Annotated Bibliography
Brown, Lauren Erin. “’As Long as They Have Talent’: Organizational Barriers to Black Ballet.” Dance Chronicle 41, no. 3 (2018): 359-392. doi: 10.1080/01472526.2018.1518076.
In this article, Brown explores the "relative absence of African American ballet dancers" alongside the "slow integration" in the sport (359). She argues that it was postwar funding structures which "unintentionally strengthened the boundaries" between dancers of different races and "bolstered old stereotypes" that precipitated Black exclusion (361). Pivotally, Brown tackles the main hypotheses that have sought to explain the lack of African American representation in this classic art form, systematically identifying these hypotheses' flaws. Brown identifies these myths as "unsubstantiated theories" that arose with answers for unequal representation such as 'lack of interest' or 'lack of opportunity' (362). Brown breaks down constructs about ballet dancers' bodies and skills - some of which were created and perpetuated by famed ballet choreographers like Balanchine. She also exposes the systematic issues that arose out of postwar funding structures. Brown highlights the Dance Theatre of Harlem and its creative resistance when crippled by funding shifts. Overall, Brown's article presents valuable insight into the racial exclusion that has historically operated within ballet specifically and the arts more broadly. By extension, this article sheds light upon the significance of Elma Lewis' efforts to open the doors to cultural expression - including ballet - to her Black students.
In this article, Brown explores the "relative absence of African American ballet dancers" alongside the "slow integration" in the sport (359). She argues that it was postwar funding structures which "unintentionally strengthened the boundaries" between dancers of different races and "bolstered old stereotypes" that precipitated Black exclusion (361). Pivotally, Brown tackles the main hypotheses that have sought to explain the lack of African American representation in this classic art form, systematically identifying these hypotheses' flaws. Brown identifies these myths as "unsubstantiated theories" that arose with answers for unequal representation such as 'lack of interest' or 'lack of opportunity' (362). Brown breaks down constructs about ballet dancers' bodies and skills - some of which were created and perpetuated by famed ballet choreographers like Balanchine. She also exposes the systematic issues that arose out of postwar funding structures. Brown highlights the Dance Theatre of Harlem and its creative resistance when crippled by funding shifts. Overall, Brown's article presents valuable insight into the racial exclusion that has historically operated within ballet specifically and the arts more broadly. By extension, this article sheds light upon the significance of Elma Lewis' efforts to open the doors to cultural expression - including ballet - to her Black students.
Christian, Mark. “Introduction to the Special Issue: Marcus Garvey and the Universal Negro Improvement Association: New Perspectives on Philosophy, Religion, Micro-Studies, Unity, and Practice.” Journal of Black Studies 39, no. 2 (November 2008): 163-165. https://www.jstor.org/stable/40282556.
In this introduction to this edition of the Journal of Black Studies, Christian prefaces the articles within as well as the broader topic of Marcus Garvey, the United Negro Improvement Association, and the general Garvey Movement. Helpfully, Christian discusses several of Garvey's key ideas, including African unity, self-determination, and self-reliance. Christian explains that the Garvey Movement has been overall under-taught, leading to a lack of awareness about Garvey himself as well as Garvey's principal beliefs, which figured powerfully into the black nationalist philosophies of the early twentieth century (163). Christian poses questions for further research into this topic and provides outlines of the articles included in this issue. This introduction provides a concise discussion of the major ideas of the Garvey Movement, which had a noted influence upon Elma Lewis' upbringing, as her parents were members of the UNIA. Christian's work is valuable in consideration of the ideals with which Elma Lewis was raised, which aids in gaining insight into Lewis' goals in creating her institutions for the Black youth and community.
In this introduction to this edition of the Journal of Black Studies, Christian prefaces the articles within as well as the broader topic of Marcus Garvey, the United Negro Improvement Association, and the general Garvey Movement. Helpfully, Christian discusses several of Garvey's key ideas, including African unity, self-determination, and self-reliance. Christian explains that the Garvey Movement has been overall under-taught, leading to a lack of awareness about Garvey himself as well as Garvey's principal beliefs, which figured powerfully into the black nationalist philosophies of the early twentieth century (163). Christian poses questions for further research into this topic and provides outlines of the articles included in this issue. This introduction provides a concise discussion of the major ideas of the Garvey Movement, which had a noted influence upon Elma Lewis' upbringing, as her parents were members of the UNIA. Christian's work is valuable in consideration of the ideals with which Elma Lewis was raised, which aids in gaining insight into Lewis' goals in creating her institutions for the Black youth and community.
