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| dutchman amiri baraka: Dutchman Imamu Amiri Baraka, 1967 |
| dutchman amiri baraka: A Study Guide for Amiri Baraka's Dutchman Gale, Cengage Learning, 2015-09-24 |
| dutchman amiri baraka: A Study Guide for Amiri Baraka's Dutchman Cengage Learning Gale, 2015 |
| dutchman amiri baraka: Symbolism and the exposure of race relations in Amiri Baraka's "Dutchman" Julia Stein, 2017-09-27 Essay from the year 2017 in the subject American Studies - Literature, grade: 2,3, University of Mannheim, language: English, abstract: Amiri Baraka was one of the main leaders of the Black Arts Movement and a successful playwright. His play Dutchman was first shown at the Cherry Lane Theatre in New York City in March, 1964 and won the “Village Voice” Obie award. It is an outstanding example of the teachings of this movement by using symbols for race relations and discrimination, which was still present around that time. The focus of this term paper lies on the examination of these symbols as indicators of race relations in regard of the call for change induced by the Black Arts Movement. Therefore, the second chapter will approach Baraka's essay The Revolutionary Theatre and the theory of the formation of the Black Arts Movement. It was a call for violence, destruction and exposure of white suppression. Furthermore, there will be a look at the historical context of this movement. The third chapter will involve an efficient examination of the symbols, which Baraka has included in his play Dutchman in order to expose race relations and racism, which were under the surface. This will be followed by an interpretation of the end of the play in regard to the Black Arts Movement and race relations displayed through symbols. Baraka wanted to motivate African-Americans with this play to stand up for themselves and to create their own identity and culture instead of assimilating into a white, racist society. It represents, without a doubt, a milestone in the fight for equal rights through art. |
| dutchman amiri baraka: Preface to a Twenty Volume Suicide Note... LeRoi Jones, 1969 |
| dutchman amiri baraka: Culture as Weapon Nato Thompson, 2017-01-17 One of the country's leading activist curators explores how corporations and governments have used art and culture to mystify and manipulate us. The production of culture was once the domain of artists, but beginning in the early 1900s, the emerging fields of public relations, advertising and marketing transformed the way the powerful communicate with the rest of us. A century later, the tools are more sophisticated than ever, the onslaught more relentless. In Culture as Weapon, acclaimed curator and critic Nato Thompson reveals how institutions use art and culture to ensure profits and constrain dissent--and shows us that there are alternatives. An eye-opening account of the way advertising, media, and politics work today, Culture as Weapon offers a radically new way of looking at our world. |
| dutchman amiri baraka: Clay and the Construction of Black Masculinity in Amiri Baraka's "Dutchman" Carmen Odimba, 2015-05-07 Seminar paper from the year 2010 in the subject American Studies - Literature, grade: 1,3, Johannes Gutenberg University Mainz (American Studies), course: Seminar „Recent Developments in American Theater”, language: English, abstract: The 1950s and 1960s are one of the most exciting chapters of African American history, politically and artistically. They bore a profusion of new ideas. While leaders like Martin Luther King and Malcolm X proposed radically opposed solutions to the problems of black people’s rights, writers and intellectuals handled the Harlem Renaissance’s heritage and music saw the hard blues from the earliest part of the century gain in popularity. It is in this period, in 1957, that Amiri Baraka – still LeRoi Jones at the time – moved to New York’s Greenwich Village and became part of the Beat Movement. He then founded the literary magazine Yugen with his wife and obtained his first critical acclaim as a poet for Preface to a Twenty Volume Suicide Note... published in 1961. In 1960, he went to Cuba. This visit changed his life. He became aware of the relationship between politics and arts and decided to incorporate his political, social and spiritual beliefs in his writing, using poetry and drama as means to educate. Baraka’s transitional period would give birth namely to Dutchman, a controversial play which premiered in 1964. The audiences were especially shocked by the political allusion to the Genesis. Baraka also transposed his own evolution in Clay: the movement from docile, assimilated and insignificant black man to proud revolutionary and marginal poet telling out loud his truth to the white institution. |
| dutchman amiri baraka: Amiri Baraka/LeRoi Jones Werner Sollors, 1978 |
| dutchman amiri baraka: Tales of the Out & the Gone Amiri Baraka, 2009-12-01 Controversial literary legend Amiri Baraka's new short story collection will shock and awe. |
