Conference Program

Schedule Overview

Registration, meals, and all panel sessions will take place in Linsly-Chittenden Hall, 63 High Street | Rooms 317 & 319

Friday, March 10, 2017
9:30 – 10:30 Breakfast and Registration
10:30 – 12:00 Panel Session 1
12:00 – 1:00 Lunch
1:00 – 2:30 Panel Session 2
2:30 – 3:00 Coffee break
3:00 – 4:30 Panel Session 3
4:45 – 5:45 Keynote Address
6:00 – 7:30 Reception at Afro-American Cultural Center, 211 Park Street

Saturday, March 11, 2017
8:00 – 8:30 Breakfast
8:30 – 10:00 Panel Session 4
10:00 – 10:30 Coffee break
10:30 – 12:00 Panel Session 5
12:00 – 1:30 Lunch and optional visit to the Yale University Art Gallery
1:30 – 3:00 Panel Session 6
3:30 – 5:00 Exhibit visit, “Gather Out of Star-Dust: The Harlem Renaissance & The Beinecke Library

Other Events of Interest

The conference coincides with several other events at Yale that may be of interest:

Thursday, March 9, 4:00pm:
Tonya Foster, Layli Long Soldier, & Safiya Sinclair, Poetry Readings
The State of the Art: Celebrating Three First Books

Thursday, March 9, 5:30pm: Documenting the African American Liberation Struggle Today: Artists in Conversation, Yale University Art Gallery

Friday, March 10, 8:30pm (click the link to reserve free tickets):
Anat Cohen Quartet, as part of the festival “Jazz: A Celebration of America’s Sound”

Saturday, March 11, 8:30pm (click the link to reserve free tickets):
Wynton Marsalis, as part of the festival “Jazz: A Celebration of America’s Sound”

Full Program

Panel 1a (Friday, 10:30 – 12): Mobilizing the Arts for Civil Rights
“Crisis Maids and NAACP Sweethearts: Contesting Visions of the New Negro Woman in Early 20th c. NAACP Activism”
          Susan Bragg, Georgia Southwestern State University
“The New Negro Political Press and the Political Mobilization of Jazz Music in the 1930s”
          Nicholas Gaffney, Northern Virginia Community College, Alexandria
“Black Theatre Criticism and the Long Civil Rights Movement”
          Julie Burrell, Cleveland State University

Panel 1b (Friday, 10:30 – 12): Creating the Modern Black Subject
“Mass Media in the Black Press”
          Anna Shechtman, Yale University
“Popular Literary Production and Radical Genre Revision in African American Newspapers, 1928-1955”
          Brooks Hefner, James Madison University
“Woodard’s Studios:
 Real Art, Good Photography and the Delivery of Black Modern Subjectivity”
         Amy Mooney, Columbia College Chicago

Panel 2a (Friday, 1 – 2:30): Black Performance and White Supremacy
“Clarence Cameron White and The Negro Music Journal as a Pedagogical Tool”
         A. Kori Hill, University of North Carolina, Chapel Hill
“Janet Collins, America’s ‘Creature of Molten Copper’”
          Jacqueline Georgis, Yale University
“‘Brightness’ and Black Prodigy: Oscar Moore in and out of the Black Press, 1888-1901”
         Camille S. Owens, Yale University

Panel 2b (Friday, 1 – 2:30): Music and Celebrity Culture
“Digitized African American Newspapers and Their Historiographic Potential: A Case Study of an Early Collaboration between Ella Fitzgerald and Benny Goodman”
          Judith Tick, Northeastern University
“The Politics of Hazel Scott and Her Swinging Sound”
          Clara Wilson-Hawken, Yale University
“‘Cannonball on the Jazz Scene’: Julian ‘Cannonball’ Adderley’s Public Black Intellectualism”
         Darren Mueller, Eastman School of Music

