Old History, New Initiatives: The Baltimore Arabbers

by Sydney Jenkins

“Watermelon, Watermelon, red to the rind!” “Grapes and Peaches Feeling Ripe!”

When I mention to Maryland natives that I am involved with the Arabbers Preservation Society, folks first tell me about the Arabber hollers they remember echoing down the streets when they were kids. They will have a fruit or vegetable holler that best reminds them of these Baltimore City produce hucksters.  When I explain that I spend weekends hanging out at the Arabber yard, helping them to clean up the stables and supporting their efforts to sell vegetables via horse drawn cart and that today’s Arabbers are out of the streets every day promoting their unique methods of produce sales, the typical response is: “Wait, they’re still around?”

James Chase “fruit,” manager of the Arabber Yard. Photo credit: Holden Warren
James Chase “fruit,” manager of the Arabber Yard. Photo credit: Holden Warren

Arabbers have existed in Baltimore since the formation of the city in 1729. At their earliest inception they were called hucksters or street peddlers.  In fact, street peddling as an occupation was common at one time in most American cities.  New immigrants and other marginalized individuals with few opportunities to earn a living were able to quickly establish themselves as street peddlers.

By the 19th century Baltimore’s street peddling scene was unique from other cities for a geographic reason: Baltimore is a port city in a border state.  Baltimore had the largest free African American population and was home to the second largest immigrant port on the East Coast, thus Baltimore’s band of street peddlers were numerous. However, Baltimore street peddlers’ uniqueness doesn’t stop there.  Around the turn of the 20th century, The Baltimore Sun began referring to Baltimore street peddlers as “arabbers,” a term used in 19th century England to describe folks who lived or worked on the street.  None of the other cities adopted this term for its street sellers and having a special name for this group of workers helped to make them stand out as special.

The Arabbers as a historical topic is not easy to research. Arabbing as a job is somewhat transient in nature.  For much of their existence they have been relegated to the back alleys of Baltimore. And while the 20th century brought challenges for the Arabbers, including technology, urban planning initiatives, political power changes, competition with Baltimore’s many public markets, and animal rights activists, here we are today, in 2016, and Arabbers are still on the streets.

In the city of Baltimore this story of woe isn’t a sad one because here and ONLY here, the Arabbers are not only still existing, but they are thriving.  Recently, there has been a surge of new interest in preserving the Arabber way of doing business. With the support of the Arabber Preservation Society, the Arabbers themselves have been focusing efforts to promote and define what it means to be an Arabber.  They are interested in expanding what they do and one of the ways they hope will help is to increase their community engagement in Baltimore.  They want their unique work to become more publicly recognized.

 

Volunteer cleanup day at the Arabber Yard. Left to right: Holden Warren (VP of the Arabber Preservation Society) Sydney Jenkins (secretary of APS), Jame Chase (Arabber and President of APS), Seth Wheeler (resident carpenter and fix-it guy), and Deloise Nobel-Strong (Treasurer of APS). Photo Credit: Deloise Nobel-Strong
Volunteer cleanup day at the Arabber Yard. Left to right: Holden Warren (VP of the Arabber Preservation Society) Sydney Jenkins (secretary of APS), Jame Chase (Arabber and President of APS), Seth Wheeler (resident carpenter and fix-it guy), and Deloise Nobel-Strong (Treasurer of APS). Photo Credit: Deloise Nobel-Strong

The first step is to improve their stable area or “Arabber Yard,” and get the yard state certified as Maryland’s 36th Horse Discovery Center.   The “Yard” is located on N. Fremont Avenue and the current plan is to turn it into a heritage and community center.  In addition to serving the Arabbers themselves, and running an Arabber training program, they will host adult and children’s programming focused on animal husbandry, food, and African American history.

Of course, this first project is just a start and there are other Arabber-related projects in the works: A documentary of Arabber history, a mural project, and a horse turnout that could be utilized by the community.

If you are interested in learning more about the Baltimore Arabbers and the Arabber Preservation Society, check out their Facebook page or attend the next event at the yard.  Visitors are also welcome at the Arabber Preservation Society meeting on October 18th at 6:30p (location TBD).