| dutchman amiri baraka: The Success of Amiri Baraka's Play Dutchman Ireen Trautmann, 2007-05-09 Seminar paper from the year 2006 in the subject American Studies - Literature, grade: 1,3, University of Rostock (Institut für Anglisitk und Amerikanistik), course: African American Plays of the 1960s, language: English, abstract: Dutchman was first presented at the Cherry Lane Theatre in New York in 1964. As the best Off-Broadway Play it gained an Obie-Award the same year and was made into a film in 1967 which made it widely known.2 Later, Dutchman was internationally successful because of being produced and performed in other metropolises like Paris, Berlin and Spoleto (Italy). Being Baraka’s most widely acclaimed play, which is often regarded as his break through and the break through of African American theatre, it convinces up to now and gives occasion for discussions about its intentions and its historical background. It is titled as [...] a triumph of stagecraft, a model two-acter whose economy and handling of pace and denouement were not to be doubted.3 Although the play was generally well received4, it provoked critical controversy amongst its audience as well5. Dutchman was performed for a dual audience. Initially, it played to primarily white audiences until Baraka moved it to the black audiences of Harlem6. For both, it was something new: The white audience was confronted with a new type of black man because up to now they had just known the nigger minstrel who was harmless and acceptable to them because he was de-sexed, trapped in a role which combined self-mockery with an endearing musicality7. The Negro is not presented as a primitive African savage8 anymore. For the black people, precisely for the black non-reading audiences of the lower classes, it was the first time to be confronted with theatre. |
| dutchman amiri baraka: Selected Poetry of Amiri Baraka/LeRoi Jones Amiri Baraka, 1979 Containing these poems which the author most wants to preserve, this volume summarizes the career to date of the man who has been called the father of modern black poetry. It confirms Amiri Baraka as one of the major figures of contemporary American poetry. |
| dutchman amiri baraka: The Black Arts Movement David Robson, 2008 Discusses the Black arts movement in context, so that readers will understand the connection between black history and the broad sweep of America's story. |
| dutchman amiri baraka: Approaches to Teaching Baraka's Dutchman Matthew Calihman, Gerald Early, 2018-05-01 First performed in 1964, Amiri Baraka's play about a charged encounter between a black man and a white woman still has the power to shock. The play, steeped in the racial issues of its time, continues to speak to racial violence and inequality today. This volume offers strategies for guiding students through this short but challenging text. Part 1, Materials, provides resources for biographical information, critical and literary backgrounds, and the play's early production history. The essays of part 2, Approaches, address viewing and staging Dutchman theatrically in class. They help instructors ground the play artistically in the black arts movement, the beat generation, the theater of the absurd, pop music, and the blues. Background on civil rights, black power movements, the history of slavery, and Jim Crow laws helps contextualize the play politically and historically. |
| dutchman amiri baraka: Monument Natasha D. Trethewey, 2018 Longlisted for the 2018 National Book Award for Poetry Trethewey's poems] dig beneath the surface of history--personal or communal, from childhood or from a century ago--to explore the human struggles that we all face. --James H. Billington, 13th Librarian of Congress Layering joy and urgent defiance--against physical and cultural erasure, against white supremacy whether intangible or graven in stone--Trethewey's work gives pedestal and witness to unsung icons. Monument, Trethewey's first retrospective, draws together verse that delineates the stories of working class African American women, a mixed-race prostitute, one of the first black Civil War regiments, mestizo and mulatto figures in Casta paintings, Gulf coast victims of Katrina. Through the collection, inlaid and inextricable, winds the poet's own family history of trauma and loss, resilience and love. In this setting, each section, each poem drawn from an opus of classics both elegant and necessary,* weaves and interlocks with those that come before and those that follow. As a whole, Monument casts new light on the trauma of our national wounds, our shared history. This is a poet's remarkable labor to source evidence, persistence, and strength from the past in order to change the very foundation of the vocabulary we use to speak about race, gender, and our collective future. *Academy of American Poets' chancellor Marilyn Nelson |
