.D., associate professor, Department of History and Black Studies, Scripps College, Claremont, California
James Brewer Stewart, James Wallace Professor of History, Macalester College
Rosalyn Terborg-Penn, professor of history and coordinator of graduate programs in history, Morgan State University
Program number AC408.103.
The Program in African American Culture in conjunction with the African American Communities Project presented Free People of Color and the Coming of the Civil War on February 6-7, 1998, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution, in honor of the seventeenth annual national observance of African American History Month. The program included lectures, performances, and a book signing.
Participants:
Adele Logan Alexander, Ph.D., assistant professor of history, George Washington University
Ira Berlin, Ph.D., professor of history, University of Maryland, College Park
Richard J.M. Blackett, Moores Distinguished Chair of History and African American Studies, University of Houston
David W. Blight, professor of history and black studies, Amherst College
W. Jeffrey Bolster, associate professor and director of the graduate program in history, University of New Hampshire
Laurence Glasco, Ph.D., associate professor of history and director of the Program for the Study of Race and Ethnicity in World Perspective, University of Pittsburgh
James Oliver Horton, Benjamin Banneker Professor of American Studies and History, George Washington University
Lois E. Horton, Ph.D., professor of sociology, George Mason University
Leon Litwack, Ph.D., Alexander F. and May T. Morrison Professor of American History and chair of the Committee on the Library, Academic Senate, University of California, Berkeley
Marie Tyler-McGraw, Ph.D., historian and education specialist, History Office of the National Park Service, Washington, DC
Joanne Pope Melish, Ph.D., visiting assistant professor, Department of History, Brown University
Fred Morsell, president of Fremarjo Enterprises, Incorporated; a nonprofit organization that produces cultural events and seminars on race relations
Carla L. Peterson, Ph.D., professor, Department of English and the comparative literature program
Joseph P. Reidy, Ph.D., professor of history, Howard University
Richard Allen Singers, Evelyn Simpson Curenton, Director
Rita Roberts, Ph.D., associate professor, Department of History and Black Studies, Scripps College, Claremont, California
James Brewer Stewart, James Wallace Professor of History, Macalester College
Rosalyn Terborg-Penn, professor of history and coordinator of graduate programs in history, Morgan State University
Program number AC408.104.
The Program in African American Culture and the Duke Ellington Collection National Museum of American in partnership with the District of Columbia Public Schools featured the creative talents of the students. Teachers challenged students to create projects encompassing themes in literature, art, dance, social studies, foreign languages, drama and music. On Friday, April 24, 1998, the program included an art exhibition opening and viewing in the Information Age Auditorium and Photo Gallery; poetry and music performances in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution; and performances in the University Auditorium on the Van Ness Campus, University of the District of Columbia. The Honorary Festival Chair was Cora Masters Berry. The opening greetings were given by Niani Kilkenny, and the welcome was given by Harold A. Closter. The Mistress of Ceremonies was Luvenia A. George.
The participating schools were Alice Deal Junior High School, Ballou Senior High School, Bell Multicultural Senior High School, Coolidge Senior High School, Duke Ellington School of the Arts, Dunbar Senior High School, Eastern Senior High School, Evans Middle School, Fillmore Arts Center/Hardy Middle School, Fletcher-Johnson EC, H. D. Woodson Senior High School, Hart Middle School, Johnson Junior High School, L.G. Hine Junior High School, Patricia R. Harris EC, Roper Middle School, Rudolph ES, School Without Walls Senior High School, Stuart-Hobson Middle School, and Woodrow Wilson Senior High School.
Performances (listed in order of appearance)
Senior High School Choir
"Drop Me Off in Harlem" "Mood Indigo" "Caravan" Music Director: Samuel L.E. Bonds
Junior High and Middle School Choir
"Duke's Place" (C Jam Blues) "Come Sunday" (from First Sacred Concert) "Hit Me with a Hot Note and Watch Me Bounce" "Things Ain't What They Used to Be," Mercer Ellington Music Coordinator: Patricia Braswell
Senior Adult Jitterbug Contest
Coordinator: Kelly-Marie Berry, Facilitator: Nap Turner
Dance
"It Don't Mean a Thing (If It Ain't Got that Swing) Stuart-Hobson Middle School "Perdido" Duke Ellington School of the Arts Alumni Choreographer: Deidre Neal
String Ensemble
"Don't Get Around Much Anymore" Music Director: Carolyn Bastian
Junior High/Middle School Band
"Salute to the Duke," arr. Paul Yoder "Take the "A" Train" "Satin Doll" "Flamingo" "Perdido" Music Director: Edward B. Anderson
Senior High School Jazz Band
"Old King Dooji" "Half the Fun" (from Shakespearean Suite) Music Director: Davey Yarborough Program number AC408.105.
Program held at the National Rainbow/PUSH Coalition Headquarters in Chicago, Illinois. The program was sponsored by the Program in African American Culture and the National Rainbow/PUSH Coalition. The assembled group of scholars and Chicago community activists provided compelling historical analysis and testimony about the Midwest struggles.
Participants:
Reverend Willie Barrow, Chair of the Board of Directors of the National Rainbow/PUSH Coalition
Charles Branham, Ph.D., Adjunct professor of Minority Studies, Indiana University
Margaret Burroughs, Litt.D. bearer and preserver of African American culture
Mr. Ishmael Flory, labor activist and community organizer
Darlene Clark Hine, Ph.D., John A. Hannah Professor of History, Michigan State University
Ms. Jorja English Palmer, Founder of Extended Services Programs
James R. Ralph, Ph.D., associate professor of History, Middlebury College, Connecticut
Alonzo N. Smith, Ph.D., research historian for the Program in African American Culture, National Museum of American History
Thomas J. Sugrue, Ph.D., Associate professor of history and sociology, University of Pennsylvania
Heather Ann Thompson, Ph.D., assistant professor, University of North Carolina, Charlotte
Alderman Dorothy Tillman, activist, politician, visionary
William Tuttle, Ph.D., Professor of history and American studies, University of Kansas
Ronald Walters, Ph.D., President of the National Association for the Advancement of Colored People (NAACP) Youth Council, Wichita, Kansas
Kale Williams, teaches ethics and urban studies, Center for Urban Research, Loyola University
Reverend Addie L. Wyatt, former international vice president and director of Civil Rights, United Food and Commercial Workers Union
The Rainbow/PUSH Choir, formed in June 1968
Program number AC0408.106.
In commemoration of the birthday of Dr. Martin Luther King, Jr., the Program in African American Culture presented Freedom's Fight Continues: Mississippi Yesterday, Today, and Tomorrow on Saturday, January 16, 1999, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The program included a roundtable discussion, a freedom song workshop led by Hollis Watkins and Unita Blackwell, and an exhibition tour of objects related to social change in America.
