ATLANTA — Far from his typical Broadway haunts, the director George C. Wolfe was walking through a construction site here this spring when, amid a cacophony of saws and drills, he stopped and stood before what was to become a replica of a lunch counter that he said would claw visitors back into history.
The display at the National Center for Civil and Human Rights, Mr. Wolfe said, would allow people to don headphones, rest their hands on the counter and hear a volley of heckles similar to what demonstrators heard during the civil rights movement.
“You’re in the moment,” Mr. Wolfe, the center’s chief creative officer, said, his voice rising. “You’re in the times. You’re experiencing the euphoria and the danger that was existing at the time.”
For Mr. Wolfe and the museum’s supporters, summoning the South’s past in a dramatic way is an unequaled opportunity for Atlanta to showcase a present well beyond CNN, Coca-Cola and a vast international airport. Civic boosters contend that the museum will fuel tourism, broaden the city’s reputation and become a place that could host international human rights events.
Whether the $80 million complex — backed by a mix of public and private funding, with the land donated by Coca-Cola — will fulfill the entirety of that lofty vision is a question that could take decades to answer. But Doug Shipman, the center’s chief executive, said it would be both a vivid link to the city’s rich civil rights history and a prod toward social change.
“This isn’t about specialists,” Mr. Shipman said. “This isn’t about academics. This is trying to take a 15-year-old and move them to interest and inspiration.”
The center, set along the northern edge of Pemberton Place, an area honoring the pharmacist who created Coca-Cola, is scheduled to open on Monday and will be the latest Southern museum to honor the region’s civil rights heritage. Birmingham, Ala., and Memphis are among the cities that host popular museums, and another is planned in Jackson, Miss.
Posts published in “Arts / Style”
Debbie Allen Champions Arts Education for Youth, Kicks Off National Tour of "Brothers of the Knight"
Debbie Allen Champions Arts Education for Youth, Kicks Off National Tour of "Brothers of the Knight"
Oscar, Emmy and Tony Award-winning choreographer and director Debbie Allen premiered her new theatrical production Brothers of the Knight at the Saban Theatre in Beverly Hills last night, kicking off a five-city summer tour. Turning out to support Allen and her passion for training today’s youth in the arts were actors Jenifer Lewis, Clifton Powell, “Grey’s Anatomy” star Ellen Pompeo, Darrin Hewitt Henson, New Kids on the Block singer Joey McIntyre and WNBA All-Star Lisa Leslie, among others. (Click here to see GBN’s Instagram photos from the event.)
Grammy-winning musician James Ingram wrote the music to this modern adaptation of the classic Brothers Grimm tale, The Twelve Dancing Princesses, where twelve brothers steal away to a magical ballroom and dance every night away unbeknownst to their strict preacher father.
Allen, who produced the show with husband and former NBA All-Star Norm Nixon, went on a five-city tour to find the best young talent possible, then trained and worked closely with them to bring the production to life.
“I opened this audition to kids who are not just in dance schools,” Allen said, but “to people who simply love to dance.”
Allen is passionate about arts education for youth and mounts productions like this every year to shed light on its importance as more and more public schools drop arts, music and theatre programs.
“It’s a battle right now. Arts education is disappearing without a trace from the public schools. If you don’t have arts as part of the core of your curriculum, you are not going to be well educated,” Allen recently told WGBH in Boston.
Allen has been fighting to keep dance and the arts available for youth for quite some time. In 2001, Allen opened the Debbie Allen Dance Academy (DADA), a non-profit organization which offers classes in various dance disciplines for youth and teens.
Brothers of the Knight runs until June 22 in Los Angeles, then moves to Boston from June 27-29, Philadelphia July 3-6, Washington DC July 10-13 and Charlotte July 17-20. To order tickets, go to brothersoftheknight.com. To sponsor or donate to this show, click here.
article by Lori Lakin Hutcherson (follow @lakinhutcherson)
Conductor Thomas Wilkins has been a familiar face to classical music fans in Los Angeles since at least 2008, when he was appointed principal guest conductor of the Hollywood Bowl Orchestra.
On Thursday, Wilkins officially took on a new title with the orchestra — principal conductor — signaling a more permanent role in the institution. Wilkins made his Bowl debut in 2007 and has held a series of two-year appointments in his role as principal guest conductor.
On Thursday, Wilkins officially took on a new title with the orchestra — principal conductor — signaling a more permanent role in the institution. Wilkins made his Bowl debut in 2007 and has held a series of two-year appointments in his role as principal guest conductor.
