RBG’s WORKING DEFINITION OF NEW AFRIKAN EDUCATION, CULTURAL DEVELOPMENT AND SOCIALIZATION

1. June, 2010
A WORKING DEFINITION OF NEW AFRIKAN EDUCATION, CULTURAL DEVELOPMENT AND SOCIALIZATION
Tutorial by Marc Imhotep Cray, M.D. / bna RBG Street Scholar
Play Baba Del Jones (Nana Kutu)-The War Correspondent mp3-
Definition of Culture
RBG Blakademics reflects the cultural continuity and recurring spiritual and
pedagogical themes of Afrikan peoples education and socialization across
space and time; from ancient classic Nile Valley Civilizations to West Africa
(from which we most directly come from) North, Central and East Africa and
throughout the Diaspora, right on up to our present day experience here in
the hells of north America. So the process does not put in as much as it
draws out what is already pre-existing in our mind and spirit
(our collective ancestral unconscious).... Read Full Story
OPEN PLAYLIST
Play Dr. Amos Wilson mp3 — Histroy as an Instrument of Power
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VIEW ICEBREAKER VIDEO
Dr. Wade Nobles defines culture as “a process which gives people
general design for living and patterns for interpreting their reality” Its
“aspects” he says are ideology, ethos and worldview; its factors are
ontology, cosmology and axiology; and its “manifestations” consists
of behavior, values and attitudes. [From Wade Nobles, Africanity and
the Black Family 1985, pg. 103}
Culture is not one of life’s luxuries:
it is life itself.
“Culture” may be defined as “the integrated pattern of human knowledge, belief, and
behavior… language, ideas, beliefs, customs, taboos, codes, institutions, tools,
techniques, works of art, rituals, ceremonies, and other related components…”
(Encyclopaedia Britannica, 1989).
At times,“culture” and “civilization” have been regarded as synonymous; at others,
culture has been regarded as the end and civilization the means. In anthropological
terms, culture encompasses a broad range of material objects, behavior patterns
and thoughts. In western society, culture is commonly regarded as something
highbrow, a luxury rather than a necessity. Certain activities are deemed to constitute
culture, while others are excluded. This RBG argues that a democratic culture where
there is access, respect, coherence and/or relevance in the peoples interest is not
luxury, but a basis for human and social development and New Afrikan peoples survival
.
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Senegal‟s former president, the poet Léopold Sédar Senghor, once stated in an
interview: “At intellectual conferences in the Third World culture is made an instrument
for politics, although Marx was of the opinion that politics should be the instrument for
culture. To Marx the purpose of politics is to make man free in order to be able to
„create works of beauty‟. Culture, not politics is the weave that keeps a society together.
But industrialized countries in East and West do not accept the notion that cultures be
equal although different. They do not take African culture and philosophy seriously as
long as we have no economic power.”
“Is „culture‟ an aspect or a means of „development‟, the latter understood as material
progress; or is „culture‟ the end and aim of „development‟, the latter understood as the
flourishing of human existence in its several forms and as a whole?”
These quotations reflect a longstanding and ongoing discussion of two viewpoints.
These can, however, be combined without one overshadowing the other. They are
interdependent and nurture one another.
On the one hand, the importance of culture is thought to lie in its function as a medium
of messages for educational or other social purposes. Here, the sharpness of the
instrument depends on the dedication, skills and depth of the conveyor.
The other viewpoint emphasizes culture as a means of paving the way for creativity and
showing experience that can be neither measured nor weighed. The artist‟s imagination,
or the world it builds, is a laboratory of the not-yet-experienced.
In the words of John Gardner, the American novelist, “Art is as original and important as
it is precisely because it does not start out with a clear knowledge of what it means to
say.”
To stimulate our imagination and nourish our dreams, we seek art, literature, film, music
and theatre for a varied range of aesthetic experience. This applies to people all over
the world, of all social classes and ages, women and men alike. What we cannot dream
about cannot be realized either.
Culture helps us transgress limits, self-imposed or otherwise; to challenge ourselves;
and to discover talents we were unaware of – talents that are valuable in every kind of
situation in life. Without imagination and creativity, we are prisoners of the structures
and thoughts of others.
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Four aspects of the role of culture in development may be discerned. There is no
competition between the four: rather, they empower one another.