Participants:
The Honorable Unita Blackwell, former field organizer with Student Nonviolent Coordinating Committee (SNCC) and an organizer for the Mississippi Freedom Democratic Party
Dr. Leslie Burl McLemore, founding president of the Rust College chapter of the National Association for the Advancement of Colored People (NAACP)
Hollis Watkins, the fist Mississippi student to become involved in the 1961 Mississippi Voting Rights Project of Student Nonviolent Coordinating Committee (SNCC)
Charlie Cobb, moderator, former Student Nonviolent Coordinating Committee (SNCC) field secretary, Mississippi
Program number AC408.107.
The eighteenth annual national conference in observance of African History Month was a symposium and community tribute held from Wednesday, February 3, through Saturday, February 6, 1999, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The Middle Passage conference was launched by the Program on African American Culture series "African Americans at the Millennium: From Middle Passage to Cyberspace". The conference saluted three pioneering educators: Dr. John Henrik Clarke, Dr. Adelaide M. Cromwell and Dr. Joseph E. Harris.
Participants included:
Ronald Bailey, Ph.D., chair of the Department of African-American Studies, Northeastern University
Michael L. Blakey, Ph.D., professor of anthropology and anatomy and curator of the W. Montague Cobb Human Skeletal Collection, Howard University
Kim D. Butler, Ph.D., assistant professor, Department of Africana Studies, Rutgers University
Adama J. Conteh, Ph.D., assistant professor of history, Hampton University
Collaborative Public Art Team; Houston Conwill,sculptor; Estella Conwill Majozo, poet; and Joseph DePace, architect
C. Daniel Dawson, photographer and filmmaker
Tom Feelings, renowned artist and illustrator of children's books
Haile Gerima, film producer, director, writer, and editor
Michael A. Gomez, Ph.D., professor of history, University of Georgia; and adjunct faculty, Spelman College
Leslie King Hammond, Ph.D., artist and illustrator and dean of graduate studies, Maryland Institute College of Art
Sylvia Hill, Ph.D, chair of the Department of Urban Affairs, University of the District of Columbia
James Oliver Horton, Ph.D., Benjamin Banneker Professor of American Studies and History, George Washington University
Noel Ignatiev, Ph.D., a visiting assistant professor of history, Bowdoin College
Joseph E. Inikori, Ph.D., a professor of history and associate director, Frederick Douglass Institute for African and African-American Studies, University of Rochester
Aisha Kahil, performing artist and master teacher in voice and dance and member of the a cappella ensemble Sweet Honey in the Rock
Gilberto Leal, a geologist, labor union and political party leader
Clarence Lusane, Ph.D., political scientist and author
Deborah L. Mack, Ph.D., director of public programs and exhibitions, National Underground Railroad Freedom Center in Cincinnati
Lorna McDaniel, Ph.D., historian and founding editor of New Directions: Readings in African Diaspora Music
Alice McGill, storyteller, author and educator
Diana Baird N'Diaye, Ph.D., a folklorist, anthropologist, and program curator, Smithsonian Institution's Center for Folklife Programs and Cultural Studies
Sylvia Ojukutu-Macauley, Ph.D., visiting assistant professor of history, Georgetown University
Colin A. Palmer, Ph.D., Distinguished Professor of History, New York Graduate School, City University
Carla L. Peterson, Ph.D., professor, Department of English and Comparative Literature, University of Maryland
Bernice Johnson Reagon, Ph.D., curator emerita, National Museum of American History (NMAH); and Distinguished Professor of History, American University
Fath Davis Ruffins, historian at the National Museum of American History
Llewellyn Smith, television producer and playwright
Elisée Soumonni, Ph.D., lecturer, department of history, Université Nationale du Bénin
John Thornton, Ph.D., professor of history, Millersville University
Eleanor W. Traylor, Ph.D., graduate professor of English and chair of the Department of English, Howard University
Sheila S. Walker, Ph.D., Annabel Irion Worsham Centennial Professor in Liberal Arts and director of the Center for African and African American Studies, University of Texas
Margaret Washington, Ph.D., history department, Cornell University
Jacquie Gales Webb, producer, Smithsonian Productions; and radio host
Olabiyi Yai, Ph.D., ambassador from Bénin
African Heritage Dancers and Drummers, a youth intervention program that provides rich portrayals of traditional West African dance, music, crafts, and folklore
Melvin Deal, founder and artistic director of the African Heritage Dancers and Drummers
Olufunmilayo Jomo, master teacher and performance artist of African dance and percussion
Kimberly A. Kelly, Ford Foundation Scholar, master's program, European decorative arts, Parsons/Cooper-Hewitt
Kono Youth Ensemble, founded in 1995 to awaken young people here and abroad to the power and beauty of traditional West African dance and drum
Djimo Kouyate, born in Dianna Senegal, is a diali, an oral historian and musician of Manding traditions
Amshatar Monroe, advocate of indigenous culture and spirituality and founder of Sacred Space
Pam Rogers, director of In Process…, Includes: Michelle Lanchester, Yasmeen Williams, Tammy Adair, Ayo Ngozi, Paula Pree, and Reverend Amitiyah Elayne Hyman
Sacred Space: Where Indigenous Paths Meet, a nonprofit organization committed to providing cultural and educational activities, council of elders: Baba Wande Abimbola, Nana Kwabena Brown, Mounain Eagle Woman (Mama Binta-Bisa Mati), Ione, Baba Kwame Ishangi, and Iya N'Ifa Efunyale (Mother) Taylor
Program number AC408.108.
The Duke Ellington Youth Festival is an evening of performances and presentations in the visual arts by students from the Distinct of Columbia Public Schools as part of the Duke Ellington Youth Program. The Duke Ellington Youth Program was created in 1991 as an educational outreach program aimed at introducing students to the life and work of Duke Ellington using the resources of the Ellington Collection. The program aims to promote knowledge of Duke Ellington and his contributions to the field of music with consideration to the impact that his culture had on his work. The curriculum of the program uses Ellington's music to study a variety of disciplines including music, art, English, social studies and foreign language. The Duke Ellington Youth Festival is a presentation of the projects that have been completed over the course of the Duke Ellington Youth Project.
The participating schools were Abram Simon Elementary School, Anacostia Senior High School, Patricia R. Harris Educational Center, Frank W. Ballou Senior High School, Bell Multicultural High School, Hugh M. Browne Junior High School, Bruce Evans Middle School, Francis L. Cardozo Senior High School, Charles Hart Middle School, Duke Ellington School of the Arts, Alice Deal Junior High School, Paul Laurence Dunbar Senior High School, Phelps Career Senior High School, School Without Walls, Eastern High School, Charles William Eliot Junior High School, Howard Dilworth Woodson Senior High School, J. Hayden Johnson Junior High School, John Philip Sousa Middle School, Stephen Elliot Kramer Middle School, Lemon G. Hine Junior High School, Lucy Ellen Moten Elementary School, Robert Gould Shaw Junior High School, Stuart-Hobson Museum Magnet Middle School, and Woodrow Wilson Senior High School.