Jordan, Glenn. “Re-Remembering the African-American Past: Langston Hughes, Aaron Douglas and Black art of the Harlem Renaissance.” Cultural Studies 25, no. 5 (2011): 848-891. doi: 10.1080/09502386.2011.605269.
In this article, Glenn discusses the early twentieth century's Harlem Renaissance as a part of the 'New Negro Movement', specifically examining selected works by Langston Hughes and Aaron Douglas (848). Glenn begins by discussing the portrait photography done by James VanDerZee, who elevated his Black subjects to an attitude of pride and an appearance of sartorial excellence. Glenn ties VanDerZee's portraits with the idea of the "New Negro," which he defines as a "product of certain historical developments" in the late nineteenth-, early twentieth- century United States (852). The elements which created this movement were (1) White dominance and racial violence; (2) black nationalist philosophies; (3) exodus; and (4) World War One. Glenn also takes a deep analytical look at some of the poetry of Langston Hughes and artwork of Aaron Douglas, teasing out the idea of the New Negro Movement from these artistic productions. Ultimately, Glenn argues that twentieth-century African Americans "remade themselves as 'New Negroes'" in a process "assisted by the work of Black artists who were part of what was then called the New Negro Arts Movement," now the Harlem Renaissance (880). Glenn elevates the works of Hughes and Douglas to a new prominence in relation to their broader context. This article sheds light upon several things that factor into Elma Lewis' life and achievements. For one, it provides an outline of the historical context that was being created around her in her youth. It also discusses the place of Garveyism in black nationalist philosophies, a strain which influenced Lewis in her upbringing. Finally, it explores Langston Hughes specifically, and the arts more broadly. Hughes was an author and poet whose work Lewis' students performed regularly. Thus, this article provides helpful insight into the context of Lewis' life.
In this article, Glenn discusses the early twentieth century's Harlem Renaissance as a part of the 'New Negro Movement', specifically examining selected works by Langston Hughes and Aaron Douglas (848). Glenn begins by discussing the portrait photography done by James VanDerZee, who elevated his Black subjects to an attitude of pride and an appearance of sartorial excellence. Glenn ties VanDerZee's portraits with the idea of the "New Negro," which he defines as a "product of certain historical developments" in the late nineteenth-, early twentieth- century United States (852). The elements which created this movement were (1) White dominance and racial violence; (2) black nationalist philosophies; (3) exodus; and (4) World War One. Glenn also takes a deep analytical look at some of the poetry of Langston Hughes and artwork of Aaron Douglas, teasing out the idea of the New Negro Movement from these artistic productions. Ultimately, Glenn argues that twentieth-century African Americans "remade themselves as 'New Negroes'" in a process "assisted by the work of Black artists who were part of what was then called the New Negro Arts Movement," now the Harlem Renaissance (880). Glenn elevates the works of Hughes and Douglas to a new prominence in relation to their broader context. This article sheds light upon several things that factor into Elma Lewis' life and achievements. For one, it provides an outline of the historical context that was being created around her in her youth. It also discusses the place of Garveyism in black nationalist philosophies, a strain which influenced Lewis in her upbringing. Finally, it explores Langston Hughes specifically, and the arts more broadly. Hughes was an author and poet whose work Lewis' students performed regularly. Thus, this article provides helpful insight into the context of Lewis' life.
McClure, Daniel. “Brokering Culture: Elma Lewis, Cultural Politics, and Community Building in Postwar Boston.” Black Women, Gender + Families 6, no. 2 (Fall 2012): 55-73. https://www.jstor.org/stable/10.5406/blacwomegendfami.6.2.0055.
