February 16, 2019 The Red Summer refers to the late winter, spring, summer, and early autumn of 1919, which were marked by hundreds of deaths and higher casualties across the United States, as a result of racial riots that occurred in more than three dozen cities and one rural county. In most instances, African Americans were attacked by White Americans.
This year marks the centennial of the Red Summer of 1919, when deadly racial clashes and lynchings across the country led to the deaths of hundreds of people, mostly African Americans. As the destruction of thousands of African-American homes and businesses. It was a seminal period in United States history. The Great Migration had just begun, initiating the relocation north and west of six million African Americas from the southern United States. Spurred by economic oppression and Jim Crow segregation laws, African-Americans found employment in Northern cities that were experiencing labor shortages due to World War I. However, returning white soldiers resented black Americans who had been given the jobs they themselves once held. African-American soldiers, in turn, resented their exclusion from the peace time benefits enjoyed by white soldiers. Tensions reached a boiling point in the spring of 1919 when the first racially motivated attacks began. Lasting from May through October, the period of these conflicts became known as the “Red Summer.”
In commemoration of the Red Summer of 1919, when racial violence spread across the nation, Grace Chorale of Brooklyn announces its 2019 season.
A Conversation – in conjunction with Black History Month
A Concert – commemorating the Centennial of the Red Summer of 1919
A Civil Rights Concert Tour – in the spirit of equal justice and reconciliation
A Conversation with Cameron McWhirter author of Red Summer: The Summer of 1919 and the Awakening of Black America. Tuesday, February 19, 2019, 7:00 pm Lafayette Avenue Presbyterian Church 85 S. Oxford Street, Brooklyn, NY Admission is free to the public.
The Civil Rights Concert Tour July 3-7, 2019, Grace Choral of Brooklyn will join forces with the Congressional Chorus, based in Washington D.C., for a concert tour to Atlanta, Montgomery, Selma and Birmingham. The choruses will perform three concerts: at the Center for Civil and Human Rights in Atlanta, the Old Ship AME Church in Montgomery, and at the First Church of Birmingham.
Domestic Workers United – History Exhibit – 1/4
Domestic Workers United History Exhibition Friday, January 4, 2019 Arts East New York, Inc 534 Livonia Avenue Brooklyn, NY 11207 718-676-6006 firstname.lastname@example.org
Domestic Workers United [DWU] is an organization of Caribbean, Latina and African nannies, housekeepers, and elderly caregivers in New York, organizing for power, respect, fair labor standards and to help build a movement to end exploitation and oppression for all.
For the past several years we have had the honor to have these amazing women present at our PathMakers to Peace gala representing their dedicated organization and also providing the event with the much needed musical interlude to demonstrate just how powerful the human voice can be when we raise them in song.
All those who cherish labor and fairness for these hard working workers should put that on their calendars. See some images from the December preview.
People’s Music Network Winter Concert – 1/25-27
People’s Music Network Winter Concert Friday, January 25, 2019 at 7 PM. Community Church of New York U.U. 40 East 35th St. (between Madison & Park) New York, NY, 10016 Cafe entrance at far right of building, at street level.
People’s Music Network Winter Concert This special concert in main sanctuary upstairs marks the beginning of the People’s Music Network 2019 Winter Gathering in New York City, January 25-27.
The concert features Francisco Herrera (PMN Artist-in-Residence), MacDougal Street Rent Party, Brooklyn Women’s Chorus, Raymond Nat Turner, Jeremy Aaron, Lindsey Wilson, Dilson Hernandez, and Filthy Rotten System – all singing out for freedom, peace, human rights, social and economic justice, environmental protection, and more.
If you register for the entire Winter Gathering, the concert is included at no additional charge. Otherwise tickets are $16 in advance or $20 at the door. Students or low income: $11 in advance or $15 at the door. Solidarity rate to help support PMN: $35.
For more info write to email@example.com or call 413-325-8570. peoplesmusic.org/Winter-Concert Please note that this concert is FRIDAY at 7:30 in the main sancturary upstairs!
PathMakers to Peace honors individuals and organizations who have played a leadership role in forging new pathways to the elimination of war as well as the social and economic injustices which lead to war.
This is our major fundraising event of the year! Without funds we can’t do the work
Join us to honor:
Rev. Dr. Liz Theoharis, for her leadership of the Poor People’s Campaign: A National Call for Moral Revival
Rebecca Vilkomerson, for her leaderhip as Executive Director of Jewish Voice for Peace
Make the Road NY, for their work to achieve dignity and justice for immigrant and working cass communities
Fathima Nizaruddin, a documentary filmmaker from India is screening her film Nuclear Hallucinations (54 minutes, UK/India, 2016)
at Brooklyn College on 10th October. The film is about the Kudankulam anti-nuclear movement in India.
The event is open to public Date: Tuesday, October 10, 2017 Time:12.30 to 2pm Venue: 214, West End Building at Brooklyn College (Campus Map pdf) #8 on the map
2900 Bedford Avenue
Brooklyn, NY 11210
Nuclear Hallucinations is a film, which claims to be a documentary, and it is centered around the anti-nuclear struggle against the Kudankulam Atomic Power Project in South India. In a context where cases of sedition and waging of war against the state are filed against anti-nuclear protesters, the film attempts to question the totalitarian nature of pro- nuclear assertions through comic modes. Satirical impersonations, performance and ironic renderings of jingoistic rhetoric work together to form a narrative that explores the tragic absurdity of constructing nuclear power plants on a tsunami affected coast. This narrative tries to ascertain the relation between the production of “scientific facts” about the “safe” nature of the Indian nuclear project and violence against anti-nuclear protesters including police firing. Anti-nuclear activists, villagers and performers who appear in the film engage with the farcical dimension of these “facts” and this raises larger questions about how authoritarian knowledge claims are asserted through the documentary form.
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