Performances (listed in order of appearance)
Senior High School Band
"Launching Pad" "I'm Beginning to See the Light"
Soloist: Alicia Jones "Rockabye Rhythm" Music Director: Davey Yarborough Assistant Director: Eric McMillan
Junior High and Middle School Band
"Sophisticated Lady" Medley arranged by John Edmonton "Don't Get Around Much Anymore" "Mood Indigo" "Caravan" Music Director: Edward B. Anderson
Piano Solo
"Carolina Shout," James P. Johnson Pianist: Daniel Moore Duke Ellington School of the Arts
String Ensemble
"Prelude to a Kiss" "Things Ain't What They Used to Be," Mercer Ellington Music Director: Carolyn Bastian Jazz Violinist and Guest Educator: Lesa Terry
Dance
"Little Max" "Limbo Jazz" "Freedom" (from Second Sacred Concert) Choreographer: Peter Alexander Romero
Junior High, Middle, and Elementary School Choir
"Hit Me with a Hot Note and Watch Me Bounce" "Come Sunday" from First Sacred Concert "Duke's Place" (C Jam Blues) Music Director: Patricia Braswell
Piano Solo
"Single Petal of a Rose" from The Queen's Suite Nicole Green, Duke Ellington School of the Arts
Senior High School Choir
"I'm Just a Lucky So and So" "Caravan" "I Got it Bad and That Ain't Good" Music Director: Samuel L. E. Bonds, Assistant Director: Anita Jones,
Duke Ellington School of the Arts Show Choir
"Take the "A" Train," Billy Strayhorn "The Beauty of God" (from Third Sacred Concert), arranged by Roland Carter "It Don't Mean a Thing (If It Ain't Got that Swing)" Music Director: Samuel L. E. Bonds
Program number AC408.109.
As part of the commemoration of the birthday of Dr. Martin Luther King Jr., the Program of African American Culture presents "Of Songs, Peace, and Struggle". This annual public program series is dedicated to the presentation of Civil Rights Movement history and culture. Each year the program calls on activists of the Movement who engaged in civil disobedience and nonviolent confrontation to share their experiences with an audience, answer questions and promote discussion. The series also includes musical performances and exhibition tours. This year's program "Fighting for My Rights" focused on the theme of student activism and the role of youth in the Civil Rights Movement. The young students shared their experiences regarding the distance between themselves and their families, who were reluctant to allow them to face such dangers and risks.
Participants included:
June Johnson, former Student Nonviolent Coordinating Committee (SNCC) organizer in the Mississippi Delta
Martha Prescod Norman, activist, former Student Nonviolent Coordinating Committee (SNCC) field secretary, university instructor
Zoharah Simmons, Student Nonviolent Coordinating Committee (SNCC) activist
Program number AC408.110.
Annual national observance of African American history month program. The 1999 program was called 'W.E.B. DuBois Symposium: "Souls of Black Folk" in the 21st Century: Implications of Race, Culture, and Pan Africanism in the Global Village'. This program honored one of the greatest thinkers of the 20th century, the distinguished social historian, scholar, and activist William Edward Burghardt DuBois. DuBois lived during the time period between reconstruction and the modern Civil Rights era. DuBois' work provided new inquiries for both historical and sociological inquiry into African American life and culture; new models for research and study of urban sociology; and new intellectual tools for the sociological analysis of the unique complexities of race and class in the United States. DuBois changed the way scholars and the public viewed the "Negro Problem" and put the African American struggle within the context of racism and colonialism.
Participants included:
Mary Frances Berry, Ph.D., Geraldine R. Segal Professor of American Social Thought, University of Pennsylvania, teaches history and law
Marsha Coleman-Adebayo, Ph.D., director of the 21st Century DC AIDS Network organized to address the crisis in Africa, especially among women and orphans
The Honorable Ronald V. Dellums, President, Healthcare International Management Company
James C. Early, Director of Cultural Heritage Policy, Smithsonian Institution Center for Folklife and Cultural Heritage
Myrtle Gonza Glascoe, Ed.D., Associate Professor of Education and African American Studies, Gettysburg College
Clarence Lusane, Ph.D., assistant professor of Political Science, School of International Service, American University
Manning Marable, Ph.D., Professor of History and Political Science and Founding Director of the Institute for Research in African American Studies, Columbia University
Gay J. McDougall, Esquire, executive director of the Washington-based International Human Rights Law Group
Leith Mullings, Ph.D., Presidential Professor of Anthropology, City University of New York Graduate Center
Bernice Johnson Reagon, scholar, composer, singer, and activist
Her Excellency Sheila Violet Makate Sisulu, the South African Ambassador to the United States
Program number AC408.111.
Program held March 17, 2000 at the Smithsonian Insitution's National Museum of American History. The purpose of the event was to bring together scholars, filmmakers, and activists to examine images of American slavery and present their interpretations on how these images have affected American culture. Among the issues discussed were the tragedy of slavery and the possible reparations that are owed to African-Americans.
Participants included
Following prepared remarks, participants responded to audience comments and questions.
The Duke Ellington Youth Festival was an evening of performances and presentations in the visual arts by students from the Distinct of Columbia Public Schools as part of the Duke Ellington Youth Program. The Duke Ellington Youth Program was created in 1991 as an educational outreach program aimed at introducing students to the life and work of Duke Ellington using the resources of the Ellington Collection. The program aims to promote knowledge of Duke Ellington and his contributions to the field of music with consideration to the impact that his culture had on his work. The curriculum of the program uses Ellington's music to study a variety of disciplines including music, art, English, social studies and foreign language. The Duke Ellington Youth Festival is a presentation of the projects that have been completed over the course of the Duke Ellington Youth Project.
The participating schools includedwere Alice Deal Junior High School, Anacostia Senior High School, Frank W. Ballou Senior High School, Bell Multicultural Senior High School, Ronald H. Brown Middle School, Duke Ellington School of the Arts, Paul Laurence Dunbar Senior High School, Eastern Senior High School, Charles William Eliot Junior High School, Wilson Bruce Evans Middle School, Lemon G. Hine Junior High School, Howard Dilworth Woodson Senior High School, Thomas Jefferson Junior High School, John Hayden Johnson Junior High School, Lucy Ellen Moten Elementary School, School Without Walls Senior High School, Edward Augustus Paul Junior High School, Patricia Robert Harris Educational Center, Stephen Elliot Kramer Middle School, Stuart-Hobson Museum Magnet Middle School, Thurgood Marshall Elementary School, and Woodrow Wilson Senior High School.
