A Tale of Two Cities: Nineteenth-Century Black Community in North Carolina and New York

2016 ◽  
Vol 44 (2) ◽  
pp. 248-254
Author(s):  
Janette Thomas Greenwood
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
North Carolina ◽  
Black Community ◽  
Two Cities

A Tale of Two Cities I

2019 ◽  
pp. 29-46
Author(s):  
Christopher J. Smith
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
New York City ◽  
African American ◽  
York City ◽  
Primary Source ◽  
Early Nineteenth Century ◽  
Cultural Experiences ◽  
Two Cities ◽  
English Speaking

The first of two companion chapters, this essay focuses especially on the historical meeting of European and African American movement vocabularies in English-speaking early-nineteenth-century contexts. It focuses particularly upon public music and dance in two creolized cities: Kingston, Jamaica, and New York City. Primary source evidence includes period illustrations (most notably, a ca. 1802 watercolor entitled A Grand Jamaica Ball) and period accounts of entertainments at lower Manhattan’s African Grove Theater; both are analyzed for the evidence they provide regarding the synthesis of creolized movement vocabularies and, by extension, cultural experiences. Methodology is drawn especially from iconography and kinesics.

Constructing Identity in Seneca Village

2019 ◽  
pp. 157-180
Author(s):  
Diana Dizerega Wall ◽  
Nan A. Rothschild ◽  
Meredith B. Linn
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
African Americans ◽  
Middle Class ◽  
Material Culture ◽  
Black Community ◽  
York City ◽  
Historical Documents ◽  
Central Park ◽  
The City

This chapter explores the issue of identity in Seneca Village, a nineteenth-century, middle-class, black community located in what is now Central Park in New York City. The city evicted the residents in 1857, and until recently this important village was forgotten. Using information from historical documents and material culture (including landscaping and both the form and decoration of dishes) excavated from the site in 2011, this study examines the intersection of class, race, and nationality. The evidence suggests that the identity of at least one family there was made of many strands: they may have identified themselves as members of the black middle class, as Americans, as African Americans, and perhaps even as Africans, depending on the situation and the audience. Skillful use of these strands may have been one way in which this and other village families attempted to ameliorate oppression and to make a place for themselves.

Use of the AMA Guides in State Workers' Compensation Systems: 2009 Update

2009 ◽  
Vol 14 (2) ◽  
pp. 13-16
Author(s):  
Christopher R. Brigham ◽  
Jenny Walker
Keyword(s):  
New York ◽  
North Carolina ◽  
South Carolina ◽  
South Dakota ◽  
Rhode Island ◽  
Workers Compensation ◽  
Fourth Edition ◽  
Sixth Edition ◽  
Specific Guideline ◽  
Compensation Systems

Abstract The AMAGuides to the Evaluation of Permanent Impairment (AMA Guides) is the most widely used basis for determining impairment and is used in state workers’ compensation systems, federal systems, automobile casualty, and personal injury, as well as by the majority of state workers’ compensation jurisdictions. Two tables summarize the edition of the AMA Guides used and provide information by state. The fifth edition (2000) is the most commonly used edition: California, Delaware, Georgia, Hawaii, Kentucky, New Hampshire, Idaho, Indiana, Iowa, Kentucky, Massachusetts, Nevada, North Dakota, Ohio, Vermont, and Washington. Eleven states use the sixth edition (2007): Alaska, Arizona, Louisiana, Mississippi, Montana, New Mexico, Oklahoma, Pennsylvania, Rhode Island, Tennessee, and Wyoming. Eight states still commonly make use of the fourth edition (1993): Alabama, Arkansas, Kansas, Maine, Maryland, South Dakota, Texas, and West Virginia. Two states use the Third Edition, Revised (1990): Colorado and Oregon. Connecticut does not stipulate which edition of the AMA Guides to use. Six states use their own state specific guidelines (Florida, Illinois, Minnesota, New York, North Carolina, and Wisconsin), and six states do not specify a specific guideline (Michigan, Missouri, Nebraska, New Jersey, South Carolina, and Virginia). Statutes may or may not specify which edition of the AMA Guides to use. Some states use their own guidelines for specific problems and use the Guides for other issues.

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

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