Extra, Extra! Read All About It! – Newspapers as Primary Sources

Daily and weekly newspapers published in communities all across Maryland and the nation are important historical resources for investigating earlier times.  Since the colonial era, these serials have brought matters of local and national significance to readers.  On the day they were published, especially for an earlier generation, the pages of newsprint conveyed fresh accounts of just about everything to the reader, from disasters, revolutions, politics, and wars to everyday social happenings in our communities.

St. Mary's Gazette., October 01, 1863.
St. Mary’s Gazette., October 01, 1863.

There was a time  when in order to use these valuable resources you had to travel to a library or historical society that held a collection of the aging broadsheets or an institution that had filmed images, preserving the sources while also making the microfilm more broadly available.  Of course, utilizing the film required staring at the aging, cranky old readers while strained eyes searched the pages scrolling slowly along.

Now that we are in the second decade of the 21st century, all of that is changing and this transformation is happening quickly.  Online providers (public and commercial) are rushing to open up access to these papers, providing us with accessible traces to the past.  With just a few key strokes data is often available that might have taken us days to find, if it could be located.

The e-document array is exploding exponentially now as for-profit online publishers and open source providers rush to make valuable research content available to a broader user base.  In Maryland, several of our nonprofit or public institutions have created strong groups of online historical newspapers.

The Catoctin Clarion, November 14, 1918.
The Catoctin Clarion, November 14, 1918.

The Historic Maryland Newspaper Project at the University of Maryland has been leading the way by digitizing Maryland newspapers, and “making them accessible for free on the Library of Congress’ Chronicling America website.” Since the University was first awarded a National Digital Newspaper Program grant in 2012, this partnership has digitized over 107,000 pages and they will be adding another 100,000 soon.  The initiative is a partnership with the University, the Library of Congress, and the National Endowment for the Humanities.  To examine the titles currently available at the Library of Congress, click here.

The Maryland State Archives has a strong collection of online PDFs of Maryland serials available.  These periodicals are not text searchable, but if you have an approximate date, the renderings will be of great assistance as they are clear and easy to read and the images can be manipulated.  Here is the link to the online digitized collection at the Maryland Archives.

The Google Archives also has a collection of newspapers, with titles such as the Afro American from 1902 to 1922 in its virtual repository.  Others titles available from Google include the Baltimore American, the American & Commercial Advertiser and much more.  To check out a current index click here.

Carroll County Times Archive, 1933 – 2012

There are others.  For example, the Carroll County Times (1911-2014), provided by the Carroll County Library, is available online.  Preserving Somerset, from the Somerset County Library, has holdings for Crisfield and Princess Anne.   The Edward H. Nabb Research Center for Delmarva History and Culture at Salisbury University has an inventory of Eastern Shore newspapers spanning the years 1745 through 1922.  Click here to examine this collection.

In addition to these free sites, many subscription services, including www.genealogybank.com, www.ancestry.com, and www.newspapers.com, have growing resources.  Some Maryland libraries provide access to these sites for library cardholders.  Since this is an area that is rapidly changing, here is a helpful guide from the Enoch Pratt Free Library, Finding Historic Maryland Newspapers Online.

And don’t forget to check your local library as some are licensed to provide patrons with remote access.  In Baltimore, the Enoch Pratt Free Library provides cardholders with access to an outstanding inventory of national newspapers.  These include the Baltimore Sun (1837 – 1991), the Wall Street Journal (1889 – 1999), the Washington Post (1877 – 1999), Chicago Tribune (1849 – 1992), the Christian Science Monitor (1908-2002), and more, all from the convenience of your school or home.

These are great virtual resources as you formulate your research question for your Maryland History Day project, conduct research, and cull insights and interpretations from fascinating primary sources.

Mike Dixon is an award-winning historian, public speaker and author. A resident of Cecil County, Maryland, Dixon’s research features mid-Atlantic’s regional and local history. He travels widely for research and to conduct lectures encouraging public interest and participation in the preservation of the area’s past. He stresses an importance of understanding the relationship between the past and the present.

Where the Buffalo Roam: Celebrating the National Park Service

Last Thursday, August 25, 2016, the National Park Service celebrated its 100th birthday. We reflect on this centennial celebration with a blog post that was published last year about Hampton National Historic Site.