Performances (listed in order of appearance)
Junior High and Middle School Band
"Salute to the Duke," arr. Michael Sweeny "Satin Doll" "Mood Indigo" "It Don't Mean a Thing (If It Ain't Got that Swing)" Richard Gill, Music Coordinator
String Ensembles
"I'm Beginning to See the Light" Evans Middle School Beginning and Intermediate Strings Carolyn Bastian, Music Director and Accompanist "In a Sentimental Mood" "Take the "A" Train" Duke Ellington School of the Arts Ensemble Eddie Drennon, Music Director
Senior High School Band
"The Mooch," trans. David Berger "Peanut Vendor," Moises Simons, arranged by Dick Vance
Junior High, Middle School and Elementary School Choir
"Hit Me with a Hot Note and Watch Me Bounce" "Satin Doll" "Don't Get Around Much Anymore" Patricia Braswell, Music Coordinator
Senior High School Choir
"Come Sunday" from Sacred Concert Number 1, arranged by Attrus Fleming "I Let a Song Go Out of My Heart," arranged by Gwendolyn Jennifer "I'm Beginning to See the Light," arranged by Kirby Shaw Samuel L. E. Bonds, Music Director
Tap Dance
"Afrique" from Afro-Eurasian Eclipse Jason Staton, Dancer Duke Ellington School of the Arts
Duke Ellington School of the Arts Show Choir
"One" from A Chorus Line, Marvin Hamlisch "Rock A My Soul," Howard Roberts "Drop Me Off in Harlem" Samuel L.E. Bonds, Music Director
Program number AC408.112.
As part of the commemoration of the birthday of Dr. Martin Luther King Jr., the Program of African American Culture presented "Of Songs, Peace, and Struggle". This annual public program series was dedicated to the presentation of Civil Rights Movement history and culture. Each year the program calls on activists of the Movement who engaged in civil disobedience and nonviolent confrontation to share their experiences with an audience, answer questions and promote discussion. The series also included musical performances and exhibition tours. This year's program "Another Day's Journey featured reflections with the Reverend Dr. James Edward Orange, the Civil Rights Movement activist, community, political, and labor organizer, and coalition builder. His reflections were followed by Audience comments, questions, and discussion, and then songs of struggle and freedom were led by James Orange with the Program in African American Culture Community Ensemble. The program concluded with a docent-led tour of the exhibition Field to Factory and other objects related to social change in America. The program took place in the Carmichael Auditorium at the National Museum of American History of the Smithsonian Institution. It was sponsored by the Program in African American Culture.
Participants included:
The Reverend Dr. James Edward Orange, Civil Rights Movement activist; community, political, and labor organizer, and coalition builder
Program in African American Culture Community Ensemble - Tammy Adair, Michelle Lanchester, Steve Langley, Ronald Bruce O'Neal, Pam Rogers, Yasmeen Williams
Program number AC408.113.
Annual national observance of African American history month. The 2001 conference explored the Black experience in the American West and its impact on African American culture and the national and cultural history of the United States. Scholars at the conference presented papers on a variety of themes relating to African Americans and the West, ranging from buffalo soldiers and Black cowboys to race relations in Los Angeles. The conference also looked at the cultural contributions that blacks brought to the West, evidenced through literature, theatre, film, and music. It took place over the course of four days in the Carmichael Auditorium and the Information Age Theater of the Smithsonian Institution. The program was sponsored by the Program in African American Culture of the Smithsonian Institution and cosponsored by the California African American Museum, the Center for African American Studies, University of California- Los Angeles, the Irving Caesar Lifetime Trust Partnership of the Library of Congress and the Smithsonian Institution, the Smithsonian Jazz Masterworks Orchestra, Midwest Express Airlines, and Pacific Bell.
Participants included:
Blake Allmendinger, Ph.D., professor of English, University of California, Los Angeles
David N. Baker, Ph.D., distinguished professor of music and chairman of the jazz department, Indiana University School of Music, Bloomington
Albert S. Broussard, Ph.D., professor of history and holder of the Elton P. Lewis Faculty Fellowship, Texas A&M University
Lonnie G. Bunch III, president of the Chicago Historical Society, past associate director for curatorial affairs, National Museum of American History (NMAH)
Sumi Cho, Ph.D., associate professor, College of Law, DePaul University Bettye J. Gardner, Ph.D., professor of history, Coppin State University
Juan Gómez-Quiñones, Ph.D., professor of history and former director of the Chicano Studies Research Center, University of California, Los Angeles, California
William W. Gwaltney, chief of interpretation at Rocky Mountain National Park, Estes Park, Colorado
Gerald Horne, Ph.D., professor of history, African and Afro-American studies, and communications, University of North Carolina, Chapel Hill
Patricia Nelson Limerick, Ph.D., historian of the American West with a particular interest in ethnic and environmental history
Rick Moss, curator of history, California African American Museum, Los Angeles, California
Cornel Pewewardy, Ph.D., assistant professor of teaching and leadership, School of Education, University of Kansas
Harry Robinson, Ph.D., president and CEO, African American Museum, Dallas, Texas
Beverly Robinson, Ph.D., professor, School of Theater, Film, and Television, University of California, Los Angeles
Fath Davis Ruffins, historian, National Museum of American History (NMAH)
Frank N. Schubert, Ph.D., chief of joint operational history, Joint History Office, Office of the Chairman, Joint Chiefs of Staff
Michael N. Searles, assistant professor of history, Augusta State University
Alonzo N. Smith, Ph.D., research historian, National Museum of American History (NMAH); and adjunct professor of African American history, Montgomery College
Paul W. Stewart, founder of the Black American West Museum, Denver, Colorado
Rowena Stewart, D.H., executive director of the Museums at 18th and Vine
Quintard Taylor, Ph.D., Scott and Dorothy Bullitt professor of American history, University of Washington
Performers
The American Jazz Museum All-Stars
Saxophone- Ahmad Alaadeen
Trumpet/ Flügelhorn- Stan Kessler
Trombone- Tim Perryman
Saxophone- Gerald Dunn
Bass- Tyrone Clark
Violin- Claude "Fiddler" Williams
Pianist- Chris Clarke
Drummer- Mike Warren
Vocalist- Kevin Mahogany
Vocalist- Ida McBeth
Saxophone- Bobby Watson
The Smithsonian Jazz Masterworks Orchestra
Saxophone- Charlie Young
Trumpet- Tom Williams
Brass- James King
Vibes- Chuck Redd
Drums- Ken Kimery
Vocalist- James Zimmerman
Living History Interpreters
M. Sargent Lee N. Coffee, Jr.- interpreted Sargent Emmanuel Stance, a Buffalo Soldier Medal of Honor recipient
Janice "Christi" Cole interpreted "Stagecoach Mary" Fields
William Grimette interpreted Estebanico, an early explorer of the Southwest
Sandra Kamusikiri, Ph.D., interpreted Biddy Mason, an entrepreneur and early urban pioneer in Los Angeles
Kimberly Kelly interpreted Mary Ellen Pleasant, a civil rights activist and businesswoman in early San Francisco
Michael N. Searles interpreted "Cowboy Mike" a composite historical figure
Program number AC408.114.