Panel 3a (Friday, 3 – 4:30): The Novel and the Press
“The Novel and the News”
          Bryan Sinche, University of Hartford
“‘The Voice:’ A Literary Portrait of The Call in Jazz Age Kansas City”
          Jesse McCarthy, Princeton University
“‘…if we continue to be mute we will be a nation without black men’: Respectability and Its Discontents in LaShonda Katrice Barnett’s Jam on the Vine
          Adam McKible, John Jay College of Criminal Justice

Panel 3b (Friday, 3 – 4:30): The Transnational Black Press
“Black, White and Red All Over: The Black Press, the Black Arts Movement, and the Cuban Revolution”
          Carlos Alonso Nugent, Yale University
“Cuba’s Independent Party of Color and the Art of Popular Politics”
           Alexander Sotelo Eastman, Dartmouth College
“Other possibilities for a transnational dialogue: records about Afro-American artists and intellectuals in the São Paulo black press (1920-1950)”
          Ana Flávia Magalhães Pinto, State University of Campinas (Unicamp, Brazil)

 Panel 4a (Saturday, 8:30 – 10): Labor and Performance
“Performers and Labor Advocacy in the Indianapolis Freeman, 1895 to 1910”
          Rachel Miller, University of Michigan
“Professional and Amateur Visual Art in the Indianapolis Freeman
          Andreá N. Williams, Ohio State University
“The Role of The Chicago Defender in Expanding a Circuit of Black Performance and Community Discourse in the South”
          Thulani Davis, University of Wisconsin – Madison

 Panel 4b (Saturday, 8:30 – 10): The Black Press and the Modern Woman
“Images of African American Women in Race Record Ads on Female Vaudeville Blues Singers on Black Newspapers in the 1920s”
          Fangfang Zhu, University of Massachusetts Amherst
“On Literary Workers: Pauline Hopkins’  Editorial Practices and the Cultivation of ‘Race Literature’ in the Colored American Magazine
            Marina Bilbija, Williams College

“Fashioning the Modern Girl: Female Performers, The Black Press, and the Construction of Modern Black Femininity in the 1920s”
          Einav Rabinovitch-Fox, Case Western Reserve University

Panel 5a (Saturday, 10:30 – 12): Radical Artists
“Bomb Shelter”: Self-Defense in the World War II-era Cartoons of Ollie Harrington”
          Rachel Rubin, University of Massachusetts Boston
“Radical Repression: Jackie Ormes and the Black Press in the Age of the Blacklist”
           H. Zahra Caldwell, Westfield State University
“From Gridiron Star to Movie Performer to Civil Rights Activist: The Black Press’ Coverage of Paul Robeson”
          Felecia Ross, Ohio State University

Panel 5b (Saturday, 10:30 – 12): Local Contexts
The Mound Bayou Demonstrator: Black Memory at the Margins and the Means of Cultural Production”
          Janet Kong-Chow, Princeton University
The Pittsburgh Courier, George Morton, and Big Band Dance Music in West Virginia during the Great Depression”
          Christopher Wilkinson, West Virginia University
“‘See: Page Eight’: The Art of the Editorial Page”
         Arley Ward, University of Arkansas

Panel 6a (Saturday, 1:30 – 3): Gender and the Politics of Respectability
“Black Women’s Respectability in Music Criticism of the Black Press, 1930s and 1940s”
          Katherine Turner and Nina Bledsoe, University of Houston
“‘The Evil of the one Room Cabin:’ Black Clubwomen Apprehending the Problem of Black Female Sexuality and Transforming it into Possibility in The Woman’s Era 1894-1897”
          Erica Richardson, Columbia University
“Gwendolyn Brooks’s ‘Little Moment’: Annie Allen and the Problem of Period”
          Sam Huber, Yale University

Panel 6b (Saturday, 1:30 – 3): The Jazz Age
“Reconstructing the Jazz Age Metropolitan”
          Carolyn Guzski, State University of New York, College at Buffalo
“‘The Ace of his Race’: Paul Whiteman’s Early Critical Reception in the Black Press”
            Christopher Wells, Arizona State University
The Pittsburgh Courier and Jazz on Early Radio”
          AJ Johnson, University of Pittsburgh