This article is a detailed look at Elma Lewis's work from the perspectives of culture and community, examining her work within the context of Black women's activism in postwar Boston and the broader United States (55). McClure locates Lewis's work in cultural politics, grassroots activism, and community building as pivotal to the freedom movement in Boston. First, he examines Lewis's life and the context in which she grew up, centering Garveyism in her upbringing. He also talks about her early education and the institutions she created in the 1950s and 1960s. He connects her efforts in cultural and community work to broader dialogues about race and activism. He considers her institutions as sites for "expression of a cultural politics of history, identity, and place" and "physical sites of community building, resource mobilization, and intergenerational activism" (61). A later section of this article focuses on Elma Lewis's Playhouse-in-the-Park program, a "tangible illustration" of Lewis's pivotal work in both culture and community-building (63). McClure also ties this program to Lewis's efforts to reclaim Franklin Park, founding the Franklin Park Coalition and spending thousands of dollars and hours of labor to clean up Olmsted's design. He concludes that Lewis's advocacy and activism has been meaningful not only on a local scale, but beyond. This article is valuable to this study for a few key reasons. It helps outline a deeper understanding of the details and significance of Elma Lewis's work, particularly within the realms of culture and community. Additionally, it provides valuable information about her work in Franklin Park, the proposed location of the memorial to her. This article meaningfully contributes to this project's understanding of Lewis and purpose in memorializing her.
This article is a detailed look at Elma Lewis's work from the perspectives of culture and community, examining her work within the context of Black women's activism in postwar Boston and the broader United States (55). McClure locates Lewis's work in cultural politics, grassroots activism, and community building as pivotal to the freedom movement in Boston. First, he examines Lewis's life and the context in which she grew up, centering Garveyism in her upbringing. He also talks about her early education and the institutions she created in the 1950s and 1960s. He connects her efforts in cultural and community work to broader dialogues about race and activism. He considers her institutions as sites for "expression of a cultural politics of history, identity, and place" and "physical sites of community building, resource mobilization, and intergenerational activism" (61). A later section of this article focuses on Elma Lewis's Playhouse-in-the-Park program, a "tangible illustration" of Lewis's pivotal work in both culture and community-building (63). McClure also ties this program to Lewis's efforts to reclaim Franklin Park, founding the Franklin Park Coalition and spending thousands of dollars and hours of labor to clean up Olmsted's design. He concludes that Lewis's advocacy and activism has been meaningful not only on a local scale, but beyond. This article is valuable to this study for a few key reasons. It helps outline a deeper understanding of the details and significance of Elma Lewis's work, particularly within the realms of culture and community. Additionally, it provides valuable information about her work in Franklin Park, the proposed location of the memorial to her. This article meaningfully contributes to this project's understanding of Lewis and purpose in memorializing her.
O’Connell, James C. “How Metropolitan Parks Shaped Greater Boston, 1893-1945.” In Remaking Boston: An Environmental History of the City and Its Surroundings, eds. Anthony N. Penna and Conrad Edick Wright. University of Pittsburgh Press, 2009. https://www.jstor.org/stable/j.ctt5wrbm4.12.
In this chapter from An Environmental History of the City and Its Surroundings, James O'Connell discusses the nascence and development of the parks system in Boston, with particular focus upon the work of the Metropolitan Park Commission. He argues that the "development of Boston's Metropolitan Park System from the early 1890s until the post-World War II era traces the arc of urban planning across the country" (195). Further, throughout the chapter, O'Connell demonstrates the ways in which the creation and maintenance of parks in Boston shaped both its urban and suburban landscapes in a significant and long-term manner. These parks also adapted to fit the changing needs and interests of the city and its residents over time. Within this chapter, there is a narrative including the history of Franklin Park and the ways in which its particular history is woven into the broader history of Boston's parks. Given the centrality of Franklin Park to Elma Lewis' summer programming, and its prominence as the proposed location for this memorial, this article is a fitting resource for research into this park as a site and landscape.
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In this chapter from An Environmental History of the City and Its Surroundings, James O'Connell discusses the nascence and development of the parks system in Boston, with particular focus upon the work of the Metropolitan Park Commission. He argues that the "development of Boston's Metropolitan Park System from the early 1890s until the post-World War II era traces the arc of urban planning across the country" (195). Further, throughout the chapter, O'Connell demonstrates the ways in which the creation and maintenance of parks in Boston shaped both its urban and suburban landscapes in a significant and long-term manner. These parks also adapted to fit the changing needs and interests of the city and its residents over time. Within this chapter, there is a narrative including the history of Franklin Park and the ways in which its particular history is woven into the broader history of Boston's parks. Given the centrality of Franklin Park to Elma Lewis' summer programming, and its prominence as the proposed location for this memorial, this article is a fitting resource for research into this park as a site and landscape.
