Media slamKC
Explore the performances of young slam poets. Musical, lyrical, and provocative, these original spoken word pieces are supported by Hip Hop giants Questlove and Black Thought.
Born
September 13, 1895
Died
June 9, 1954
Country
United States of America
The financial support of wealthy widow Charlotte van der Veer Quick Mason enabled leading figures of the Harlem Renaissance to stride the cultural stage, but she herself carefully shunned the limelight. To downplay her role in the movement, she insisted that recipients of her generosity refer to her simply as “Godmother.”
After the death of her husband, Mason embarked on something of a spiritual quest. Assigning African Americans a spiritual quality that white society lacked, she grew fascinated by the heritage of those she deemed “primitives.”
A lecture by scholar Alain Locke on the achievements of Black artists spurred Mason to get involved in the New Negro Movement. Locke and Mason forged a strong bond cemented by shared goals: Both sought to support and promote African American culture. As Locke identified talent worthy of funding, Mason ponied up the cash.
When Locke introduced writer Zora Neale Hurston to Mason, the two women hit it off at once. Mason listened to Hurston’s tales of Southern folklore with rapt attention. In December 1927, she drew up a contract that promised Hurston a car, a camera, and $200 per month to record African American folklore and folk songs throughout the South.
Support from Mason was not without strings. Artist Aaron Douglas, skeptical about her encouragement of “primitive elements” in artists’ work, sometimes failed to meet her criteria and was asked to withdraw from major commissions. The poet Langston Hughes received $150 per month in exchange for informing Mason of everything he saw, said, did, or wrote. At Mason’s urging, Hughes curtailed his social life to focus on his writing. The young man’s recompense for such sacrifice was regular payments from Mason as well as opera tickets and new suits.
Mason furnished the funds that enabled Hurston and Hughes to collaborate on the play Mule Bone, yet she chided the pair for what she saw as their lack of productivity. When Mason cut off her support of Hughes, Hurston claimed Mule Bone for her own. The two writers never bridged the ensuing rift.
I n t e r s e c t i o n s |
|
Scholar Alain Locke was her close friend and colleague. |
|
With Mason’s support, Zora Neale Hurston documented folklore for two years. |
|
Langston Hughes based one of his characters in The Ways of White Folks on her. |
|
She supported Aaron Douglas, though he was skeptical of her criteria. |
|
In gratitude for her support, Claude McKay sent her accounts of “primitive” African life. |
|
Explore the performances of young slam poets. Musical, lyrical, and provocative, these original spoken word pieces are supported by Hip Hop giants Questlove and Black Thought.
How does poetry change when it transforms from written to spoken word? Listen as well-known voices express the work of celebrated poets.
Jason Reynolds was born in Washington, D.C., and grew up in Oxon Hill, Maryland. He wasn’t into reading or writing as a boy, but that changed when he discovered his love for the lyrics and flow of Hip Hop.
In this 9-12 lesson, students will analyze the rhythm, form, diction, and sound of hip hop and Shakespearean sonnets. Students will compare characteristics between Shakespeare’s work and the work of hip hop artists to create an original poem or lyrics.
Generous support for educational programs at the Kennedy Center is provided by the U.S. Department of Education. The content of these programs may have been developed under a grant from the U.S. Department of Education but does not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the federal government.
Gifts and grants to educational programs at the Kennedy Center are provided by A. James & Alice B. Clark Foundation; Annenberg Foundation; the Andrew W. Mellon Foundation; Bank of America; Bender Foundation, Inc.; Capital One; Carter and Melissa Cafritz Trust; Carnegie Corporation of New York; DC Commission on the Arts and Humanities; Estée Lauder; Exelon; Flocabulary; Harman Family Foundation; The Hearst Foundations; the Herb Alpert Foundation; the Howard and Geraldine Polinger Family Foundation; William R. Kenan, Jr. Charitable Trust; the Kimsey Endowment; The King-White Family Foundation and Dr. J. Douglas White; Laird Norton Family Foundation; Little Kids Rock; Lois and Richard England Family Foundation; Dr. Gary Mather and Ms. Christina Co Mather; Dr. Gerald and Paula McNichols Foundation; The Morningstar Foundation;
The Morris and Gwendolyn Cafritz Foundation; Music Theatre International; Myra and Leura Younker Endowment Fund; the National Endowment for the Arts; Newman’s Own Foundation; Nordstrom; Park Foundation, Inc.; Paul M. Angell Family Foundation; The Irene Pollin Audience Development and Community Engagement Initiatives; Prince Charitable Trusts; Soundtrap; The Harold and Mimi Steinberg Charitable Trust; Rosemary Kennedy Education Fund; The Embassy of the United Arab Emirates; UnitedHealth Group; The Victory Foundation; The Volgenau Foundation; Volkswagen Group of America; Dennis & Phyllis Washington; and Wells Fargo. Additional support is provided by the National Committee for the Performing Arts.
Social perspectives and language used to describe diverse cultures, identities, experiences, and historical context or significance may have changed since this resource was produced. Kennedy Center Education is committed to reviewing and updating our content to address these changes. If you have specific feedback, recommendations, or concerns, please contact us at [email protected].