They are:
1. using culture to illustrate or clarify a medical, political, educational, agricultural or
family problem = culture for development
2. strengthening the cultural sector = cultural development
3. the importance of analyzing the consequences of development cooperation on the
culture of a country, community or group.
4. mainstreaming culture in all development work.
West African traditional djembe music and culture
An Authentic African Village in America
AT RBG CULTURE IS EDUCATION, AND EDUCATION IS CULTURE
From: RBG Afrikan Center Thematic Overview-An Interactive Position Paper
In NATIONBUILDING, Agyei Akoto has produced a volume
that challenges all Afrikan people, particularly those of us in the
United States, to confront with seriousness the responsibilities
of educating for liberation, and the reality that the goal of
liberation must be Nationhood. This book is a masterpiece of
vision. More importantly, by writing candidly about the
experience produced by 20 years of sustained kazi (work)
within a collective of creative thinkers and doers, the author
helps readers understand how the wisdom he reveals in
NATIONBUILDING was developed. One appreciates, through
Agyei's writing that nationbuilding is the process that gives us
form and substance within humanity; it is through this process
that we create and recreate the culture that defines our lives.
RBG Street Scholars Think Tank in its content, methods and
global level of participation is proving to be one of the most
cutting edge digital academic demostrations online that has
implemented Dr. Akoto‟s Nationhood- Afrikan Centered
Curriculum Standards, with a from GED to Phd focus.
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It is of the utmost importance to know that family building is
Fundamental to nationbuilding.
ReAfrikanization and personal development can only be
accomplished within the context of the family. We must not permit
ourselves to take this matter of relationships and family
development lightly, nor unknowingly introduce elements of an
alien paradigm. Vigilance in this regard, with an ear for the
guidance of the Abosom and Nsamanfo Nananom is Mandatory.
from the book "Sankofa Movement: ReAfrikanization & the Reality
of War" by Kwame Agyei Akoto and Akua Nson Akoto
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African Culture and the Ongoing Quest for Excellence
Dialog, Principles, Practice
By Maulana Karenga, Ph.D.
African Culture and the Ongoing Quest for Excellence Dialog, Principles, Practice by Maulana Karenga, Ph.D.
The nearing of the next millennium unavoidably evokes concerns and calls for a critical
assessment of where we are and to what tasks we should direct our attention and
efforts in our ongoing quest for a free and empowered community, a just and good
society and a better world. In our assessment we are of necessity directed toward the
continuing struggle to free ourselves both socially and culturally. In fact, the two
struggles are unbreakably linked. For to free ourselves socially, we must build a
consciousness, cohesion and sense of specialness in community only culture can give.
But to bring forth the best of our culture, we must struggle to clear social space for its
recovery, reception and development. It is in this context that our organization Us (Us,
African people) argued in the Sixties and continues to argue that the key challenge in
Black life is the cultural challenge. And this challenge is essential to break beyond the
boundaries of the culture of the established order, recover, discover and bring forth the
best of our own culture, and effectively address the fundamental questions of our world
and our times. The task, as Us perceived it then and contends now, is to forge and
embrace a culture that both prepares the people for the struggle and sustains them in
the process of the struggle for a world of human freedom and human flourishing. This
meant then and continues to mean selecting and stressing elements of Black culture
that represent the best of African and human values, values which protect and promote
human life, human freedom and maximum human development. It means also
recreating liberation-supporti ve values, views and practices which were lost, damaged
or transformed in the midst of oppression and creating new ways of seeing and
approaching the world that reinforce and raise up the people, support and sustain the
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struggle, and point toward the new world we struggle to bring into being. Key to this
process of cultural construction and reconstruction is the ongoing dialog with African
culture. Kawaida, the philosophy of Us organization, defines this dialog as the constant
practice of asking questions and seeking answers from African culture to the
fundamental and enduring concerns of the African and human community. At the heart
of this project is the continuing quest to free ourselves, live full and meaningful lives and
become the best of what it means to be both African and human in the fullest sense of
the words. Moreover, it involves an ongoing search for models of excellence and
possibilities within our culture by which we speak our own special cultural truth to the
world and make our own unique contribution to the forward flow of human history. To
truly dialog with African culture means, first of all, using it as a resource rather than as a
mere reference. This is the meaning of posing questions and seeking answers within
African culture concerning central issues of life and the world. To simply use African
