After serving 26 years in Prison with Mandela, "Kathy," as he was affectionately known, was appointed Political Advisor to President Mandela. He went on to become the primary force behind turning the infamous Robben Island Prison into a museum. Sponsored by the Liberal Education Department and the Institute for the Study of Women and Gender in the Arts and Media.
Shojo Manga! Girl Power! is curated by Dr. Masami Toku, Associate Professor of Art and Art History at California State University Chico.
t's hard for an actor to go wrong if he's true to the words August Wilson has written. When I played Troy Maxson in "Fences" on Broadway in 1987, the speeches simply guided themselves, they're so well constructed. August was a poet before he became a playwright, and poetry is still part of the language his characters speak. You don't always hear people talk like that in real life, but you wish you could.
Like Eugene O'Neill, Tennessee Williams and Arthur Miller, August didn't just write a great play, he has written volumes of good, better and best plays. "Fences" was the second in his series about blacks in each decade of the 20th century. But August's plays transcend race. When Carole Shorenstein Hays, who produced "Fences," saw the play for the first time she said she was watching a "universal play, and when push comes to shove, families are alike."
August Wilson Essentials
Born: April 27, 1945, Pittsburgh, Pennsylvania.
Broadway Debut: "Ma Rainey's Black Bottom," 1984
Mentor: Romare Bearden. "When I saw his work, it was the first time that I had seen black life presented in all its richness, and I said, 'I want to do that -- I want my plays to be the equal of his canvases.'"
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Those family confrontations -- when the mighty forces that August gathers on the stage clash, either with words or with action -- are the scenes that are hard to shake. Just look at Troy. The way he bashes his soul against other souls is illuminating. I always felt he was one of those characters I wish I had really known. August says that when he writes he leaves some blood on the page. You can't get that stuff out of yourself without hurt. It's not therapy; it's more like revelation. He often talks about the pain of writing by quoting Bynum, one of his characters in "Joe Turner's Come and Gone," who says, "I don't do it lightly. It costs me a piece of myself every time I do." And in doing so, August has earned his place on this list.
Select Praise for The Known World, winner of the Pulitzer Prize for Fiction and a National Book Critics Circle Award Winner
'Extraordinary. . . . The best new work of American fiction to cross my desk in years. . . . There are hints herein of Toni Morrison and Gabriel Garcia Marquez . . . and of Faulkner as well. . . . Against all evidence to the contrary that American fiction has given us over the past quarter-century, The Known World affirms that the novel does matter, that it can still speak to us as nothing else can.' -- Jonathan Yardley, The Washington Post Book World
'Stunning.' --New York Times
'Beautifully written, morally complex . . . [it] ought to enjoy the massive readership that Charles Frazier's runaway hit, Cold Mountain did.” --USA Today
'Exceptional. . . . An achievement of epic scope.' --New York Times Book Review
'A subtle and intelligent epic of slavery. . . . Jones's flawless, seductive language . . . is so assured that you will have difficulty leaving The Known World on the last page.' --The Boston Globe
'Breathtaking. . . . A fascinating counterweight to Toni Morrison's Beloved. . . . It is essential reading.' --Entertainment Weekly
'This . . . magical novel will touch you in a profound way.' -- Critic's Choice, People Magazine
'Heartrending. . . . At times, The Known World echoes Faulkner. . . . At other times, the novel walks with the pace . . . of the Bible.'--Dallas Morning News
An ambitious, luminously written novel that ranges seamlessly between the past and future and back again to the present, The Known World weaves together the lives of freed and enslaved blacks, whites, and Indians -- and allows all of us a deeper understanding of the enduring multidimensional world created by the institution of slavery.
In order to connect the Columbia community, one-person in the performance group must be a Columbia College Student.
The name Luna Negra expresses the complex influence of Latino culture in the world – its depth and richness is ever-present, yet not always visible or acknowledged. The Chicago-based company offers an unprecedented evening of all Cuban choreographers, with a world premiere by Artistic Director Eduardo Vilaro and Bessie Award winner Pedro Ruiz. This poetic duet reflects Cuban identity from two perspectives: Vilaro's experience as a Cuban-born man raised in the U.S. and Ruiz's life growing up in Communist Cuba.
This panel discussion will explore how young artists incorporate an alternative understanding of culture and politics. Images and performances will accent the discussion. The panel will be moderated by Dr. Teresa Prados-Torreria, Professor of History and Cultural Studies at Columbia College Chicago.
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