Today marks the 99th anniversary of the National Park Service (NPS). Prior to the establishment of the agency in 1916, national parks and national monuments, such as Yellowstone, were individually managed. After a publicity campaign pushing for the establishment of one governing agency, President Woodrow Wilson signed the National Park Service Organic Act to create an agency whose goal is “to conserve the scenery and the natural and historic objects and wildlife therein, and to provide for the enjoyment of the same in such manner and by such means as will leave them unimpaired for the enjoyment of future generations.” It is that latter point that the National Park Service appears to be focusing on in their #FindYourPark campaign to help celebrate their upcoming centennial. It appears that I found my park in Towson, Maryland.

Hampton National Historic Site is an 18th-century estate that was owned by the Ridgely  family from 1745  to 1749, including Charles  Ridgely, the 15th Governor  of Maryland.  Decreased greatly in acreage over the  years, the  site will still provide you with much to see:  the  Georgian-style mansion with many of the  original  furnishings, terraced gardens, and slave quarters amongst other buildings. Standard house tours of the property tell the story of the many generations of Ridgelys who called Hampton their home. But I encourage you to take one of their special tours led by Park Ranger Anokwale Anansesemfo.

Park Ranger Giving Tour
Park Ranger Anokwale in period attire

“On the Hampton Plantation” and “Servitude In  Black and  White” are  two special tours in  which  you can  explore the  property, from the  perspective  of the many European    indentured  servants and  enslaved  Africans and African-  Americans  who lived and  worked at Hampton  and  helped the Ridgelys acquire their wealth. From the first few  minutes of the 90-minute tour, Anokwale’s passion for African-American history is very evident, as well as her penchant for story-telling , which is personified by her chosen name (Anokwale means “truth” in Akan, a Ghanaian language; Anansesemfo means “storyteller”).

During the course of the tour, I learned about Nancy Davis, an enslaved woman who was freed in 1858 but returned to work for Ridgelys until her death in 1908. Davis, who raised three to four generations of Ridgelys, is one of only two servants known to be buried in the Ridgely family cemetery. The intriguing story of Lucy Jackson,  a house servant who fled to freedom around 1862,  is also shared: in 1866, Lucy obtained a lawyer to sue John Ridgely on her behalf to obtain an extensive list of items that she left  behind at Hampton. Some of the items listed included twenty-one dresses,  six pairs of lace gloves, and furs and muffs.

Nancy Davis with Eliza Ridgely
Nancy Davis with Eliza Ridgely III

It is clear that these stories are intended to change one’s perception of slavery and the lives of the enslaved. Near the conclusion of the tour, Anokwale quoted Frederick Douglass: “Agitate! Agitate! Agitate!” This resounded with me and my training as a public historian. One of the six principles of interpretation laid out by Freeman Tilden, one of the fathers of the NPS, states that “The chief aim of interpretation is not instruction, but provocation.” I do not believe Douglass or Tilden was encouraging physically aggressive forms of agitation or provocation, but more intellectual. Telling Nancy’s or Lucy’s story does not take away from the Ridgelys’ story – it just adds many more layers to it. Entities that engage in public history, like the National Park Service, are at their best when they seek to weave together stories that reflect the tapestry of American history.

bLAM Collective: Here to Share

by Jennifer Ferretti

In 2015, bLAMcollective, Baltimore Libraries, Archives, and Museums collective, was born on Twitter. As a group of individuals who are part of a lateral, non-hierarchical group who live to a large extent on social media, the collective’s name and it how it looked on phones, tablets, computers is extremely important. The concept and purpose, however, were more thought out and deliberate.

bLAM is for librarians, archivists, museum and cultural heritage professionals, but also for those who utilize materials held in those institutions and organizations, whether for personal research, in the classroom, journalistically, or through freelance work. The collective is not limited to professionals in the field, nor is a particular degree required to join. bLAM works toward not only networking and educating ourselves, but also sharing what we do and where we want our professions to go.

The idea of sharing and connecting with my community of library and information science (LIS), museum, and technology professionals started when I was completing my masters degree at Pratt Institute in New York City. After receiving my undergraduate degree at the Maryland Institute College of Art, I worked for six years in Baltimore, where I built strong professional relationships and developed a passion for archives, libraries, and digitization of collections.

During the years in Baltimore before graduate school, I processed a collection of over 7,000 photographs by Afro-American newspaper photographer Paul Henderson, curated a solo exhibition of his work, and helped plan a public program at the exhibition opening. I left Baltimore feeling that my work played a small part in helping to lift some assumptions about the Civil Rights Era in Baltimore, the focus of the Paul Henderson show and program. One of those assumptions being that it did not begin as early as it had, which was around 1935.

