Here in a facsimile of the 1930 edition is Willis Richardson's collection of twelve plays and pageants that playwrights of the era wrote expressly for black audiences, mainly students and other young black people who staged them. Not available in any other source, this is the important work of nine significant dramatists who helped to lay the foundations of African American drama. Included are Thelma Myrtle Duncan's Sacrifice, Maud Cuney-Hare's Antar of Araby, John Matheus's Ti Yette, May Miller's Graven Images and Riding the Goat, Willis Richardson's The Black Horseman, The King's Dilemma, and The House of Sham, Inez M. Burke's Two Races, Dorothy C. Guinn's Out of the Dark, Frances Gunner's The Light of the Women, and Edward J. McCoo's Ethiopia at the Bar of Justice. This edition also contains Richardson's introduction from the 1930 edition, not included in later versions.

Here in a facsimile of the 1930 edition is Willis Richardson's collection of twelve plays and pageants that playwrights of the era wrote expressly for black audiences, mainly students and other young black people who staged them. Not available in any other source, this is the important work of nine significant dramatists who helped to lay the foundations of African American drama. Included are Thelma Myrtle Duncan's Sacrifice, Maud Cuney-Hare's Antar of Araby, John Matheus's Ti Yette, May Miller's Graven Images and Riding the Goat, Willis Richardson's The Black Horseman, The King's Dilemma, and The House of Sham, Inez M. Burke's Two Races, Dorothy C. Guinn's Out of the Dark, Frances Gunner's The Light of the Women, and Edward J. McCoo's Ethiopia at the Bar of Justice. This edition also contains Richardson's introduction from the 1930 edition, not included in later versions.

This is a new release of the original 1930 edition.

A reprinting after three decades of the first collection of stage works written by African Americans.

"Fine reading and a superb resource." -- Ms. "Highly recommended." -- Library Journal "Perkins has chosen the plays well, and her issue-oriented introduction places the women and their works in a literary and historical context." -- Choice "As well as being centered on the black experience, the plays in Black Female Playwrights are centered on the female experience." -- Voice Literary Supplement "Perkins' anthology is valuable for a number of reasons... Perkins' book (which includes a bibliography of plays and pageants by black women before 1950 as well as a selected bibliography of critical works) is a major help in providing access to [the world of black drama]." -- Theatre Journal The need to acknowledge these works was the impetus behind this volume. Perkins has selected nineteen plays from seven writers who were among the major dramatizers of the black experience during this early period. As forerunners to the activist black theater of the 1950s and 1960s, these plays represent a critical stage in the development of black drama in the United States.

In 2000, the United States census allowed respondents for the first time to tick a box marked “African American” in the race category. The new option marked official recognition of a term that had been gaining currency for some decades. Africa has always played a role in black identity, but it was in the tumultuous period between the two world wars that black Americans first began to embrace a modern African American identity. Following the great migration of black southerners to northern cities after World War I, the search for roots and for meaningful affiliations became subjects of debate and display in a growing black public sphere. Throwing off the legacy of slavery and segregation, black intellectuals, activists, and organizations sought a prouder past in ancient Egypt and forged links to contemporary Africa. In plays, pageants, dance, music, film, literature, and the visual arts, they aimed to give stature and solidity to the American black community through a new awareness of the African past and the international black world. Their consciousness of a dual identity anticipated the hyphenated identities of new immigrants in the years after World War II, and an emerging sense of what it means to be a modern American.

Published in 1982, But Some of Us Are Brave was the first-ever Black women's studies reader and a foundational text of contemporary feminism. Featuring writing from eminent scholars, activists, teachers, and writers, such as the Combahee River Collective and Alice Walker, All the Women Are White, All the Blacks Are Men, But Some of Us Are Bravechallenges the absence of Black feminist thought in women’s studies, confronts racism, and investigates the mythology surrounding Black women in the social sciences. As the first comprehensive collection of Black feminist scholarship, But Some of Us Are Brave was recognized by Audre Lorde as “the beginning of a new era, where the ‘women’ in women’s studies will no longer mean ‘white.’” Coeditors Akasha (Gloria T.) Hull, Patricia Bell-Scott, and Barbara Smith are authors and former women's studies professors. Brittney C. Cooper is a professor of Women's and Gender Studies and Africana Studies at Rutgers University. She is the author of several books, including Eloquent Rage, named by Emma Watson as an Our Shared Shelf read for November/December 2018.

This volume explores the history of American drama from the eighteenth to the twentieth century. It describes origins of early republican drama and its evolution during the pre-war and post-war periods. It traces the emergence of different types of American drama including protest plays, reform drama, political drama, experimental drama, urban plays, feminist drama and realist plays. This volume also analyzes the works of some of the most notable American playwrights including Eugene O'Neill, Tennessee Williams, and Arthur Miller and those written by women dramatists.

(Applause Books). From the origins of the Negro spiritual and the birth of the Harlem Renaissance to the emergence of a national black theatre movement, The Theatre of Black Americans offers a penetrating look at a black art form that has exploded into an American cultural institution. Among the essays: James Hatch Some African Influences on the Afro-American Theatre; Shelby Steele Notes on Ritual in the New Black Theatre; Sister M. Francesca Thompson OSF The Lafayette Players; Ronald Ross The Role of Blacks in the Federal Theatre.

This book examines black intellectual thought during from 1890-1940, and its relationship to the development of the alternative black curriculum in social studies. Inquiry into the alternative black curriculum is a multi-disciplinary project; it requires an intersectional approach that draws on social studies research, educational history and black history. Exploring the gendered construction of the alternative black curriculum, Murray considers the impact of Carter G. Woodson and W.E.B. DuBois in creating the alternative black curriculum in social studies, and its subsequent relationship to the work of black women in the field and how black women developed the alternative black curriculum in private and public settings.