The Duke Ellington Youth Festival is an evening of performances and presentations in the visual arts by students from the Distinct of Columbia Public Schools as part of the Duke Ellington Youth Program. The Duke Ellington Youth Program was created in 1991 as an educational outreach program aimed at introducing students to the life and work of Duke Ellington using the resources of the Ellington Collection. The program aims to promote knowledge of Duke Ellington and his contributions to the field of music with consideration to the impact that his culture had on his work. The curriculum of the program uses Ellington's music to study a variety of disciplines including music, art, English, social studies and foreign language. The Duke Ellington Youth Festival is a presentation of the projects that have been completed over the course of the Duke Ellington Youth Project. Program held on April 23, 2001 and included poetry and music performances.
The participating schools were Thurgood Marshall Elementary School, Lucy Moten Elementary School, Simon Elementary School, John O. Wilson Elementary School, Ronald H. Brown Middle School, W. Bruce Evans Middle School, Garnet-Patterson Middle School, Lemon G. Hine Junior High School, Stuart Hobson Middle School, Thomas Jefferson Junior High School, J. Hayden Johnson Junior High School, Stephen E. Kramer Middle School, Macfarland Middle School, John Philip Sousa Middle School, Bell Multicultural High School, Paul Lawrence Dunbar Senior High School, Duke Ellington School of the Arts, School Without Walls, Woodrow Wilson Senior High School, and H.D. Woodson Senior High School.
Performances (listed in order of appearance)
Junior High and Middle School Band
Salute to the Duke, Duke Ellington (arranged by Michael Sweeny) "Satin Doll" "Mood Indigo" "It Don't Mean a Thing (If It Ain't Got That Swing)" Richard Gill, Music Director
String Ensemble
"Round Midnight" Cootie Williams and Thelonius Monk "Straight, No Chaser" Thelonius Monk Eddie Drennnon, Music Director
Senior High School Band
"Boplicity" Miles Davis (arranged by Gil Evans) Davey Yarborough playing Gerry Mulligan's baritone saxophone "Prelude to a Kiss" Duke Ellington Daniel Haedicke, guitar
The New Washingtonians/Duke Ellington School of the Arts
"I Let a Song Go Out of My Heart" Duke Ellington (David Berger) "Pyramid" Duke Ellington (David Berger) Davey Yarborough, Music Director
Junior High, Middle, and Elementary School Choir
"What a Wonderful World" George Weiss and Bob Thiele (In Memory of Louis Armstrong) "Duke's Place" Duke Ellington, arranger "It Don't Mean a Thing (If It Ain't Got that Swing)" Duke Ellington Thomasena Allen, Music Director
Senior High School Choir
"Big Band Bash" (Jazz Medley) Mac Huff, arranger "I Believe in God" from Gospel Mass Robert Ray Samuel L.E. Bonds, Music Director
Tap Dance
"I Let a Song Out of My Heart" Duke Ellington Maud Arnold, Dancer Charles Augins, Instructor Duke Ellington School of the Arts Duke Ellington School of the Arts Show Choir
"Tribute to Broadway" Vince Evans, arr. Samuel L.E. Bonds, Music Director
Program number AC408.115.
As part of the commemoration of the birthday of Dr. Martin Luther King Jr., the Program of African American Culture presents "Of Songs, Peace, and Struggle". This annual public program series is dedicated to the presentation of Civil Rights Movement history and culture. Each year the program calls on activists of the Movement who engaged in civil disobedience and nonviolent confrontation to share their experiences with an audience, answer questions and promote discussion. The series also includes musical performances and exhibition tours. This year's program "Stayed on Freedom" featured an interview with James Forman, the Civil Rights Movement activist, political organizer, author, and educator, by Clayborne Carson, the scholar, author, and educator. The interview was followed by audience comments, questions, and discussion, and then songs of struggle and freedom were sung by the Program in African American Culture Community Ensemble. The program concluded with a docent-led tour of the exhibition Field to Factory and other objects related to social change in America.
The program took place in the Carmichael Auditorium at the National Museum of American History of the Smithsonian Institution. It was sponsored by the Program in African American Culture.
Participants included:
James Forman, Ph.D., Civil Rights Movement activist, political organizer, author, and educator
Clayborne Carson, Ph.D., scholar, author, and educator
Performers included:
Program in African American Culture Community Ensemble
Program in African American Culture Youth Choir
Program number AC408.116.
In honor of the twenty-first annual national observance of African American History Month, the Program in African American Culture, cosponsored by the national Museum of American History Archives Center and the Afro-American Historical and Genealogical Society of Washington, presented a symposium on African American genealogy in the 21st century on Saturday, February 2, 2002, in the Carmichael Auditorium, Behring Center. The program included panel discussions and museum tours.
Participants included:
Michael L. Blakey, Ph.D., National Endowment for the Humanities, Professor of Anthropology, College of William and Mary
Charles C. Brewer, an independent researcher, specializes in antebellum and Civil War African American history and genealogy
Andrea Butler-Ramsey, independent researcher
Elizabeth Clark-Lewis, Ph.D., specialist in 20th century District of Columbia history
Luvenia A. George, Ph.D., ethnomusicologist and music educator
Phyllis T. Glaude, former elementary school teacher and librarian, served as docent for the National Museum of American History's exhibition, Field to Factory
Debra Newman Ham, Ph.D., professor of history, Morgan State University
George H. Harshaw Sr., bass baritone LaFayette Jackson, native Washingtonian who has worked with youth as the director of bands and orchestras
Kimberly Kelly, Museum Affiliations Manager, National Museum of American History (NMAH), Smithsonian Institution
Elvin Montgomery, Ph.D., New York City-based management consultant and avid collector and dealer of African-American historical materials
Deborra A. Richardson, Assistant Chair and Head of the Reference Unit, Archives Center, National Museum of American History, Smithsonian Institution
Fath Davis Ruffins, symposium chair and past president of the Afro-American Genealogical Society
Angela Y. Walton-Raji, has researched her family history since 1975. She wrote the book Black Indian Genealogy Research: African American Ancestors among the Five Civilized Tribes
Donna M. Wells, Prints and Photographs Librarian, Moorland-Spingarn Research Center, Howard University William Yeingst, domestic life specialist, Division of Social History, National Museum of American History (NMAH), Smithsonian Institution
Program number AC408.117.