When I walked into my first class in grad school, I saw several people of color, such as myself. I was elated. I had never seen so many minorities at an LIS-related function. Months later, I told a good friend in the program who emigrated to NYC from the Dominican Republic during her teenage years about my feelings. Her perspective, walking into the same class, was completely different. She was disappointed at how few minorities were in the class, and her words were, “Come on New York, we can do better.” Talking with her about this made me think I could and should ask more of the profession as well as consider how I could personally help it “do better.”

Librarianship is so much more than books on shelves. One of its main functions is to teach how to gain access to information. And information is every single thing around us — art, politics, economics, culture. Librarianship is overwhelmingly white and female.[1] As a first generation American Latina, I never saw a librarian like me growing up. As a result, I feel it is imperative not only to promote the profession in general, but to also be an active participant in my profession in order to get a seat at as many tables as possible.

bLAM1.forwebAfter returning to Baltimore, I knew I wanted to start a group that served as a place to meet people, talk about work in a non-stressful environment, and learn new things. Creating a group that limits who can join was never something I considered. I’d much rather be part of a group that fosters discussion around difficult or unpopular topics while focusing on outreach to minorities to have a seat at their community table. The second bLAMcollective meetup was a discussion about whiteness and librarianship based on Angela Galvan’s article “Soliciting Performance, Hiding Bias: Whiteness and Librarianship.” We talked openly and honestly about how to combat bias in the hiring process and who sits on hiring committees and why. Other meetup activities included project shares and what we call “say hello” happy hours.

Typical bLAM-mers are people who collect, organize, analyze, and disseminate information, those who curate and promote cultural literacy, and those who educate and consistently conduct research. A lot of these activities take place online or have an online component, which requires digital skills. My graduate school program taught me to be adventurous when it comes to technology. Just as I hope to empower students at my library, I hope that bLAM is a place where people feel empowered to try something new.

bLAM began hosting a series of free tech-based workshops called #bLAMclass that are tool and topic-specific. For example, our first two workshops were on the exhibition publishing platform Omeka and the web-based repository for sharing code, data, and documentation, GitHub. Future workshops will include personal digital archiving, mapping/geographic information systems, and creating information visualizations.

A collective like bLAM provides the space to improve digital skills and learn new things from colleagues in a nonjudgmental environment. The libraries, archives, and museums professions are advanced by stepping outside of one’s own institution, openly sharing, asking questions, and giving feedback. That’s why bLAM’s tagline is here to share.

The #bLAMclass series will continue in the fall.

Jenny Ferretti is the Digital Initiatives Librarian at the Maryland Institute College of Art’s Decker Library. @citythatreads


[1]American Library Association. Diversity Counts 2009-2010 Update http://www.ala.org/offices/sites/ala.org.offices/files/content/diversity/diversitycounts/diversitycountstables2012.pdf

 

 

Exploring the Beauty of Language with the National Museum of Language

by Greg Nedved, Vice President of the National Museum of Language

Language has seldom been a museum focus, a curious oversight because of its importance to mankind.  Have you ever considered what it would be like to communicate without language? Language is very much taken for granted.  In 1971, the idea of a language museum in the nation’s capital began amongst a group of expert linguists, language specialists, and language enthusiasts who were intrigued by the potential of putting language on public display. After decades of feasibility studies, start-up pains, and slow but steady incremental growth, the National Museum of Language (NML) opened its doors in College Park in May 2008, sustained by an all-volunteer governing board and roster of docents.   It was truly a trailblazer in the field—there were no more than three museums in the world with a similar focus, i.e., the history, impact, and art of language. The opening of the Museum was a personal triumph for NML’s longtime president, the late Dr. Amelia Murdoch, who had been among the group in 1971 first advocating such a museum.

International Flag of Language is the first and only flag dedicated to language. The three shades of green leaves represent living languages, dead languages, and future languages respectively on a brown two-tone tree trunk. The stylish curves flowing away from the tree represent the spread of knowledge gained from languages.
The International Flag of Language is the first and only flag dedicated to language. The three shades of green leaves represent living languages, dead languages, and future languages, while the curves flowing away from the tree represent the spread of knowledge gained from languages.