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Shaw, Samuel, and Daniel Monroe Sullivan. “’White Night’: Gentrification, Racial Exclusion, and Perceptions and Participation in the Arts.” City & Community 10, no. 3 (September 2011): 241-264. https://doi.org/10.1111/j.1540-6040.2011.01373.x.
This article discusses the Last Thursday Art Walks in the Alberta Arts district of Portland, Oregon. The authors are interested in the ways in which these art walks operate within an urban district undergoing gentrification. According to the authors, their article "examines whether the arts produce racial exclusions" through the examination of long-term residents' "participation in and perceptions of" the art walks (241). They use an interpretive lens and preface their study with a discussion of the background of studies of race, ethnicity, gentrification, urban spaces, and other relevant topics. The axes along which they expected to see variation in participation and perception were race and homeownership. They view the Last Thursdays as a "vehicle" through which residents can interpret their positionality in the Alberta Arts District (245). The gentrification in the neighborhood led to an increase in White and middle-class residents. They find that the "arts-anchored symbolic economy" perpetuated by the Last Thursday events led to outcomes of inclusion and exclusion, notably upon racial lines with homeowners (260). Further, they found that this exclusion along racial lines had little to do with how much Black residents appreciated the arts, and much more to do with the ways in which they viewed those who 'belonged' and interpreted their own positionality relative to this arts initiative (241). This study has clear connections with this project's focus upon Elma Lewis. For one, Elma Lewis's work often focused within the Roxbury community, a neighborhood that has historically fought gentrification. Further, Elma Lewis worked within the Black Bostonian community, promoting education and appreciation of the arts. Lewis's efforts worked directly against the 'symbolic economy' of the arts that operates at the expense of Black inclusion to create venues through which Black individuals could not only appreciate the arts but feel a sense of belonging.
This article discusses the Last Thursday Art Walks in the Alberta Arts district of Portland, Oregon. The authors are interested in the ways in which these art walks operate within an urban district undergoing gentrification. According to the authors, their article "examines whether the arts produce racial exclusions" through the examination of long-term residents' "participation in and perceptions of" the art walks (241). They use an interpretive lens and preface their study with a discussion of the background of studies of race, ethnicity, gentrification, urban spaces, and other relevant topics. The axes along which they expected to see variation in participation and perception were race and homeownership. They view the Last Thursdays as a "vehicle" through which residents can interpret their positionality in the Alberta Arts District (245). The gentrification in the neighborhood led to an increase in White and middle-class residents. They find that the "arts-anchored symbolic economy" perpetuated by the Last Thursday events led to outcomes of inclusion and exclusion, notably upon racial lines with homeowners (260). Further, they found that this exclusion along racial lines had little to do with how much Black residents appreciated the arts, and much more to do with the ways in which they viewed those who 'belonged' and interpreted their own positionality relative to this arts initiative (241). This study has clear connections with this project's focus upon Elma Lewis. For one, Elma Lewis's work often focused within the Roxbury community, a neighborhood that has historically fought gentrification. Further, Elma Lewis worked within the Black Bostonian community, promoting education and appreciation of the arts. Lewis's efforts worked directly against the 'symbolic economy' of the arts that operates at the expense of Black inclusion to create venues through which Black individuals could not only appreciate the arts but feel a sense of belonging.
Wallace, Candice M. et al, “The Impact of Culture-Based Protective Factors on Reducing Rates of Violence among African American Adolescent and Young Adult Males.” Journal of Social Issues 74, no. 3 (2018): 635-651. doi: 10.1111/jsoi.12287.
In this study, authors Wallace, McGee, Malone-Colon, and Boykin seek to examine the public health issue that is high homicide rates among young Black men. Within the study, they discuss the background context of "violent and delinquent behaviors" among adolescent and young adult Black men (637). They are interested in the ways in which culture can be a protective factor against violence among this demographic. They address evidence pointing to the benefits of Black culture for the health and behavior. Within their own study, they "propose that an emphasis upon protective factors...will uniquely affect violent behaviors" among their target population (639). While discussing the results of their study, they identify "racial identity, spirituality, and communalism" as key cultural protective factors that demonstrably reduced violent behavior among participants in their study (644). Ultimately, they conclude that "culture plays an important protective role in the likelihood of engaging in violence" for adolescent and young adult Black men (635). This study clearly pertains to the life and work of Elma Lewis because she actively worked to create opportunities to involve Black students - including boys - in activities that promoted their sense of their own racial identity and their community, forcing a reliable network and sturdy structure of cultural appreciation. Although Elma Lewis may not have been intimately aware of the scientific basis of the benefits of her work, she thoroughly believed that inculcating racial pride and a strong sense of identity in her students was beneficial to them.