culture as a reference is to name things considered important, but never to use it to
answer questions, solve problems, or extract and shape paradigms of excellence and
possibility in thought and practice. To dialog with African culture, then, is to constantly
engage its texts, i.e., its oral, written, and living-practice texts, its paradigms, its
worldview and values, its understanding of itself and the world, in an ongoing search for
ever better answers to the fundamental questions and challenges of our time. We must
always recognize and respect the fact that our culture comes with its own special way of
being human in the world and that this particular African way of being human in the
world provides a pathway to the universal. For it represents African peoples' way of
engaging the fundamental concerns of humankind. Furthermore, our culture has
evolved in the longest of histories and thus has amassed a rich and varied array of
ancient and modern knowledge, understanding, and wisdom concerning the world. Ours
is a history of struggle, creativity, achievement, and constant concern for the right, the
just, and the good. It is a history of ancient wonder and achievement in the Nile Valley,
awesome tragedy and destruction in the Holocaust of Enslavement, and impressive
triumph in our constant struggle against overwhelming societal odds against us in
modern times. And ours is a history of an ongoing commitment to raise up the good
even in the midst of the most horrific evil and to pursue the possible in spite of the
catechism of impossibilities repeatedly offered us.
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8. June, 2010
Seven Core Areas of Culture
It is within the context of this rich and most ancient of
histories and cultures that we must constantly search for
and bring forth the best of what it means to be African and
pose new paradigms of human excellence and possibility.
This ongoing search for solutions and models of human
excellence and possibilities must occur, Kawaida
contends, in every area of human life but especially in the
seven core areas of culture: history; religion
(spirituality and ethics); social organization; economic
organization; political organization; creative
production (art, music, literature, dance, etc.) and
ethos, the collective self-consciousness achieved as a
result of activity in the other six areas.
History In the area of history, Us maintains, we must study history to learn its lessons,
absorb its spirit of possibility, extract and emulate its models of excellence and
possibility and honor the moral obligation to remember. We must measure ourselves in
the mirror of the best of our history and constantly ask ourselves how can we use the
past as a foundation to inform, expand and enrich our present and future. We must
always be conscious of our identity as the fathers and mothers of humanity and human
civilization in the Nile Valley, the sons and daughters of the Holocaust of Enslavement
and the authors and heirs of the Reaffirmation of our Africanness and social justice
tradition in the Sixties. Surely this is a challenge for intellectual, social and moral
excellence, active opposition to all forms of enslavement, and an enduring commitment
to cultural rootedness, justice, and good in the world.
Religion (Spirituality and Ethics) In the area of religion (spirituality and ethics),
our culture has the most ancient of ethical traditions, the oldest ethical, spiritual and
social justice texts. We introduced the concept of human dignity and the divine image of
the human person as early as 2140 BCE (before the common era) in the Sacred Husia,
in the Book of Kheti. We are the ones who spoke to the world in the earliest of times
saying, "speak truth, do justice, care for the vulnerable, give food to the hungry, water to
the thirsty, clothes to the naked and a boat to those without one, care for the ill, be a
staff of support for those of old age, a father to the orphan, a mother to the timid, a raft
for the drowning and a ladder for those trapped in the pit of despair, honor the elders
and ancestors, cherish and challenge the children, maintain a right relation with the
environment and always raise up the good and pursue the possible." This is a tradition
we must neither ignore nor abandon.
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9. June, 2010
Social Organization Our social organization must be constantly concerned with
values and practice that affirm and strengthen family, community, and culture. Certainly,
the Nguzo Saba, the Seven Principles of Kawaida, which under gird Kwanzaa,
independent schools and rights of passage, family maintenance, school retention and
numerous other community development and action programs are key to this. They are:
Umoja (Unity); Kujichagulia (Self-Determination ); Ujima (Collective Work and
Responsibility) ; Ujamaa (Cooperative Economics); Nia (Purpose); Kuumba (Creativity) ;
and Imani (Faith). It is within this framework of communitarian values that we build a
peaceful and harmonious togetherness; respect our special way of being human in the
world; build together in responsibility the relationships, family, community, society and
world we want to live in; share work and wealth; accept the collective vocation of
struggle for freedom, justice, peace and human flourishing in the world; constantly
repair and restore the world, making it ever more beautiful and beneficial and maintain
our faith in the right and the good by working and struggling to define, defend, and
develop them in the world.