For the next six years, the NML enjoyed a steady growth, with people from all over the world visiting it.  During this time, we sponsored three major exhibits, hosted items and artifacts from other museums and institutions, and taught language-related classes. NML also received favorable media coverage from various news outlets such as The Washington Post and the British Broadcasting Corporation (BBC).  Even those who recognized that the Museum was “still a work in progress” supported its goals and admired its vision.

In 2014, NML trustees made the strategic decision to close the exhibit space in College Park and focus instead on building online exhibits, known as the Virtual Museum, and promoting the Moveable Museum, an initiative whereby NML artifacts are loaned to local and regional educational venues.  NML is also continuing its long-running speaker series (named in honor of Dr. Murdoch) with topics ranging from Klingon to Cherokee.  Our summer World Language Camp programs introduce school-aged children to as many as five languages and cultures in one week.

As with any museum, our needs are great.  We are always in search of officers, associates, volunteers, fundraisers, as well as individuals who can help bring NML into the twenty-first century.  Like all museums, donations of funds, as well as time and knowledge are welcome.  The ultimate goal of the trustees is to have a self-sustaining brick-and-mortar facility.

The National Museum of Language aims to be a national museum, in more than just name.  We want to have national impact and be a go-to resource for people who are curious about languages and cultures.  We want to be a trendsetting museum featuring memorable, unique and well-developed activities and exhibits.

At present, NML is building an interactive site in collaboration with the Dictionary of American Regional English (DARE) researchers.  Its first virtual exhibit showcases comic strips based on the world’s earliest joke book, the Philogelos.  Please check out the NML website at www.languagemuseum.org to see its activities and online exhibits.

A Springboard for Local History: Summer Travels in Maryland’s Heritage Areas

by Auni Gelles, Assistant Director, Heart of the Civil War Heritage Area

Chestertown Tea Party Festival in the Stories of the Chesapeake Heritage Area
Chestertown Tea Party Festival in the Stories of the Chesapeake Heritage Area

The Old Line State offers residents and visitors a nearly endless supply of historic places to enjoy. There are many ways to organize your travel: perhaps you prefer following a trail, marking off stops in a passport, or scheduling your trips around festivals and special events. Whether your interests lie in architecture and the built environment, natural history, political events that shaped the nation, milestones in technology and industry, or the stories of everyday citizens or influential leaders, you will certainly find a site worth visiting in one of Maryland’s Heritage Areas.

Maryland’s Heritage Areas Program is governed by the Maryland Heritage Areas Authority and administered by the Maryland Historical Trust within the Maryland Department of Planning.  Celebrating its twentieth anniversary in 2016, the program is made up of thirteen locally designated regions certified by the state as management entities for heritage tourism. Each of the Heritage Areas operate differently, but their mandate is the same: they are designed to enhance visitors’ experience of local history, increase economic development, encourage preservation, and foster partnerships among historic sites. Each Heritage Area has a unique focus—centered around an interpretive theme or a geographic boundary—although they all offer a range of experiences for a variety of travelers.

Consider organizing your summer travel plans by Maryland’s Heritage Areas. Below is just a sampling of what each has to offer:

Historic London Town in the Four Rivers Heritage Area
Historic London Town in the Four Rivers Heritage Area

 

St. Stanislaus Kostka Church Ruins in the Patapsco Valley Heritage Area
St. Stanislaus Kostka Church Ruins in the Patapsco Valley Heritage Area

This summer, get out and explore in your own backyard!

Chautauqua Scholar Q&A: Brian Gordon Sinclair as Ernest Hemingway

Our Chautauqua event is underway and in preparation for the free performances, we spoke with the scholar-performers headlining the events. The performances run from July 5th to July 16th. This week’s interview is with Brian Gordon Sinclair, performing scholar of Ernest Hemingway.

Q. What drew you to Hemingway as a character?

hemingway14Sinclair: Hemingway’s public persona as a hard-drinking womanizer, although partially true, was mostly a creation of the media. If you read both his stories and the biographies, especially Michael Reynolds’ superb five volume series, you will discover much compassion in Hemingway. He risked his life to save his youngest son from sharks; he donated money to the veterans of the Lincoln Brigade; he worked to free Ezra Pound from a mental hospital; and he used his modest but effective medical knowledge to save the life of his last wife, Mary, when she almost died from a tubal pregnancy. A simple but particularly touching example occurred when Ernest wrote a letter of consolation to his friends, Gerald and Sara Murphy when their son Baoth died. Hemingway spoke of how words were so inadequate at such times and concluded with a statement of kindness and awareness which I have paraphrased:

“All we can do is to live it now, a day at a time…and be very careful not to hurt each other.”

