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Although the plays of the cycle are not strictly connected to the degree of a serial story, some characters appear (at various ages) in more than one of the cycle's plays. Children of characters in earlier plays may appear in later plays. The character most frequently mentioned in the cycle is Aunt Ester, a "washer of souls".
In 1926, Black historian Carter G. Woodson set out to designate a week in February for the celebration, education, and commemoration of African American history. A child born that year would be 98 ...
A Madea Christmas (musical play) Madea Gets a Job; Madea Goes to Jail (play) Madea's Big Happy Family; Madea's Class Reunion; Madea's Family Reunion (play) Marilyn and Ella; The Marriage Counselor; Meet the Browns (play) The Mighty Gents; The Mountaintop; A Movie Star Has To Star in Black and White
When W. E. B. Du Bois saw a production of the Negro Players performing Ridgely Torrence's Three Plays for a Negro Theater in 1917, it influenced him to write, "The present spiritual production in the souls of Black folk is going to give American stage a drama that will lift it above silly songs and leg shows."
It’s important our families read books revolving around Black characters who aren't survivors or superheroes. From taking the bus to starting Kindergarten, these Black characters will soon join ...
Mary White Ovington, a white co-founder of the NAACP, publishes Hazel [4], a novel about a middle-class Black child. 1919. Children's Book Week is established in the United States. [5] Louise Seaman Bechtel is hired by Macmillan as the first children's book editor in the first US department devoted solely to publishing children's books. 1920
A Black man, writing a book, trying to unite a race of enslaved people. An uproar ensued and the book became considered contraband, even more so due to the mention of the Haitian Revolution of 1804.
This collection explores an array of themes connected to Black American life. Many of the included works contain elements of social criticism and messages of anti-racism. All but one were written in the early 1970s a "a socially and politically dynamic moment in the nation's history and a renaissance decade for black theater." [2]