In this study, authors Wallace, McGee, Malone-Colon, and Boykin seek to examine the public health issue that is high homicide rates among young Black men. Within the study, they discuss the background context of "violent and delinquent behaviors" among adolescent and young adult Black men (637). They are interested in the ways in which culture can be a protective factor against violence among this demographic. They address evidence pointing to the benefits of Black culture for the health and behavior. Within their own study, they "propose that an emphasis upon protective factors...will uniquely affect violent behaviors" among their target population (639). While discussing the results of their study, they identify "racial identity, spirituality, and communalism" as key cultural protective factors that demonstrably reduced violent behavior among participants in their study (644). Ultimately, they conclude that "culture plays an important protective role in the likelihood of engaging in violence" for adolescent and young adult Black men (635). This study clearly pertains to the life and work of Elma Lewis because she actively worked to create opportunities to involve Black students - including boys - in activities that promoted their sense of their own racial identity and their community, forcing a reliable network and sturdy structure of cultural appreciation. Although Elma Lewis may not have been intimately aware of the scientific basis of the benefits of her work, she thoroughly believed that inculcating racial pride and a strong sense of identity in her students was beneficial to them.
White Hope, Sonya. “Elma Lewis, Her School of Fine Arts, and Her Vision of Arts Education as Cultural Emancipation.” Bulletin of the Council for Research in Music Education, no. 219 (Winter 2019): 47-60.
In this article, White Hope discusses her examination of Elma Lewis and her pedagogical philosophy, using Critical Race Theory (CRT) as a lens. White Hope defines Lewis's philosophy as "arts education as cultural emancipation" (AECE) and seeks to "contextualize [Lewis's] views within present-day education models of culturally oriented teaching and African-centered pedagogy" (47). White Hope examines Lewis's past; the influence that Garveyism had upon her beliefs and values; Lewis's praxis in arts education; Lewis's philosophy; and CRT. White Hope delves deeply into the significance of Lewis's AECE pedagogical philosophy, which she defines as a "paradigm in which music education philosophy, music education as social justice praxis, and African-centered pedagogy each bond to one another," essentially rooting arts education in culture (57). White Hope considers AECE to be a multifunctional and healing pedagogical philosophy that could be beneficially applied outside of its original context within Lewis's organizations. White Hope also applies CRT to Lewis's work in a meaningful manner, asserting that Lewis's approach "anticipated the power of CRT's counterstorytelling for subverting status quo expectations" (54). White Hope also notes Lewis's understanding of racism, interest convergence, and other concepts that would become part of CRT. Overall, White Hope's article provides not only a detailed look into Lewis's past, but also a critical analytical understanding of her pedagogy and the context which surrounded her institution-building efforts.
In this article, White Hope discusses her examination of Elma Lewis and her pedagogical philosophy, using Critical Race Theory (CRT) as a lens. White Hope defines Lewis's philosophy as "arts education as cultural emancipation" (AECE) and seeks to "contextualize [Lewis's] views within present-day education models of culturally oriented teaching and African-centered pedagogy" (47). White Hope examines Lewis's past; the influence that Garveyism had upon her beliefs and values; Lewis's praxis in arts education; Lewis's philosophy; and CRT. White Hope delves deeply into the significance of Lewis's AECE pedagogical philosophy, which she defines as a "paradigm in which music education philosophy, music education as social justice praxis, and African-centered pedagogy each bond to one another," essentially rooting arts education in culture (57). White Hope considers AECE to be a multifunctional and healing pedagogical philosophy that could be beneficially applied outside of its original context within Lewis's organizations. White Hope also applies CRT to Lewis's work in a meaningful manner, asserting that Lewis's approach "anticipated the power of CRT's counterstorytelling for subverting status quo expectations" (54). White Hope also notes Lewis's understanding of racism, interest convergence, and other concepts that would become part of CRT. Overall, White Hope's article provides not only a detailed look into Lewis's past, but also a critical analytical understanding of her pedagogy and the context which surrounded her institution-building efforts.