I read that line at a time in my life when I was struggling and striving towards an understanding of the compassionate nature. Hemingway helped me to understand.

Q. What is your favorite work by Hemingway?

Sinclair: An impossible choice; however, after spinning the mental dial, I have selected For Whom the Bell Tolls. This story of the Spanish Civil War is one of the great dramas of the twentieth century. It was a favorite of Fidel Castro who said that it taught him all the tactics he needed to know to fight a guerilla war. A supporter of the Republican government, Hemingway knew that his story of a fight for freedom combined with a passionate romance that literally made the earth shake would lay bare the atrocities of both sides of the conflict. For Whom the Bell Tolls is high drama indeed…and a great read.

Q. Hemingway’s writing style has been described as simple yet perceptive, which differed from his contemporaries. What do you think influenced his style of writing?

Sinclair: There is no doubt that Hemingway’s time in Paris during the years of “the Lost Generation” – Gertrude Stein’s “salon” gatherings which included the likes of James Joyce, Pablo Picasso, and Ezra Pound – was the definitive period when his writing skills were honed and polished. However, there were two other factors always exerting their strong influence: Hemingway’s youth in Illinois and Michigan under the guidance of a father who made young Ernest a keen observer of nature and his first newspaper job with the Kansas City Star. Their style guide included such instructions as: “Use short sentences. Use short first paragraphs. Use vigorous English. Be Positive. Never use old slang and eliminate every superfluous word.” Those were the best rules he ever learned for the business of writing, and he never forgot them.

Q. If you could go back in time to meet Hemingway, what would you say to him?

Sinclair: If I could meet with Ernest, I would share with him some of the modern understandings of alcohol, of depression, of concussions, and of the side effects of various medications. I might even suggest avoiding a barbaric technique called electro-convulsive therapy (ECT). After this serious discussion, I would simply ask to sit quietly with him on the deck of his boat, Pilar, calmed by a gentle breeze floating over a peaceful view of a beautiful Gulf Stream. I would thank him for being the mirror through which I could view my own life. We would share cool drinks, sigh a few sighs and finally I would look at him and say, with the utmost affection, “Well done, old friend, well done!”

Q. Hemingway once stated that “Writing at it’s best is a lonely life.” How do you as a performer strike the balance that is Hemingway’s machismo in his perceived public persona and his internal struggles with mental illness?

Sinclair: To present a balanced Hemingway was surprisingly simple.

Sinclair with Hemingway's Nobel Prize
Sinclair with Hemingway’s Nobel Prize

All I had to do was to tell the story of Ernest Hemingway but I had to tell the whole story and I had to tell both sides of that story and it was a huge story. Hemingway knew that you had to live with your demons and your angels. You had to alternate the braggadocio with the compassion. It makes Ernest more human and more enjoyable, to play and to watch. Eventually, when Ernest went through ECT and succumbed to dementia, the world broke him. For these moments, I had to tap into the deepest, most painful memories in my own psyche. Eventually, the character of Ernest Hemingway and I were able to blend into a successful theatrical presence. Hemingway had become my hero and I was bound to respect him in performance. As Ernest himself said, “As you get older, it is harder to have heroes but it is sort of necessary.”

Q. What is the main thing that you have gained from your work on Hemingway?

Sinclair: Hemingway opened a doorway that allowed me to discover the vibrant love of literature and people of Cuba. His spirit is still there and nowhere is it stronger than at his home, Finca La Vigia (Lookout Farm). Now that Hemingway has moved into legend, I have the pleasure of sharing that legend. The modern reincarnation of the children’s baseball team that Ernest started in the 1940s has honored me by choosing me as its Patron. Treated as Hemingway II, on the first Saturday of every December, I recreate an authentic holiday celebration at the Hemingway estate for the members of the team. It is my great pleasure to invite everyone to what is, for this special day, my home. Come and meet the warm, friendly, generous people of Cuba.

Chautauqua Scholar Q&A: Dorothy Mains Prince as Gwendolyn Brooks

Our Chautauqua event is less than a month away, and in preparation for the free performances, we spoke with the scholar-performers headlining the events. The performances run from July 5th to July 16th. This week’s interview is with Dorothy Mains Prince, performing scholar of Gwendolyn Brooks.