| dutchman amiri baraka: Digging Amiri Baraka, 2009-05-26 For almost half a century, Amiri Baraka has ranked among the most important commentators on African American music and culture. In this brilliant assemblage of his writings on music, the first such collection in nearly twenty years, Baraka blends autobiography, history, musical analysis, and political commentary to recall the sounds, people, times, and places he's encountered. As in his earlier classics, Blues People and Black Music, Baraka offers essays on the famous—Max Roach, Charlie Parker, Miles Davis, John Coltrane—and on those whose names are known mainly by jazz aficionados—Alan Shorter, Jon Jang, and Malachi Thompson. Baraka's literary style, with its deep roots in poetry, makes palpable his love and respect for his jazz musician friends. His energy and enthusiasm show us again how much Coltrane, Albert Ayler, and the others he lovingly considers mattered. He brings home to us how music itself matters, and how musicians carry and extend that knowledge from generation to generation, providing us, their listeners, with a sense of meaning and belonging. |
| dutchman amiri baraka: Staging Whiteness Mary F. Brewer, 2005-07-29 How whiteness is portrayed in contemporary drama and enacted in everyday life. |
| dutchman amiri baraka: S O S Amiri Baraka, 2014 A New York Times Editors' Choice One of the New York Times Book Review's 100 Notable Books Fusing the personal and the political in high-voltage verse, Amiri Baraka--whose long illumination of the black experience in America was called incandescent in some quarters and incendiary in others (New York Times)--was one of the preeminent literary innovators of the past century. Selected by Paul Vangelisti, this volume comprises the fullest spectrum of Baraka's rousing, revolutionary poems, from his first collection to previously unpublished pieces composed during his final years. Throughout Baraka's career as a prolific writer (also published as LeRoi Jones), he was vehemently outspoken against oppression of African American citizens, and he radically altered the discourse surrounding racial inequality. The environments and social values that inspired his poetics changed during the course of his life, a trajectory that can be traced in this retrospective spanning more than five decades of profoundly evolving subjects and techniques. Praised for its lyricism and introspection, his early poetry emerged from the Beat generation, while his later writing is marked by intensely rebellious fervor and subversive ideology. All along, his primary focus was on how to live and love in the present moment despite the enduring difficulties of human history. |
| dutchman amiri baraka: The Autobiography of LeRoi Jones Amiri Baraka, 2012-04-01 The complete autobiography of a literary legend. |
| dutchman amiri baraka: Conversations with Amiri Baraka Amiri Baraka, 1994 Interviews from over the course of the author's career document his views on writing, poetry, drama, and the social role of the writer |
| dutchman amiri baraka: Black Fire Imamu Amiri Baraka, 1971 |
| dutchman amiri baraka: Clay and the Construction of Black Masculinity in Amiri Baraka's Dutchman Carmen Odimba, 2010 Seminar paper from the year 2010 in the subject American Studies - Literature, grade: 1,3, Johannes Gutenberg University Mainz (American Studies), course: Seminar Recent Developments in American Theater, language: English, abstract: The 1950s and 1960s are one of the most exciting chapters of African American history, politically and artistically. They bore a profusion of new ideas. While leaders like Martin Luther King and Malcolm X proposed radically opposed solutions to the problems of black people's rights, writers and intellectuals handled the Harlem Renaissance's heritage and music saw the hard blues from the earliest part of the century gain in popularity. It is in this period, in 1957, that Amiri Baraka - still LeRoi Jones at the time - moved to New York's Greenwich Village and became part of the Beat Movement. He then founded the literary magazine Yugen with his wife and obtained his first critical acclaim as a poet for Preface to a Twenty Volume Suicide Note... published in 1961. In 1960, he went to Cuba. This visit changed his life. He became aware of the relationship between politics and arts and decided to incorporate his political, social and spiritual beliefs in his writing, using poetry and drama as means to educate. Baraka's transitional period would give birth namely to Dutchman, a controversial play which premiered in 1964. The audiences were especially shocked by the political allusion to the Genesis. Baraka also transposed his own evolution in Clay: the movement from docile, assimilated and insignificant black man to proud revolutionary and marginal poet telling out loud his truth to the white institution. |
| dutchman amiri baraka: Four Black Revolutionary Plays LeRoi Jones, 1971 |