The Duke Ellington Youth Festival is an evening of performances and presentations in the visual arts by students from the Distinct of Columbia Public Schools as part of the Duke Ellington Youth Program. The Duke Ellington Youth Program was created in 1991 as an educational outreach program aimed at introducing students to the life and work of Duke Ellington using the resources of the Ellington Collection. The program aims to promote knowledge of Duke Ellington and his contributions to the field of music with consideration to the impact that his culture had on his work. The curriculum of the program uses Ellington's music to study a variety of disciplines including music, art, English, social studies and foreign language. The Duke Ellington Youth Festival is a presentation of the projects that have been completed over the course of the Duke Ellington Youth Project.
. For the eleventh anniversary of the Duke Ellington Youth Festival, Jazz Appreciation Month was celebrated on Thursday, April 25, 2002, in the Carmichael Auditorium, National Museum of American History, Behring Center, Smithsonian Institution. The program included opening remarks from Niani Kilkenny and Edward Kennedy Ellington II; a welcome from Marc Pachter; greetings from Anthony A. Williams, Paul Vance, Tonya Jordan, and Luvenia A. George; presentation of awards; and performances. The honorary festival co-chairs were Gaye Ellington and Edward Kennedy Ellington II. The special awardees were Lilla Smith, Marie R. Johnson, Delois Jones, Barbara Lois Fullard, Samuel L. E. Bonds, Edward Anderson, James Cunningham, and Reuben M. Jackson.
The schools that participated in the program included Fillmore Arts Center, Hardy Middle School, Fletcher-Johnson Educational Centers, P. R. Harris Educational Centers, Garfield Elementary School, Garrison Elementary School, Janney Elementary School, Kimball Elementary School, John O. Wilson Elementary School, Lucy Moten Elementary School, McCogney Elementary School, Rudolph Elementary School, Simon Elementary School, Thomson Elementary School, Thurgood Marshall Elementary School, Evans Middle School, Garnet-Patterson Middle School, Kramer Middle School, Lincoln Multicultural Middle School, MacFarland Middle School, Ronald Brown Middle School (formerly Roper), John Phillip Sousa Middle School, Stuart-Hobson Museum Magnet School, Browne Junior High School, Alice Deal Junior High School, Frederick Douglass Junior High School, Eliot Junior High School, Hart Junior High School, Hine Junior High School, Jefferson Junior High School, J. H. Johnson Junior High School, Kelly Miller Junior High School, Shaw Junior High School, Anacostia Senior High School, Ballou Senior High School, Banneker Senior High School, Bell Multicultural Senior High School, Cardozo Senior High School, Coolidge Senior High School, Duke Ellington School of the Arts, Paul Laurence Dunbar Senior High School, Eastern Senior High School, McKinley/Penn Senior High School, Roosevelt Senior High School, School Without Walls, Spingarn Senior High School, and Woodrow Wilson Senior High School.
Performances (listed in order of appearance)
Junior High and Middle School Band
Salute to the Duke, arranger, Michael Sweeny "Satin Doll" "Mood Indigo" "It Don't Mean a Thing (If It Ain't Got that Swing)" Richard Gill, Music Director
Senior High Jazz Orchestra with Strings
"Such Sweet Thunder" (from Shakespearean Suite) Duke Ellington and Billy Strayhorn "Things Ain't What They Used to Be" Mercer Ellington, arranger by Duke Ellington Davey S. Yarborough, Music Director Eddie Drennon, String Instructor and Arranger
Junior High, Middle School and Elementary School Choir
"Take the "A" Train" Billy Strayhorn "I Like the Sunrise" (from Liberian Suite) Duke Ellington A Salute to Louis Armstrong "Hello, Dolly" Jerry Herman "When the Saints Go Marching In" Traditional Thomasena Allen, Coordinator Diedre Neal Choreography Mark Tatum, Drums
Senior High School Choir
"New York State of Mind" Billy Joel "Undecided" Sid Robin and Charles Shavers "Ain't Misbehavin" Andy Razaf, Thomas "Fats" Waller, Harry Brooks Samuel L.E. Bonds, Music Director
Jazz Dance Celebration
"Cresendo in Tap" Music by Duke Ellington Maud Arnold, Dancer Charles Augins, Instructor
Duke Ellington School of the Arts Show Choir
Selections from Black, Not So Blue A musical and dramatic review of African American success stories in the 20th century. From the original play by Fred Leigh Samuel L. E. Bonds, Music Director Program number AC408.118.
Annual commemoration of the birthday of Dr. Martin Luther King, Jr., Program in African American Culture, in conjunction with the Department of Education and Public Programs, held program on Saturday, January 18, 2003, in the Carmichael Auditorium, National Museum of American History, Behring Center, Smithsonian Institution. The program included a welcome from Niani Kilkenny; a lecture by Reverend James M. Lawson, Jr.; songs of struggle and freedom led by the Program in African American (PAAC) Community Choir, directed by Pam Rogers; and a museum tour of the exhibition "Field to Factory", the Greensboro Lunch Counter, and other objects related to social change in America, led by docents Florence Pritchett and Alice Jones.
Participants included:
The Reverend Dr. James M. (Jim) Lawson Jr., pastor, teacher, lecturer, and nonviolent strategist
The Program in African American Culture Community Choir
Program number AC408.119.
Program number AC408.119.
Conference held Thursday, February 27, through Saturday, March 1, 2003, National Museum of American History, Behring Center, Smithsonian Institution. Program celebrated the twenty-second annual national observance of African American History Month. Program created as a conference, community tribute, and cultural fair, in collaboration with the National Underground Railroad Network to Freedom Program of the United States National Park Service. It included performances, films, presentations hands-on activities, lectures, and panel discussions.