Q. What drew you to Gwendolyn Brooks?

Prince: I don’t know what specifically drew me to Gwendolyn.  However, I know what has kept me coming back and exploring her works for many years. It is her creative ability to paint real portraits of people.  From her first book of poetry in 1945 to her last published collection in 2001, Brooks was “proud to feature people and their concerns- their troubles as well as their joys.”

Q. What is your favorite work by Brooks and why?

Prince: I don’t have a favorite work. I enjoy too many to cite one particular poem.

Q. Poetry has been described as “bread for the journey.” What journey do you think Brooks is traveling on with poetry? What does she want her readers to go on?

Prince: Gwendolyn Brooks described herself as a “People” poet. She was an intense observer and lover of people.  She desired to write about Black people not as “curios” but simply as people.  She wanted her readers to truly see and understand her characters as real people.  And in turn, come to a greater understanding of “self.”

Q. If you could go back in time and meet Brooks, what would you say to her?

Prince: I had the great privilege of meeting Gwendolyn Brooks in 1991. And I said very little to her.  It was a time to listen and appreciate the talent and knowledge of this exceptional writer and humanitarian.

Q. In our 2001 Chautauqua, you portrayed poet Phillis Wheatley. Do you see any similarities between Wheatley and Brooks?

Prince: There are several interesting similarities between Phillis Wheatley (1761?- 1784) and Gwendolyn Brooks (1917-2000). Both were recognized early as not being ordinary.  They began writing around the age of seven.  They were encouraged and supported in their desire to write by the women in their lives; Phillis by her slave mistress, Susanna Wheatley and Brooks by her mother, Keziah Wims Brooks.  They both had to fight to have their works published in a world that refused at first to recognize them as having the capacity to write with such extraordinary proficiency.  They both defied the odds and continued to do what they were born to do.  Phillis Wheatley was America’s first African-American woman of letters to have a book of poetry published in 1773, and Gwendolyn Brooks, the first Black to win the Pulitzer Prize in 1950.

Q. In addition to Langston Hughes, Brooks’ work was influenced by fellow poet Amiri Baraka and others who were a part of the Black Nationalist Movement. Do you see a place for poetry and similar forms of expression within the #BlackLIvesMatters Movement?

Prince: Yes, I do. Just as Brooks in the 1960’s recognized the power of poetry and the need for human expression, her poetry today speaks to the hearts and minds of 21st century civil rights activists.

“This is the urgency: Live! And have your blooming in the noise of the whirlwind.”

Chautauqua Scholar Q&A: Tevin Brown as Duke Ellington

Our Chautauqua event is less than a month away, and in preparation for the free performances, we spoke with the scholar-performers headlining the events. The performances run from July 5th to July 16th. This week’s interview is with Tevin Brown, performing scholar of Duke Ellington.

Brown2Q. What drew you to music as your profession?

Brown: I actually started out in musical theatre at the Arena Players when I was 10 years old. My elementary school went to see a play there, and once I saw the actors I knew that was what I wanted to do. A few years later, after being in their Youtheatre program, it became clear that music was my strongest talent. From there I got accepted into the Baltimore School for the Arts for music, and I knew that music was what I wanted to do. I knew it because I couldn’t imagine life without singing or playing or being a part of a choir or being on stage.

 

Q. Which musician(s) inspire you the most?

Brown: Because I sing and play piano, I am drawn to artists who do the same. My biggest inspirations are John Legend, Stevie Wonder and Donny Hathaway.

Q. What is your favorite Duke Ellington song and why? How does it speak to you personally?

Brown: This is such a hard question! If I was forced to choose, I would go with “Sophisticated Lady”. The chords are very lush with a melody that bends back and forth like a lady. The imagery that Duke used is perfect in this tune, and the lyrics tell the story of a beautiful woman who has lost her lover and is hurting. She doesn’t show it on the outside, but “when nobody is nigh, you cry”. It is a love story that all of us can no doubt relate to.

Q. How would you describe jazz music and what makes it different from other types of music?

Brown: Jazz music is America’s original music. Unlike just about every other genre, jazz was birthed and developed here in America and it holds a special place in my heart for that. One of the biggest differences between jazz and other genres is the inherent freedom that musicians have when playing jazz. A jazz musician is allowed to play the same tune 5 different times and have them all sound different. That is what makes jazz special; because of the free nature of the music, emphasis is placed on the artist and their style more than the composer/songwriter.

