By E. Quita Craig
ARCHIVAL fabric FROM THE FEDERAL venture, found IN 1974 IN A BALTIMORE plane HANGAR. this can be the first research OF BLACK PARTICIPATION during this undertaking,
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In the aftermath of Martin Luther King Jr. ’s assassination, riots broke out in a hundred and ten towns around the nation. for 5 days, Atlanta braced for chaos whereas getting ready to host King’s funeral. An not going alliance of former pupil radicals, the middle-aged patrician mayor, the no-nonsense police leader, black ministers, white churchgoers, Atlanta’s company leaders, King’s grieving family, and his surprised SCLC colleagues labored to maintain Atlanta secure, honor a murdered hero, and host the tens of millions who got here to pay tribute.
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Extra resources for Black drama of the Federal theatre era: beyond the formal horizons
Flanagan began her new task of creating a national theater. She was soon to discover, however, that there was no shortage of problems in such a union-they covered almost the entire range of possibilities from the psychological to the political. Two of the most immediate of these problems were fear and shame. Some commercial producers feared that federal competition would spell disaster for them at the box office, while some of the project's participants began their federal careers with a sense of shame for being on relief.
From the very beginning, colonial slave owners in the Americas lived in constant fear of insurrection 2 and every effort was made to prevent communication between plantations. 3 In spite of lofty talk by the Church of England, no real attempt was made at Christian instruction in the early days of slavery because the planters also feared the effects of Christian baptism. 4 In 1727 the Bishop of London, in a letter to the slave-owners of America, found it necessary to allay those fears, and while so doing he irrevocably placed the stamp of Christian approval on human enslavement: Christianity and the embracing of the Gospel does not make the least alteration in civil property, or in any of the duties which belong to civil relations....
B. Du Bois, and the charismatic leader, Marcus Garvey, are probably the best known. But the man who left his indelible stamp on black drama was Alain Locke. 28 He was the father of black dramatic theory, and there is little subsequent black dramatic theory that has transcended the scope of his vision. "32 Even as far back as 1927, Alain Locke stated his visionary goals for the effective development of black drama: And while one of the main reactions of Negro drama must and will be the breaking down of those false stereotypes in terms of Page 16 which the world still sees us, it is more vital that drama should stimulate the group life culturally and give it the spiritual quickening of a native art.