Economic Organization In the area of economics, our culture teaches us the
principle of Ujamaa which in its most expansive sense means shared work and wealth
rooted in a profound sense of kinship with other humans and the environment. It
teaches us to be constantly concerned in our economic practice with the dignity of the
human person, with the well-being of family and community, the integrity of the
environment, and especially with the vulnerable among us: the poor, the ill, the aged,
the captive, the disabled, the refugee and the stranger. For ours is a consciousness
born not only of ancient ethical teaching but also of the historical experience of the
vulnerability of the "motherless child, a long ways from home" as expressed in our
sacred songs.
Political Organization Our culture teaches us to view politics as a collective
vocation to create a just and good society and advance human good in the world. It
calls us to honor our most ancient social justice tradition that, as I noted in the Million
Man March/Day of Absence Mission Statement, "requires respect for the dignity and
rights of the human person, economic justice, meaningful political participation, shared
power, cultural integrity, mutual respect for all peoples, and an uncompromising
resistance to social forces and structures which deny or limit these."
Creative Production The best of African culture insists that our creative production
or art not only be technically sound but also socially purposeful and responsible. It is at
its best functional, collective and committing. To be functional is to self-consciously
have and urge social purpose, to inform, instruct and inspire the people and be an
aesthetic translation of our will and struggle for liberation and ever higher levels of life. It
also means searching for and creating new forms and styles to speak our truth and
possibilities. To be collective, Black art must be done for all, drawn and synthesized
from all, and rooted in a life-based language and imagery rich in everyday relevance. It
must be understandable without being vulgarly simplistic, i.e., so pedestrian and
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impoverished that it damages art as a discipline and the social message it attempts to
advance. And it must celebrate not only the transcendent and awesome but also the
ordinary, teaching the beauty and sacredness of everyday people and their struggles to
live full, decent, and meaningful lives. Finally, Black art must be committing, i.e., not
simply inform and inspire Blacks, but also commit them to the historical project of
liberation and a higher level of human life. To do this, it must demand and urge willing
and conscious involvement in struggle and building of a new world and new men,
women and children to inhabit it. And it must move beyond protest and teach
possibilities, beyond victimization and teach Blacks to dare victory. The best of the
Black aesthetic teaches that art, then, must commit us to what we can become and are
becoming and inspire us to dare the positive in a world often defined and deformed by
the negative.
Ethos Finally, our culture provides us with an ethos we must honor in both thought and
practice. By ethos, we mean a people's self-understanding as well as its self-
presentation in the world through its thought and practice in the other six areas of
culture. This cultural self-understanding and self-presentation are best summed up in
the conclusion I posed in the MMM/DOA Mission Statement. The challenge I posed
there is the one I pose here as we move forward toward the next millennium. It is above
all a cultural challenge. For culture is here defined as the totality of thought and practice
by which a people creates itself, celebrates, sustains and develops itself and introduces
itself to history and humanity. And so the challenge of our culture is to come to the tasks
before us, "bringing the most central views and values of our faith communities, our
deepest commitments to our social justice tradition and the struggle it requires, the most
instructive lessons of our history, and a profoundly urgent sense of the need for positive
and productive action. In standing up and assuming responsibility in a new, renewed
and expanded sense, we honor our ancestors, enrich our lives and give promise to our
descendants. Moreover, through this historic work and struggle we strive to always
know and introduce ourselves to history and humanity as a people who are spiritually
and ethically grounded; who speak truth, do justice, respect our ancestors and elders,
cherish, support and challenge our children, care for the vulnerable, relate rightfully to
the environment, struggle for what is right and resist what is wrong, honor our past,
willingly engage our present and self-consciously plan for and welcome our future.
DR. MAULANA KARENGA is chairman of The Organization Us and The National Association of
Kawaida Organizations. He is also professor and chair of the Department of Black Studies at California
State University, Long Beach; Dr. Karenga is also the creator of Kwanzaa and the Nguzo Saba and
author of numerous scholarly articles and books including, Kwanzaa: A Celebration of Family, Community
and Culture, Kawaida Theory: A Communitarian African Philosophy; and Selections From The Husia:
Sacred Wisdom of Ancient Egypt. Moreover, he was a member of the Executive Council of the Million
Man March/Day of Absence and author of the MMM/DOA Mission Statement.