Q. Music can be viewed as a type of storytelling. If so, what story do you think Duke Ellington was trying to convey with his music?

Brown: I think Duke was telling a unique story of Blackness as it was perceived by him. Ellington was an innovator who broke the mold of what the Black musician/composer could do. Starting out as a “swingtime” bandleader, his early work gained its own nickname of “jungle music” because of the wild and unorthodox sounds his band would create. From there, he stepped into writing in more classical forms (suites, symphonies, etc.) and redefined the way a jazz composer is viewed. All of this was done alongside telling stories of love (In A Sentimental Mood), pain (Don’t Get Around Much Anymore), and cultural pride (Black and Tan Fantasy). Duke’s story was very unique indeed.

Q. What surprised you the most in your research on Duke Ellington?

Brown: What surprised me was how much help Duke Ellington received from his peers and friends along the way to stardom. In his autobiography, Duke mentioned on multiple occasions that whenever he was faced with hardship or a crossroads in life, there was someone there to show him the way to go. This surprised me because I assumed that Duke Ellington was more of a lone wolf, as most composers tend to be. On the contrary, he was a people person and was rarely alone.

Q. Do you see or hear Ellington’s influence on contemporary music?

Brown: Unfortunately, I am hearing less and less of his influence in the music of today. Most of this is due to the new technology that is being used to make music. For example, Duke never used an electronic keyboard in any of his music and there was no such thing as a laptop. Today, all you need is GarageBand and a microphone and you can create as much music as you would like. I think Duke was living and writing music in a different world, and that is why we don’t hear much of his influence in music.

Q. If you could go back in time to meet Ellington, what would you say to him?

Brown: I would thank him for all that he has done for music. I believe that without the music of a Duke Ellington, the progression of music would be at least twice as slow. I cannot imagine what limitations we as musicians would still have if it weren’t for Duke breaking sound barriers in the way that he did. I would also ask him to give me a piano lesson. There would be so much to learn from a jazz giant like Duke!

Chautauqua – “The most American thing in America”

“The most American thing in America.”

So said President Theodore Roosevelt of the education movement known as Chautauqua. The origins of Chautauqua (pronounced “Shuh-TAW-Kwa”) can be found in the Chautauqua Lake area of upstate New York, where the movement began in 1874. Initially organized by Methodist minister John Heyl Vincent and businessman Lewis Miller as a Methodist summer retreat, Chautauqua quickly grew to be a popular source of adult education as the lectures presented the latest thinking in politics, economics, literature, science, and religion.

Chautauqua Park
Chautauqua in Garrett County in the early 20th century

The Chautauqua Model

By 1900, more than 400 summer communities had developed from the original Chautauqua model, and touring companies presented lectures, debates, and performances at sites throughout the country. However, the growing popularity of radios, movies, and cars in the early twentieth century led to the gradual decline in the Chautauqua movement.

 

 

Tradition Continues

Cumberland Times News, June 5, 1995
Cumberland Times News, June 5, 1995

In Maryland, where the tradition dates back to the late nineteenth century when Chautauquas took place

at Mountain Lake Park in Garrett County and at Glen Echo Park in Montgomery County, Maryland Humanities launched the modern Chautauqua in 1995 at Garrett College. The theme of the first Chautauqua was “Democracy in America” and featured seven historical figures: Maria W. Stewart, P.T. Barnum, Alexis de Tocqueville, Harriet Beecher Stowe, Horace Greely, Domingo Faustino Sarmiento, and Frances Wright. Since then, this popular program has spread to other parts of the state, educating and entertaining thousands of Marylanders every summer.

This summer, Chautauqua enters into its 22nd season as we celebrate the 100th anniversary of the Pulitzer Prizes as three Pulitzer winners come to life on the Chautauqua stage.  Duke Ellington, the incomparable showman, was one of the greatest composers of the twentieth century with a career that spanned over fifty years. Gwendolyn Brooks, the first African American to win a Pulitzer Prize, captured the black experience in America through her poetry. Ernest Hemingway, one of the greatest American literary figures of the twentieth century, continues to influence modern literature with his trademark style of simple yet perceptive prose.