Participants included:
Allison Blakely, Ph.D., professor of European and Comparative History, Boston University
David W. Blight, Ph.D., scholarly advisor to the Passages to Freedom conference; professor of history, Yale University
Charles L. Blockson, curator and historian
Spencer R. Crew, Ph.D., executive director and chief executive officer, National Underground Railroad Freedom Center
Mary A. Edmond, chairperson of the Michigan Freedom Trail Commission; founder and president, Michigan Black History Network
Jerry Gore, historian, scholar and one of the founders of the National Underground Railroad Museum, Incorporated
Allen Grundy, founder, International Freedom Institute of the Southwest (IFIS); cofounder of Talking Back Living History Theatre (TBLH)
James Oliver Horton, Ph.D., scholarly advisor to the Passages to Freedom conference; Benjamin Banneker Professor of African Studies and History, George Washington University
Lois E. Horton, Ph.D., professor of history, George Mason University
Wilma King, Ph.D., Strickland Professor of American History and Culture, University of Missouri
Jane Landers, Ph.D., associate dean of the College of Arts and Science; associate professor of history and director, Center of Latin American and Iberian Studies, Vanderbilt University
Emma J. Lapsansky, Ph.D., curator, Quaker Collection and professor of history, Haverford College
Diane Miller, planning committee member, Passages to Freedom conference; and national coordinator, National Underground Railroad Network to Freedom Program, National Park Service (NPS)
Orloff Miller, Ph.D., planning committee member, Passages to Freedom conference; director, Freedom Station Program; and interim director, Research Programs, National Underground Railroad Freedom Center, Cincinnati, Ohio
Kevin Mulroy, Ph.D., director of research collections and chair, Research Services, University of Southern California libraries
Cathy D. Nelson, founder and president emeritus, Friends of Freedom Society; and state coordinator, Ohio Underground Association
Freddie L. Parker, Ph.D., chair, Department of History, North Carolina Central University, Durham, North Carolina
Bryan Prince, Buxton National Historic Site and Museum, Ontario, Canada
Vivian Abdur-Rahim, founder and director, Harriet Tubman Historical Society; and founding member, Underground Railroad Coalition, Delaware
Bernice Johnson Reagon, Ph.D., scholar, composer, singer, and activist, Cosby Chair Professor of Fine Arts, Spelman College, Atlanta, Georgia
Jane Rhodes, Ph.D., associate professor, ethnic studies, University of California, San Diego
Hilary Russell, independent scholar and researcher
Milton C. Sernett, Ph.D., professor of African American Studies and history and adjunct professor of religion, Syracuse University
Barbara A. Tagger, historian and regional coordinator, National Underground Railroad Network to Freedom Program
Ron Tyler, Ph.D., is director of the Texas State Historical Society and professor of history at the University of Texas at Austin
John Michael Vlach, Ph.D., professor of American studies and anthropology and director of the Folklife Program, George Washington University
Judith Wellman, Ph.D., professor emerita, History Department, State University of New York, Oswego
Deborah Gray White, Ph.D., professor and chair, history department, Rutgers University
Carol Wilson, Ph.D., associate professor of history, Washington College, Chestertown, Maryland
Church Historians
Ambassador Horace G. Dawson Jr., Ph.D., historian, Metropolitan AME Church, Washington, DC
Janet Lee Ricks, member and vice chair, history committee, Mt. Zion United Methodist Church, Georgetown, Washington, DC
Lonise Fisher Robinson, church historian, Asbury United Methodist, Washington, DC Performers and Artists included:
Nasar Abadey Trio
Drums - Nasar Abadey, drummer and composer, founder and leader of SUPERNOVA
Piano - Allyn Johnson, Washington, DC native, attended the University of the District of Columbia
Bass - James King, bassist, composer, and arranger
Michael E. Baytop, founder and president, Archie Edwards Blues Heritage Foundation, Washington, DC
Gwendolyn Briley – Strand
The Chancel Choir of Sargent Memorial Presbyterian Church The Daughters of Dorcas and Sons
The Duke Ellington School of the Arts Show Choir
Samuel L. E. Bonds, director and voice teacher, Duke Ellington School of the Arts, Washington, DC
Irma Gardner-Hammond, professional storyteller who tells stories from the African oral tradition known as the Griot tradition
Bus Howard, actor and artist in residence, Kennedy Center for the Performing Arts, Washington, DC
In Process…, African American women's a cappella ensemble
Jo Ann James, avid collector of recipes, a student of African American history, and a craftsperson
Kimberly Kelly, member of planning committee for the Passages of Freedom conference
Magpie - Terry Leonino and Greg Artzner, musicians
Alice McGill, well known for her portrayal of Sojourner Truth
Gretchen McKinney, term member, Speech Choir and Drama Team, Asbury United Methodist Church
Dietra Montague, independent artist who has lived and studied the arts and crafts of North and West Africa, Central and South America, Mexico, and Europe
Fred Morsell, actor
Ayo Ngozi, collage, multimedia, and book artist based in Mt. Rainier, Maryland
Reverb, a cappella group of African American gospel, quartet, and doo-wop singing
Mary Kay Ricks, freelance writer, researcher, and history tour guide who specializes in the Underground Railroad, Washington, DC
Kath Robinson, Washington, DC resident interested in the study of Ethnobotany and the study of misaims
Charlie Sayles, blues harmonica player
Program number AC408.120.
The program "Bearing Witness to a Dream Deferred" commemorated the 40th anniversary of the March on Washington for Jobs and Freedom. On August 28, 1963, an estimated crowd of 250,000 to 500,000 people gathered for the historic event. At the time this was the largest and most widely covered political demonstration in American history, and it captured the attention of the United States and the world. People listened to speeches and songs calling for the passage of the Civil Rights Bill, desegregation of schools and housing, elimination of racial discrimination in hiring, job training, an increase in the minimum wage, and the enforcement of the Thirteenth, Fourteenth, and Fifteenth Amendments. The finale of the day was Martin Luther King's famous "I Have a Dream" speech. The program format was a roundtable discussion, followed by audience questions and discussion, and culminating in songs of struggle and freedom by the Student Nonviolent Coordinating Committee (SNCC) freedom singers.
The program took place in the Carmichael Auditorium at the National Museum of American History of the Smithsonian Institution. It was sponsored by the Program in African American Culture in collaboration with the Honorable John Lewis, United States House of Representatives, Georgia (D), the Honorable Reverend Walter E. Fauntroy, Co-Convener, and the 40th Anniversary March on Washington Coalition.
Participants included:
Reverend Walter E. Fauntroy, pastor of the New Bethel Baptist Church, Washington, DC; and president, National Black Leadership Roundtable (NBLR)
Rutha Mae Harris, educator of exceptional students, Monroe Comprehensive High School; and founder of the Albany Civil Rights Museum Freedom singers, Georgia
The Honorable John Lewis, Congressman, Georgia's Fifth Congressional District, United States House of Representatives
Charles D. Neblett, first Black elected magistrate, Logan County, Kentucky
The Honorable Eleanor Holmes Norton, Delegate for the District of Columbia, United States House of Representatives
Bernice Johnson Reagon, Ph.D., scholar, composer, singer, activist, and professor emeritus, history, American University
Student Nonviolent Coordinating Committee (SNCC) Freedom Singers, traveled throughout the United States spreading the Civil Rights Message
Program number AC408.121.
Program held February 20, to Saturday, February 21, 2004, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The program commemorated the 50th anniversary of Brown v. Board of Education and was presented in conjunction with the exhibition "Separate Is Not Equal: Brown v. Board of Education." The Program in African American Culture cosponsored event with the Howard University School of Law and the National Association for the Advancement of Colored People (NAACP) Legal Defense Fund, Incorporated. The National Association for the Advancement of Colored People (NAACP) presented Race and Rights on Friday. Program included panel discussions, performances, and a video screening.