The Los Angeles Philharmonic, which made the announcement on Thursday, said that Wilkins has led the Hollywood Bowl Orchestra at 50 concerts during his periods as principal guest conductor.
The Hollywood Bowl Orchestra was led for many years by conductor John Mauceri, who stepped down in 2006.
The Mixed Remixed Festival, a family festival, hosts the largest Loving Day celebration on the West Coast at the Japanese American National Museum in downtown Los Angeles (100 N. Central Ave.) tomorrow, Saturday, June 14, from 10 a.m. to 9 p.m.
Loving Day is officially held every year on June 12, the anniversary of the 1967 U.S. Supreme Court decision Loving v. Virginia, which struck down all anti-miscegenation laws remaining in sixteen states.
The festival celebrates stories of the mixed experience and multiracial Americans, the fastest-growing demographic in the U.S., bringing together film and book lovers, innovative and emerging artists, and multiracial and multicultural families and individuals for workshops, readings, performances, and film screenings.
A fiscally-sponsored project of Fractured Atlas, a non-profit arts service organization, the festival is produced by New York Times best-selling writer Heidi Durrow and a talented staff of volunteers.
The event is free and open to the public. The complete festival schedule can be found at www.mixedremixed.org. Highlights include:
• The largest West Coast Loving Day celebration at 6:30 p.m. with the annual Storyteller’s Prize presentation and live show. The prize will go to Comedy Central’s hit comedic duo Key & Peele, award-winning writer Susan Straight, and Cheerios’ marketing team as part of a dynamic live show featuring comedians, musicians and spoken-word poets. This program is currently reserved at capacity, but any open seats near showtime will be offered to individuals on the wait list. Call (213) 293-7077 or email heidi@mixedremixed.org.
• Families can enjoy interactive craft activities all day as part of the Target Free Family Day; storytelling time with Sebastian Jones, co-author with actress Garcelle Beauvais of the children’s book “I Am Mixed”; and a writing workshop for kids with Lora Nakamura, author of “Bonsai Babes.”
• KPCC, Southern California’s largest public radio station, will produce a special panel called “#Multicultivate,” moderated by KPCC’s Josie Huang.
• Two award-winning feature films: “Sleeping with the Fishes” (directed by Nicole Gomez Fisher), winner of the Best New Director Award at the Brooklyn Film Festival, and “Closure” (directed by Bryan Tucker), a feature documentary about a transracial adoptee’s search for her biological parents. The latter screening will be followed by a panel discussion with the filmmaker and transracial adoptees and activists. The festival will also present a program of several ground-breaking short films.
• Readings by Krista Bremer, author of the hit memoir about her bicultural marriage, “My Accidental Jihad” (Algonquin Books); Crystal Chan, author of “Bird”; Chris Terry, author of “Zero Fade”; and many others. Skylight Books is the Festival’s official bookseller.
• Acting and writing workshops will be led by published authors and professional actors. Award-winning poet Aaron Samuels, author of the prize-winning “Yarmulkes & Fitted Caps,” will present a poetry-writing workshop; celebrated voice-over artist and acting professor Rayme Cornell will lead a voice-over class; and Khanisha Foster will offer a Performer’s Bootcamp. A complete list of workshops appears on the festival website.
• More than a dozen esteemed panelists will speak on diverse topics related to the mixed experience. Panelists include scholar Marcia Dawkins, activist/filmmaker Thomas Lopez, and YouTube’s Channing Sargent.
Festival sponsors include: Cheerios (Silver Sponsor), Japanese American National Museum (www.janm.org), Zerflin.com, Pitfire Artisan Pizza, Miss Jessie’s, and Poets & Writers through a grant from the James Irvine Foundation.
article by Lori Lakin Hutcherson (@lakinhutcherson)
Although the Denzel Washington-headlined revival of Lorraine Hansberry’s classic play did not garner its lead an award tonight, “A Raisin in the Sun” fared quite well in several other categories, winning three Tonys overall, for Best Director (Kenny Leon), Best Featured Actress in a Play (Sophie Okonedo) and Best Revival of a Play.
Also of major note was Audra McDonald‘s Best Lead Actress in a Play win for “Lady Day at Emerson’s Bar and Grill.” Not only did she earn her record sixth Tony (surpassing Angela Lansberry and Julie Harris at five each), she also became the only actor to ever win a Tony in all four acting categories.