| dutchman amiri baraka: Prefiguring Postblackness Carol Bunch Davis, 2015-11-23 Prefiguring Postblackness explores the tensions between cultural memory of the African American freedom struggle and representations of African American identity staged in five plays between 1959 and 1969 during the civil rights era. Through close readings of the plays, their popular and African American print media reviews, and the cultural context in which they were produced, Carol Bunch Davis shows how these representations complicate narrow ideas of blackness, which often limit the freedom struggle era to Martin Luther King's nonviolent protest and cast Malcolm X's black nationalism as undermining the civil rights movement's advances. These five plays strategically revise the rhetoric, representations, ideologies, and iconography of the African American freedom struggle, subverting its dominant narrative. This revision critiques racial uplift ideology's tenets of civic and moral virtue as a condition of African American full citizenship. The dramas also reimagine the Black Arts movement's restrictive notions of black authenticity as a condition of racial identity, and their staged representations construct a counter-narrative to cultural memory of the freedom struggle during that very era. In their use of a postblack ethos to enact African American subjectivity, the plays envision black identity beyond the quest for freedom, anticipating what blackness might look like when it moves beyond the struggle. The plays under discussion range from the canonical (Lorraine Hansberry's A Raisin in the Sun and Amiri Baraka's Dutchman) to celebrated, yet understudied works (Alice Childress's Wine in the Wilderness, Howard Sackler's The Great White Hope, and Charles Gordone's No Place to Be Somebody). Finally, Davis discusses recent revivals, showing how these 1960s plays shape dimensions of modern drama well beyond the decade of their creation. |
| dutchman amiri baraka: The Dead Lecturer Amiri Baraka, 1964 Published under the author's earlier name: LeRoi Jones. |
| dutchman amiri baraka: Now Dig This! Kellie Jones, 2011 This comprehensive, lavishly illustrated catalogue offers an in-depth survey of the incredibly vital but often overlooked legacy of Los Angeles's African American artists, featuring many never-before-seen works. |
| dutchman amiri baraka: Staging the Rage Katherine H. Burkman, Judith Roof, 1998 This study is divided into four sections, whose general topics trace various manifestations of misogyny in nineteenthand twentieth-century drama. Recent attempts to dismantle and expose relations between gender and spectacle receive attention in a volume that suggests exciting possibilities for a revision of theater. |
| dutchman amiri baraka: Somebody Blew Up America & Other Poems Amiri Baraka, 2014 The publication of Amiri Baraka's SOMEBODY BLEW UP AMERICA & OTHER POEMS makes one more mark in the development in modern Black radical & revolutionary cultural reconstruction... Readers of course will want as quick as possible to read for them-self the now controversial title poem..., but check-out, among the others, In Town'--pure-pure dark post-Plantation molasses...--Kamau Brathwaite Poetry. African American Studies. Fifth printing. |
| dutchman amiri baraka: Staging Masculinity Carla J. McDonough, 2006-07-05 The men in plays such as Arthur Miller's Death of a Salesman or Sam Shephard's True West are often presented as universal; little attention is given to the gender dynamics involved in the characters. This work looks at how contemporary playwrights, including Miller, Shepard, Eugene O'Neill, David Mamet, and August Wilson, stage masculinity in their works. It becomes apparent that male playwrights return often to the issues of troubled manhood, usually masked in other issues such as war, business or family. The plays indicate both the attractiveness of the model of traditional masculinity and the illusive nature of this image, which all too often fractures and fails the characters who pursue it. O'Neill's play The Hairy Ape and the character Yank receive much attention. |
| dutchman amiri baraka: The Fiction of Leroi Jones/Amiri Baraka Amiri Baraka, 2000 For the first time under one cover, then, here is the collected fiction of one of America's greatest writers.--BOOK JACKET. |
| dutchman amiri baraka: Raise, Race, Rays, Raze Amiri Baraka, 1971 This book contains essays on race relations in America since 1965. |
| dutchman amiri baraka: The Facts on File Companion to American Drama Jackson R. Bryer, Mary C. Hartig, 2010 Features a comprehensive guide to American dramatic literature, from its origins in the early days of the nation to the groundbreaking works of today's best writers. |