The Program in African American Culture holds an annual national observance of African American history month in February. The 2004 conference commemorated the 50th anniversary of the Brown v. Board of Education decision of 1954. The Brown decision legally ended the practice of segregated education in the United States. The program highlighted the lawyers that worked on the case and its legacy. It was emphasized throughout the program that much work remained to be done in fulfilling the promise of Brown. Several scholars convened to present papers about the case. There was a video screening of The Road to Brown, which highlighted the life of Charles Hamilton Houston, a civil rights lawyer and key figure in the case. Howard University School of Law hosted a town hall meeting in which there was an intergenerational discussion about Brown and the problems that still exist in education today.
Participants included:
February 20 Program
H. Patrick Swygert, president, Howard University
Kurt L. Schmoke, dean, School of Law, Howard University
Theodore M. Shaw, associate director-counsel, National Association for the Advance ment of Colored People (NAACP); Legal Defense and Educational Fund, Incorporated
Lorraine Miller, president, District of Columbia Branch, National Association for the Advancement of Colored People (NAACP)
Vincent G. Harding, professor, religion and social transformation, Iliff School of Theology, Denver, Colorado
February 21 Program: Panel Discussions
Pete Daniel, curator of southern and rural history, National Museum of American History (NMAH); professor of history, University of Maryland
Raymond Gavins, professor of history, Duke University
Linda Sheryl Greene, associate vice chancellor for faculty and staff programs, and Evjue-Bascom professor, law, University of Wisconsin-Madison
Reginald F. Hildebrand, associate professor with a joint appointment in history and Afro-American studies
Genna Rae McNeil, professor of history, University of North Carolina, Chapel Hill
Dianne Pinderhughes, professor of political science and Afro-American studies, University of Illinois, Urbana-Champaign
J. Clay Smith, professor of law, Howard University
Ronald Walters, distinguished leadership scholar and director, African American Leadership Institute, University of Maryland, College Park
Linda Williams, associate professor of government and politics, University of Maryland, College Park
Frank Wu, professor of law, Howard University; and adjunct professor of law, Columbia University
February 21 Program: Town Hall Meeting
Moderator
Charles J. Ogletree Jr., Climenko professor of law and prominent legal theorist, Harvard University
Panelists
Carrie L. Billy, member of the Navajo nation, attorney from Arizona, and staff of the American Indian Higher Education Consortium (AIHEC)
Jaclyn A. Cole, president and co-founder, ROOTS
David Ari Collins, student, school of law, Howard University
Brumit B. De Laine, youngest child of the late Reverend Joseph Armstrong De Laine, who led the Briggs v. Elliot lawsuit from Clarendon County, South Carolina
Marisa J. Demeo, regional counsel of the Mexican American Legal Defense and Educational Fund's (MALDEF) DC office
Wade Henderson, executive director, Leadership Conference on Civil Rights; and counsel, Leadership Conference on Civil Rights Education Fund
Henry H. Jones, professor, school of law, Howard University School
Alana Murray, educator-activist, Montgomery County Public Schools, Maryland
John W. Stokes, educational consultant and adjunct professor, Morgan State and Baltimore City Community College
Craig A. Thompson, associate, law offices, Peter Angelos, Baltimore, Maryland
Michael R. Wenger, program consultant, Joint Center for Political and Economic Studies
Lia Wright-Tesconi, senior, School Without Walls Senior High School, George Washington University, Washington, DC
The Howard University Chapel Choir, diversified musical aggregation that provides the Andrew Rankin Memorial Chapel with the finest of sacred music on a consistent basis
Program number AC408.122.
On date and date, another program in a series of Sunday afternoon concerts held in the Palm Court. Concerts offered the public classic jazz repertory featuring the talents of regional artists who examined important jazz traditions …. This session featured
On date and date, another program in a series of Sunday afternoon concerts held in the Palm Court. Concerts offered the public classic jazz repertory featuring the talents of regional artists who examined important jazz traditions …. This session featured
Unidentified information
K. Steiner, negatives, 241287 roll number 1 through roll number 2
Contains material relating to subjects documenting the African American experience primarily in America and in other parts of the world. Includes both primary and secondary resources including textual records and audiovisual materials not associated with one particular program. Research subjects include spirituals, slavery, gospel music composers, African American dance, Black churches, Black American choral song, blues, and jazz improvisation. The materials are arranged in chronological order.
Contains mostly music
Materials document the daily activities of the program many created by Bernice Johnson Reagon (Director, 1983-1988), Gwendolyn Robinson (Director 1989-1992), Niani Kilkenny (Acting Director 1988-1989 and Director, 1992-?), Alonzo Nelson Smith (Research Historian), Joyce Lancaster (Researcher), and Rhea Combs (Event Producer). Includes correspondence, files relating to prospective artists and presenters, exhibition proposals, agreements and contracts, reports, employment information, mission statements, release for use forms, photographs of staff, presenters and performers, inventories of collection materials, and information relating to copyrights. Materials are arranged in chronological order.
Fannie Lou Hamer, speaking at the Holmes County Freedom Democratic Party Election Rally at the Courthouse in Lexington, Mississippi. Photographed by Susan Lorenzi Sojourner, May 8, 1969.
Annual Smithsonian Institution event consisting of seven programs including the African Diaspora, Children's Folklore, Family Folklore, Native Americans, Old Ways in the New World, Regional America and Working Americans. The African Diaspora, led by Rosie Horn (Program Coordinator) and Bernice Johnson Reagon (Folklore Specialist and later Director of the Program on African American Culture), paid tribute to the cultural contributions of the black American community while depicting the historical and cultural continuum that linked them to their African roots via the Caribbean Islands and Latin America. Reagon's festival work served as a creative outlet for some of her personal and professional interests. Materials include proposal for African diaspora concept, correspondence, background materials, program and highlights of the event.
Annual Smithsonian Institution event held on the National Mall in Washington, DC followed the order of the previous year. The African Diaspora program, again led by Rosie Lee Horn (Program Coordinator) and Bernice Johnson Reagon (Folklore Specialist) featured African American stories, Black dance workshop, Black sacred music and instrument making. Sweet Honey in the Rock, an all-woman, African-American a cappella ensemble founded by Bernice Johnson Reagon, performed throughout the event. Materials include field research report,
need description
Promotional video for the Nashville based American reggae bandgroup Afrikan Dreamland featuring Aashid Himons, Darrell Rose, and Mustafa Abdul-Aleem. The group is interviewed and performs its two songs "Last Chance to Dance" and "Womanhood". Ayo Records, copyright 1982, SP X Ayo Records, 6710 Charlotte Park, Nashville, Tennessee. 37209.
need a descritption
what is this
what is this?