To see a full list of winners, click here.
article by Lori Lakin Hutcherson (@lakinhutcherson)
In the spring of 2001, Todd Kreidler met his boss, the playwright August Wilson, for breakfast at the Cafe Edison, as was their custom. Mr. Kreidler was assisting Wilson as he brought his play “King Hedley II” to Broadway, but really he was there to learn whatever Wilson wanted to teach him. And that morning, the subject was Tupac Shakur.
After a bit of chitchat, Wilson was exasperated with his charge. “You don’t really know ‘Dear Mama,’ ” he said, referring to Shakur’s signature ode to his mother. He got up, threw money on the table, marched out the door and to the nearby Virgin Megastore. There, he bought a copy of Shakur’s album “Me Against the World” and pressed it into Mr. Kreidler’s hands.
“There’s nothing contained in your life that’s not contained in that music,” Wilson told him, Mr. Kreidler recalled. “There’s love, honor, duty, betrayal, love of a people. There’s a whole universe in that music!” He made it clear, with some vulgarities for emphasis, that Mr. Kreidler wasn’t to return to rehearsal until he’d absorbed it all.
So on the day in 2010, when Mr. Kreidler opened a FedEx box with 23 of Shakur’s CDs and two books of his writings, tasked with building from them a musical rooted in that rapper’s words, he was prepared.
The result is “Holler if Ya Hear Me,” which opens at the Palace Theater on June 19, and weaves 21 songs by Shakur (two of which are musically arranged versions of his poems) into a story about a community struggling to pull hope from the grasp of entrenched social ills. Put differently, it’s not a Broadway-ification of Shakur’s life or vision so much as a repurposing of his words into an emotionally felt, family-friendly context.
“It’s a story about unconditional love that uplifts all of his words,” said Kenny Leon, the musical’s director, a veteran of Wilson’s “Fences” and the current “A Raisin in the Sun.” In that, “Holler” has plenty in common with the rest of Broadway, and the creative team was careful in managing how the play handled what Mr. Leon termed “the things that people think they hate” — bad language, guns, violence.
But it’s an open question whether the familiar Broadway audience, or even the middle-class black theatergoers who have been drawn in by “Raisin,” can make room in their hearts and wallets for Shakur’s words. Hip-hop has made it to Broadway before, but the Tony-winning “In the Heights” tested the waters Off Broadway first, and didn’t have to contend with an implied star whom people find controversial even years after his death.
The $8 million production seems to be splitting the difference; opening directly on Broadway — in a prime Times Square location that last housed “Annie,” no less — but after the Tony awards deadline. (Pop-minded shows like “Bring It On – The Musical” have lately taken a similar route.) Though influential producers were invited to the show’s workshops, they by and large declined to invest. Instead, the lead producers are Eric Gold, a longtime Hollywood manager and producer who is new to Broadway, and Shin Chun-soo, a South Korean theater impresario. “I’m prepared to nobly fail or to nobly succeed,” Mr. Gold said.
Murdered in 1996 in a case that’s still unsolved, Shakur remains, even after all these years, one of hip-hop’s most celebrated figures, a radical thug intellectual with an outsize gift for creating his character in real time. He was prolific and contradictory, a child of activists signed, late in his career, to Death Row, the label that mainstreamed gangster rap.
NEW ORLEANS –– There was a talent show at the White House Tuesday, and the first lady was right in the middle of it. The performers go to troubled schools that have added the arts to their core curriculum to try to turn them around. It’s an Obama administration program that has been so successful, it was expanded Tuesday to a total of 35 schools.
With so much rhythm in the room, it’s hard to imagine music nearly died at one New Orleans school. But four years ago, everything was failing at the school, now known as the Renew Cultural Arts Academy.
Fewer than 15 percent of students could read at grade level. It was one of the lowest testing schools in Louisiana. “I heard from friends that there was a lot of stuff going on, like fights, and teachers weren’t really teaching,” says seventh-grader Angela Russell. Angela didn’t want to come to the school, but she says things are different since the school decided to put more emphasis on arts education.
“I like everything about being here,” she says. “It’s, like, the first school I’ve ever really enjoyed.”
Now students like Angela count the measures in band or stand up in math class to act out a bar graph. “It’s not just to have a music education class, you know, during the school day or after school,” says Ron Gubitz, the elementary school principal. “But it’s actually to use the music and use visual arts and use theater to teach core content.”