| dutchman amiri baraka: The LeRoi Jones/Amiri Baraka Reader Imamu Amiri Baraka, William J. Harris, 1991 Amiri Baraka-dramatist, poet, essayist, orator, & fiction writer-is perhaps the preeminent African-American literary figure of our time. Yet, until now, it has been impossible to find the full range of his work represented in one volume. The LeRoi Jones/Amiri Baraka Reader provides the most comprehensive selection of Baraka's work to date, spanning more than thirty years of a brilliant, prolific, & controversial career in which he has produced a dozen books of poetry, twenty-six plays, eight collections of essays & speeches, & two books of fiction. This essential anthology also contains previously unpublished work-including essays on Jesse Jackson & James Baldwin-as well as a chronology & a full bibliography. The LeRoi Jones/Amiri Baraka Reader includes poems from Preface to a Twenty Volume Suicide Note, The Dead Lecturer, Black Magic, Hard Facts, It's Nation Time, & Poetry for the Advanced; the plays Dutchman, Great Goodness of Life, & What Was the Relationship of the Lone Ranger to the Means of Production?; essays from Blues People, Social Essays, Black Music, Daggers & Javelins, & The Music: Reflections on Jazz & Blues; & much, much more. |
| dutchman amiri baraka: EyeMinded Kellie Jones, Amiri Baraka, 2011-05-27 Selections of writing by the influential art critic and curator Kellie Jones reveal her role in bringing attention to the work of African American, African, Latin American, and women artists. |
| dutchman amiri baraka: Jazz and Palm Wine Emmanuel Dongala, 2017-04-03 Jazz, aliens, and witchcraft collide in this collection of short stories by renowned author Emmanuel Dongala. The influence of Kongo culture is tangible throughout, as customary beliefs clash with party conceptions of scientific and rational thought. In the first half of Jazz and Palm Wine, the characters emerge victorious from decades of colonial exploitation in the Congo only to confront the burdensome bureaucracy, oppressive legal systems, and corrupt governments of the post-colonial era. The ruling political party attempts to impose order and scientific thinking while the people struggles to deal with drought, infertility, and impossible regulations and policies; both sides mix witchcraft, diplomacy, and violence in their efforts to survive. The second half of the book is set in the United States during the turbulent civil rights struggles of the 1960s. In the title story, African and American leaders come together to save the world from extraterrestrials by serving vast quantities of palm wine and playing American jazz. The stories in Jazz and Palm Wine prompt conversations about identity, race, and co-existence, providing contextualization and a historical dimension that is often sorely lacking. Through these collisions and clashes, Dongala suggests a pathway to racial harmony, peaceful co-existence, and individual liberty through artistic creation. |
| dutchman amiri baraka: The World Encyclopedia of Contemporary Theatre Don Rubin, Carlos Solórzano, Carlos Solorzano, 2000-09-21 Now available in paperback for the first time this volume covers the Americas from Canada to Argentina, including the United States. An indispensible tool for anyone interested in the cultures of the Americas or in modern theatre. |
| dutchman amiri baraka: Amiri Baraka Mary Elizabeth Namm, 1997 |
| dutchman amiri baraka: Encyclopedia of African-American Literature Wilfred D. Samuels, 2015-04-22 Presents a reference on African American literature providing profiles of notable and little-known writers and their works, literary forms and genres, critics and scholars, themes and terminology and more. |
| dutchman amiri baraka: Modern American Drama: Playwriting in the 1960s Mike Sell, 2019-11-14 The Decades of Modern American Drama series provides a comprehensive survey and study of the theatre produced in each decade from the 1930s to 2009 in eight volumes. Each volume equips readers with a detailed understanding of the context from which work emerged: an introduction considers life in the decade with a focus on domestic life and conditions, social changes, culture, media, technology, industry and political events; while a chapter on the theatre of the decade offers a wide-ranging and thorough survey of theatres, companies, dramatists, new movements and developments in response to the economic and political conditions of the day. The work of the four most prominent playwrights from the decade receives in-depth analysis and re-evaluation by a team of experts, together with commentary on their subsequent work and legacy. A final section brings together original documents such as interviews with the playwrights and with directors, drafts of play scenes, and other previously unpublished material. The major playwrights and their plays to receive in-depth coverage in this volume include: * Edward Albee: The American Dream (1960), Who's Afraid of Virginia Woolf? (1962), A Delicate Balance (1966) and Tiny Alice (1964 ); * Amiri Baraka: Dutchman (1964), The Slave (1964) and Slaveship (1967); * Adrienne Kennedy: Funnyhouse of a Negro (1964), Cities in Bezique (The Owl Answers and A Beast's Story, 1969), and A Rat's Mass (1967); * Jean-Claude van Itallie: American Hurrah (1966), The Serpent (1968) and War (1963). |
| dutchman amiri baraka: Transbluesency Amiri Baraka, 1995 A selection from Baraka's mostly out-of-print collecions of poetry, from 1961 to the present. |
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