We are pleased to share the digital projection that was shown at the African Burial Ground during the month of December and early January. The artist, Patrick Singh created these works while he was in New York, France and Burkina Faso.
“If you could sit back and watch clouds and the sky move all night and day, what might you see? This video was shot in the Teide National Park on Tenerife in the Canary Islands of Spain, attached to the northwest coast of Africa. The scenes were captured over the course of the year and include breathtaking views — clouds that seem to flow like water — a setting sun that shows numerous green flashers — the Milky Way Galaxy rising behind towering plants — a colorful double fogbow — lenticular clouds that appear stationary near their mountains peaks — and colorful moon coronas.
With Joseph Bradford and Pauline Hopkins, the Hyers Sisters produced the “first full-fledged musical plays… in which African Americans themselves comment on the plight of the slaves and the relief of Emancipation without the disguises of minstrel comedy”, the first of which was Out of Bondage (also known as Out of the Wilderness).
The Hyers Sisters were singers, Anna Madah born in 1855 and Emma Louise born in 1857. Their father, Samuel B. Hyers, came west to Sacramento with their mother, Annie E. Hyers (née Cryer), after the Gold Rush. He made sure his daughters received both piano forte lessons and vocal training with German professor Hugo Sank and later opera singer Josephine D’Ormy and they performed for private parties before making their professional stage debut at on April 22, 1867 at Sacramento’s Metropolitan Theater. Anna was a soprano and Emma a contralto. Under their father’s management, they embarked on their first transcontinental tour in 1871. On August 12, 1871, they performed in Salt Lake City to much acclaim.
They were later called “a rare musical treat” by St. Joseph Missouri’s Daily Herald and earned equal praise in Chicago, Cleveland, and New York City. Their tour reached Worcester and Springfield, Massachusetts, as well as New Haven, Providence. They visited Boston, which was known to be extremely critical of new acts, and were also well-received, performing in the 1872 World Peace Jubilee which was one of, if not, the first integrated major musical production in the country.
The Hyers’ family organized a theater company, where they produced musical dramas starring Anna and Emma, including “Out of Bondage,” written by Joseph Bradford and premiered in 1876, “Urlina, the African Princess” by Getchell written by E. S. Getchell and premiered in 1879, “The Underground Railway,” by Pauline Hopkins in July 1880, and Hopkin’s stage version of “Uncle Tom’s Cabin” in March 1880. In addition, there was “Colored Aristocracy” by Hopkins. Overall, they had at least six shows between the late 1870s and 1880s. They set the path for black musical theater and performance in the years that followed. They traveled until the mid-1880s with their own shows and continued to appear on stage into the 1890s. Though Emma Louise had died, in 1901, Anna Madah continued to travel with a show of John Isham.
Noble Sissle was an American jazz lyricist, composer, singer, playwright and band leader. Above is Sissle’s 1928 version of Westward Bound.
Sissle was born in Indianapolis, Indiana on July 10, 1889. his parents were very religious but loved music. He joined the 369th Regimental Band led by the great James Reese Europe. During this time, he also met Eubie Blake who he collaborated with for years after the death of Europe.
Noble Sissle was one of African-American music’s unsung tradition-builders. As half of the duo that composed Shuffle Along, he helped to bring African-American creativity to a new level on the Broadway stage. As a bandleader, Sissle nurtured the careers of vocalist Lena Horne and other important musicians, and he participated fundamentally in the popularization of African-American jazz and pop in Europe. Sissle went on to compose memorable jazz tunes like I’m Just Wild About Harry and Shuffle Along. His song Viper Mad was in Woody Allen’s film Sweet and Lowdown.
This week Flavorwire listed the ten most essential Civil Rights photographers. As we looked at the photos, We wanted to focus on Bill Hudson, an Associated Press photographer at that time. His images reminds us of the Arab Spring that shocked the world in 2011. Freedom doesn’t come without struggle. As we begin this new year, it is our hope that we can move from protest to real action that would lead to real hope.
The Story Behind the Photo:
On July 15, 1963, photographer Bill Hudson snapped this photograph as members of the Birmingham Fire Department turned their hoses full force on civil rights demonstrators. It wasn’t the first time that Hudson and other photographers and cameramen of the era captured such striking images that stirred the nation’s moral consciousness and inspired national and international support for the black struggle for equal rights. In an interview years later, Hudson said that his only priorities were “making pictures and staying alive” and not getting hit by one of those high-pressure water hoses or bit by a dog.
In the spring of 1963, Martin Luther King, Jr. and the Southern Christian Leadership Coalition led a strategic campaign in Birmingham, Alabama that was aimed at ending the city’s segregation policies and practices. Through sit-ins, kneel-ins, boycotts, marches, and mass meetings, demonstrators also hoped to pressure business leader s to open retail jobs and employment to people of all races. By intentionally provoking arrest through non-violent direct action, King believed that if they could “crack Birmingham” then they could “crack the South” and dismantle Jim Crow.
Birmingham’s Police Commissioner Eugene “Bull” Connor, a staunch segregationist, promised bloodshed if demonstrators continued to defy the law. When the city’s jails became crowded with thousands of demonstrators and there weren’t enough squad cars to make arrests, Conner, whose authority extended to the fire department, ordered hoses to be turned on demonstrators.
To Connor’s surprise, and to the dismay of the Kennedy administration and some black civil rights leaders, King and local leaders of the SCLC, in a controversial move, recruited children as young as eight years old to participate in demonstrations. They were taught how to protect their heads, huddle together on the ground when hit with water jet, and how to be arrested. Hudson and other cameramen captured images of young demonstrators clutching poles, being sprayed against store windows, and women being lifted over the tops of cars. They took shots of young boys’ shirts being ripped off and their bodies being rolled down the streets water pressure set at a level that was strong enough to peel bark off trees and separate brick from mortar.
In the backgrounds of these images, onlookers can sometimes be seen taunting police officers and firefighters, and tossing broken concrete, rocks and bottles in a futile effort to stop the abuse by authorities. And other times, as in the case of the photo captured above, blacks can be seen behind the strong white mist with their hands on their hips, shoulders dropped, and hands by their side, helpless and perhaps contemplating the irony that the very people who were supposed to protect the public had become villains.
Wherever man goes to dwell his character goes with him ….African proverb
QR Code Multimedia Guide
CLICK ABOVE There are twenty-three symbols on the permanent outdoor memorial. Above are QR codes that will link listeners to a guide of each symbol. The podcasts were produced by National Park Service, Manhattan Sites.