Digital Library of South Dakota (DLSD)
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Prairie Repertory Theater's production of 'Insane with Power'
No full textActor posing in costume for a publicity photo shoot for Prairie Repertory Theater's production of 'Insane with Power: A Super Comedy of Heroic Proportions.
Prairie Repertory Theater's production of 'Beehive, the 60's Musical'
No full textActor poses in costume for a publicity photo shoot for Prairie Repertory Theater's production of 'The Wizard of Oz.
Prairie Repertory Theater's production of 'Insane with Power'
No full textActor poses costume for a publicity photo shoot for Prairie Repertory Theater's production of 'Insane with Power: A Super Comedy of Heroic Proportions.
Letter for Sonia Sanchez
No full textOn a hot New York Monday in 1955, Wilsonia Driver had missed her train stop. She was a recent alumna from Hunter College and had woken up that morning with excitement and pride. Ms. Driver had been offered a writing position at the New York Times, but when she arrived at the office on West 43rd St. the Times staff were not expecting a young black women. Despite her protests, Ms. Driver was quickly told that the position had been taken. She left in a daze of anger, making her way to the train station. When Ms. Driver realized she had missed the 96th St. stop, she was already at 135th St. As she made her way across the street to catch the train back downtown, she saw a sign that read, Schomburg, as she recounts, “I was hot. I was mad, and I was everything. And I said to the guy who was standing outside, ‘What kind of library is this? I just got out of Hunter. I never saw this library.’” When she learned that the Schomburg library’s collection was dedicated to books by and about black people, Ms. Driver responded with, “There must not be a lot of books in here.” The librarian sat her down at a long table with three books from the collection, Up from Slavery by Booker T. Washington, The Souls of Black Folk by W. E. B. Du Bois, and Their Eyes Were Watching God by Zora Neale Hurston. After reading a third of Their Eyes Were Watching God, Ms. Driver asked the librarian, “How could I have been an educated woman and not have read this?” and then began to cry. That young alumna would become the poet, playwright, activist and educator, Sonia Sanchez, who is best known as one of the architects of the Black Arts Movement. A Letter for Sonia Sanchez is a collection of books built from a list of 50 literary works from black Americans, dating from 1773 to 1965. The works builds from Sanchez’s emotional story of frustration and discovery, while examining the access to these authors and books, then and now. The books in A Letter for Sonia Sanchez must be checked out from the local libraries while still providing the original list to the audience. The work uses the available library books and ratchet ties to create a monument of literature that is bound by the yellow industrial straps. The use of the ratchet ties as a book strap or belt, references the other work in the Look Away series, as part of the removal of monuments and the yellow as a cautious warning. For much of the country’s life, it has taught a version of history that excluded black Americans. In the mid-1960s, the most popular textbook for eighth-grade U.S. history classes only mentioned two black Americans in the century since the Civil War. The suppression of black history and art is intertwined with the repression of black rights and equality. A Letter for Sonia Sanchez is an examination of the suppression and distortion of black history, culture, and education, while providing light to the depth and diversity of American literature. List of books: Poems on Various Subjects, Religious and Moral by Phillis Wheatley, 1773; Narrative of the Life of Frederick Douglass by Frederick Douglas, 1845; Narrative of Sojourner Truth: By Sojourner Truth, 1850; Clotel: Or, the President's Daughter by William Wells Brown, 1853; Our Nig by Harriet E. Wilson, 1859; Incidents in the Life of a Slave Girl by Harriet Jacobs, 1861; Behind the Scenes by Elizabeth Keckley, 1868; Voice from the South by Anna J. Cooper, 1892; Iola Leroy or, Shadows Uplifted by Frances Harper, 1892; Imperium in Imperio by Sutton E. Griggs, 1899;
Contending Forces by Pauline Hopkins, 1900; The Marrow of Tradition by Charles W. Chesnutt, 1901; The Sport of the Gods by Paul Laurence Dunbar, 1901; Up from Slavery by Booker T. Washington, 1901; The Souls of Black Folk by W. E. B. Du Bois, 1903; The Autobiography of an Ex-Colored Man by James Weldon Johnson, 1912; Harlem Shadows by Claude McKay, 1922; Cane by Jean Toomer, 1923; The New Negro: An Interpretation by Alain LeRoy Locke, 1925; Color by Countee Cullen, 1925; Quicksand by Nella Larsen, 1928;The Walls of Jericho by Rudolph Fisher, 1928; The Blacker The Berry by Wallace Thurman, 1929; Plum Bun by Jessie Redmon Fauset, 1929; Not Without Laughter by Langston Hughes, 1930; Black No More by George Schuyler, 1931; Southern Road by Sterling Brown, 1932; Black Thunder by Arna Bontemps, 1936; Their Eyes Were Watching God by Zora Neale Hurston, 1937; Native Son by Richard Wright, 1940; Blood on the Forge by William Attaway, 1941; For My People by Margaret Walker, 1942; If He Hollers Let Him Go by Chester Himes, 1945; Black Boy by Richard Wright, 1945; The Street by Ann Petry, 1946; The Living is Easy by Dorothy West, 1948; The Lion and the Archer by Robert Hayden, 1948; Annie Allen by Gwendolyn Brooks, 1949; Knock on Any Door by Willard Motley, 1950; Invisible Man by Ralph Ellison, 1952; Go Tell It on the Mountain by James Baldwin, 1953; Youngblood by John Oliver Killens, 1954; South Street by William Gardner Smith, 1954; A Raisin in the Sun by Lorraine Hansberry, 1957; The Long Night By Julian Mayfield, 1958; Trumbull Park by Frank London Brown, 1959; Preface to a Twenty Volume Suicide Note by LeRoi Jones (Amiri Baraka), 1961; Why We Can't Wait by Martin Luther King Jr., 1964; The Autobiography of Malcolm X by Alex Haley and Malcolm X, 196
Prairie Repertory Theater's production of 'Disney's The Little Mermaid'
No full textBrooklyn Schwiesow is in costume in a photo shoot for promotion of the Prairie Repertory Theater's production of 'Disney The Little Mermaid.