With the new curriculum, the school has seen a 20 point rise in standardized tests over five years — plenty of room for improvement, but enough to earn recognition from the White House. Renew is one of the Turnaround schools granted funding to hire more arts teachers, tripling the time kids spend learning the arts.
“We’ve been doing that work to set a template so that any school sees that it’s possible to do this,” says actress Alfre Woodard, who volunteers at the school. “Enrollment stays steady, or it goes up, behavioral problems go down and the culture of the schools are transformed.”
It’s transformed sixth-grader Jarred Gray. “I was bad,” he admits. “I would get put out of class a lot.” With his classmates, he just took his first-ever plane ride — to the White House. Jarred says when he found out he was going to the White House, “I fainted.”
“I got home and I was like, ‘Wait, I’m going to Washington,’ and I laid in my bed and I was like, ‘Oh, goodness,'” he recalls.
Music woke him up — and brought his school back to life.
article by Michelle Miller via cbsnews.com
With so much rhythm in the room, it’s hard to imagine music nearly died at one New Orleans school. But four years ago, everything was failing at the school, now known as the Renew Cultural Arts Academy.
Fewer than 15 percent of students could read at grade level. It was one of the lowest testing schools in Louisiana. “I heard from friends that there was a lot of stuff going on, like fights, and teachers weren’t really teaching,” says seventh-grader Angela Russell. Angela didn’t want to come to the school, but she says things are different since the school decided to put more emphasis on arts education.
“I like everything about being here,” she says. “It’s, like, the first school I’ve ever really enjoyed.”
Now students like Angela count the measures in band or stand up in math class to act out a bar graph. “It’s not just to have a music education class, you know, during the school day or after school,” says Ron Gubitz, the elementary school principal. “But it’s actually to use the music and use visual arts and use theater to teach core content.”
With the new curriculum, the school has seen a 20 point rise in standardized tests over five years — plenty of room for improvement, but enough to earn recognition from the White House. Renew is one of the Turnaround schools granted funding to hire more arts teachers, tripling the time kids spend learning the arts.
“We’ve been doing that work to set a template so that any school sees that it’s possible to do this,” says actress Alfre Woodard, who volunteers at the school. “Enrollment stays steady, or it goes up, behavioral problems go down and the culture of the schools are transformed.”
It’s transformed sixth-grader Jarred Gray. “I was bad,” he admits. “I would get put out of class a lot.” With his classmates, he just took his first-ever plane ride — to the White House. Jarred says when he found out he was going to the White House, “I fainted.”
“I got home and I was like, ‘Wait, I’m going to Washington,’ and I laid in my bed and I was like, ‘Oh, goodness,'” he recalls.
Music woke him up — and brought his school back to life.
article by Michelle Miller via cbsnews.com
The collection is haunting: black-and-white stills of another place from another time, a documentation of the Gullah, or Geechee, people—a population of African descendants living on the Sea Islands off the Eastern coastline. The images of a place and a people that time forgot were captured by celebrated photographer Jeanne Moutoussamy-Ashe—the wife of renowned tennis player Arthur Ashe—between 1977 and 1981.
Bank of America donated the collection of more than 60 photos to the Smithsonian’s National Museum of African American History and Culture. The photographs center on the people and life of Daufuskie Island, a cultural and national treasure tucked away off the coast of South Carolina.
A “time capsule” is how the island was aptly described by Lonnie Bunch, the museum’s founding director, who is thrilled at the addition to the yet-to-be-finished museum. In addition to the stunning collection, which Bank of America originally obtained through its acquisition of Merrill Lynch in 2007, the financial institution also donated $1 million toward the building of the museum, a $500 million project.
“We’ve had a great history with the [museum]. We were one of the first donors [and have a] long-standing partnership,” Bank of America spokeswoman Diane Wagner told The Root. “[The collection] seemed like a very natural fit to be donated to the museum as one of their key exhibitions once they open in 2015.
“We feel that the arts have the power to connect people and … can connect people across cultures, across geography and socioeconomic status … People can take a look at art and understand a different culture, or they can understand their heritage, where they come from and how they’ve been established,” she added.
Growing up in the 1970s at opposite ends of New York State, two girls were immersed in all things cool, black and funky.
Saturday morning cartoons won their hearts. Loreen Williamson, in Rochester, and Pamela Thomas, in the Bronx, would park themselves in front of the The Jackson 5ive, featuring a tiny Michael sporting a big Afro, and Josie and the Pussycats, with the black tambourine-playing Valerie Brown performing in a hip girl band.
