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'Why I Wrote the Phyllis Wheatley Pageant-Play': Mary Church Terrell's Bicentennial Activism
Ist Teil von
Theatre history studies, 2018, Vol.37 (1), p.225-255
Ort / Verlag
Pleasant Hill: The University of Alabama Press
Erscheinungsjahr
2018
Link zum Volltext
Quelle
Literature Online (LION)
Beschreibungen/Notizen
While the Great Migration was bringing millions of black Americans into previously white-dominated urban centers, African Americans continued to face substantial social obstacles and injustices throughout the country, such as voting disenfranchisement, lynching, and segregation. Since the New Negro Renaissance of the 1920s had brought African American artistic styles and themes into the larger American cultural sphere, the planned bicentenary events of 1932-from parades to ceremonies and pageants-offered a new and significant opportunity to include the African American story within a national commemoration. Because the principal aim of the bicentennial celebration was to celebrate Washington's achievements-as a general, as a founding father, and as the nation's first leader-the year's activities nationwide were predominantly adulatory in tone. According to an article about the March 4 meeting of the CCAACP,28 Marie Moore Forrest, head of pageantry for the DC bicentennial, had approved two pageants by Terrell: one about Phillis Wheatley and another titled Depicting the Bravery of Colored Soldiers During the Revolutionary War.29 Although Wilkinson instructed the schools of Division 10-13 to cooperate with Terrell and her pageantry committee to produce both pageants,30 there is no evidence that this second script was ever staged. Epigraph is Onaodowan quoted in Mark Kennedy, "3 Presidents in 'Hamilton' Put 'Blood into the Statues,'" Salon.com, July 15, 2015. Since Terrell uses the spelling "Phyllis" in her play's title and all manuscripts rather than the more typical "Phillis," I will use the former spelling whenever I refer to this character and the latter when referring to the historical Wheatley.