Eventually, the two met and bonded over their mutual interests. Not content to leave the funk (or their pasts) behind, Ms. Williamson, now 49, and Ms. Thomas, 51, have amassed more than 300 pieces of black animation art from the 1960s and ’70s, a collection that they believe is one of the world’s most extensive in that field. In 2007, they created the Museum of UnCut Funk, an online showcase for original animation cels, posters, storyboards and other objects celebrating black culture of the 1970s and its standard-bearers. Now, the two collectors have hit the road with a traveling museum exhibition, Funky Turns 40: Black Character Revolution, which represents 24 animated productions, including Saturday morning and after-school cartoons and animated feature films.
The revolution that it documents is from stereotype to superhero: Funky, which is currently at the Schomburg Center for Research in Black Culture in Harlem and will travel to museums in Chicago, Seattle and West Reading, Pa.honors the cartoons’ image-affirming black characters, including those of The Harlem Globetrotters, Kid Power, Schoolhouse Rock and Fat Albert and the Cosby Kids.
The programs are more than entertaining nostalgia, the two curators and some cultural historians say. They represent the fruits of a struggle for a say in the representation of blacks in television images, among other rights, and the newfound ability of popular black entertainers to get such programming on the air, based on their own appeal to a wide audience.
The shows offered a striking counterpoint to the previous stereotypical portrayals of blacks as buffoons in mainstream films, books, theater, advertising and cartoons. “It shows a time in American history when art and diversity and civil rights aspirations all came together,” said Christopher P. Lehman, a professor of ethnic studies at St. Cloud State University in Minnesota and the author of The Colored Cartoon: Black Representation in American Animated Short Films, 1907-1954 (University of Massachusetts Press). “Before 1970, African-Americans were not much on television at all, except as the domestic servants of Jack Benny and Danny Thomas or as guests on variety series.”
It was no accident that Hey, Hey, Hey, It’s Fat Albert, described by curators as the first “positive” black-cast cartoon on TV (and the basis of the later series), was an NBC prime-time special in 1969, or, in the same vein, The Jackson 5ive, the first Saturday morning cartoon series featuring black musicians, made its debut in 1971. Both were created by two entertainment powerhouses, Bill Cosby (Fat Albert and the gang were part of his stand-up comedy routine) and Berry Gordy Jr., the founder of Motown Records, who marketed the family music act to appeal to the broadest possible audience.
Recalling her generation’s response, Ms. Williamson, who works as an independent consultant for marketing and business, said, “We got to see Martin Luther King’s dream, at least in cartoon form.”
“There was a lot of cross-pollination with what was going on in black culture,” she said. “You could watch the cartoons, go to the concerts, see the stars on variety shows. And our white friends were watching, too.” Ms. Thomas, a preschool teacher, said: “It made me feel like, wow, I see myself on TV. I started feeling good about myself.”
BALTIMORE —This month the Great Blacks in Wax Museum in east Baltimore is celebrating Black History Month as well as the 50th anniversary of equal rights for all. The folks at the museum said Black History Month is all about teaching others about black culture. “It’s about teaching, specifically our children, about the accomplishments of great individuals of African descent, so we hope to get a lot of school kids and other people, as well, coming into the museum,” said museum spokesman Jon Wilson.
The museum’s exhibits and life-like wax figures chronicle the history of black people in America. This year for Black History Month, it’s focusing on the Civil Rights movement because of the 50th anniversary of the Equal Rights Bill. “This legislation by Lyndon B. Johnson made the law that you had to do things more equally and give people their rights no matter what their ethnicity,” Wilson said. The museum is also offering “Civil Sights for Civil Rights” tours for groups that get visitors out and about in Baltimore to see historic venues.
“Baltimore has a very, very rich heritage as it related to Civil Rights, basically because of the Mitchell family and Thurgood Marshall being a Baltimorean. You can go to a lot of historical churches in this area. The Niagara Movement, which was the beginning of the NAACP — you can go to these different churches,” Wilson said.
Museum officials said they expect 8,000-10,000 people to come through the doors in February. They hope each visitor takes away understanding and an acceptance. “We want people to walk away with an understanding that, for us to work together, the community has to work together and have respect for different cultures,” Wilson said.
The museum is open every day in February, but it operates year-round.
Read more: http://www.wbaltv.com/news/maryland/baltimore-city/museum-offers-civil-rights-tours-during-black-history-month/24540596#ixzz2tuxWTYFu