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Website Library / Biography
RIGHT CLICK OVER LINKS>OPEN IN NEW TAB> TO MAINTAIN THIS PAGE
ABA Commission on the 50th Anniversary of Brown v. Board of Education
Abraham Lincoln Historical Digitization Project (Northern Illinois U)
An African American Album, Vol. 2. (Public Library of Charlotte and Mecklenburg County,
NC)
African American Cemeteries in Albemarle and Amherst Counties (U Viginia)
The African American Experience in Ohio, 1850-1920 (LC)
African American History (Images from the Maryland Historical Society)
African American History: 17 Collections (LC)
o African American Perspectives: Pamphlets from the Daniel A. P. Murray Collection,
1818-1907
o The African-American Experience in Ohio: Selections from the Ohio Historical
Society
o From Slavery to Freedom: The African-American Pamphlet Collection, 1824-1909
o African-American Sheet Music, 1850-1920: Selected from the Collections of Brown
University
o African American Odyssey
o By Popular Demand: Jackie Robinson and Other Baseball Highlights, 1860s-1960s
o An American Time Capsule: Three Centuries of Broadsides and Other Printed
Ephemera
o The Frederick Douglass Papers at the Library of Congress
o The Zora Neale Hurston Plays at the Library of Congress
o Maps of Liberia, 1830-1870
o Words and Deeds in American History: Selected Documents Celebrating the
Manuscript Division's First 100 Years
o The Nineteenth Century in Print: Books
o Voices from the Days of Slavery: Former Slaves Tell Their Stories
o Born in Slavery: Slave Narratives from the Federal Writers' Project, 1936-1938
o Slaves and the Courts, 1740-1860
o The Church in the Southern Black Community, 1780-1925
o First-Person Narratives of the American South, 1860-1920
African American Images (Harvard U)
African American Images, Beauchamp Branch Library in Syracuse, New ... (Syracuse U)
African American Lumbermen: Their Homes and Families, ca.1908 (Stephen F. Austin
State University)
The African American Migration Experience, In Motion (Schomburg, NYPL)
The African American Mosaic (LC)
African American Odyssey: The Quest for Full Citizenship (LC)
The Frederick Douglass Papers at the Library of Congress
Jackie Robinson and Other Baseball Highlights, 1860s-1960s
Born in Slavery: Slave Narratives from the Federal Writers' Project...
From Slavery to Freedom: The African-American Pamphlet Collection, ...
Slaves and the Courts, 1740-1860
African American Pamphlet Collection: 1824-1909 (LC)
African American Perspectives: Pamphlets from the Adniel A.P. Murra... (LC)
African American Portraits by Carl Van Vechten, 1932-1964 (Brandeis U)
African American Sheet Music, 1850-1920: Selected from the Collecti... (LC)
African American Studies Digital Collection (Yale U)
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African American Subjects (NYPL)
African American Women (Middle Tennessee State U)
African American Women On-line Archival Collections (Duke U)
African American Women Writers of the 19th Century (Schomburg, NYPL)
African Americans and the End of Slavery in Massachusetts
African Americans in the Columbia River Basin (Washington State U)
African Americans in the Harmon Foundation Collection (Smithsonian)
www.vcdh.virginia.edu/afam/civilwar.html">African Americans in the Jim Crow South (U
Virginia)
African Americans - Biography, Autobiography and History (Yale Law School)
African Burial Ground (Schomburg, NYPL)
African Presence in the Americas (Schomburg, NYPL)
Africana Heritage Project (U South Florida)
Afro-Louisiana History and Genealogy
American Life Histories, Manuscripts from the Federal Writer's Proj... (LC)
American Slave Narratives: An Online Anthology (U Virginia)
Amistad Trial Site
Archie Givens African American Literature Collection (U Minnesota)
Atlantic Slave Trade and Slave Life in America: A Visual Record
Beyond Face Value: Depictions of Slavery in Confederate Currency
The Barrett Daycare Center, 1935-Present (U Virginia)
Black Abolitionist Archive (U Detroit Mercy)
Black Archives of America
Black Oral History Interviews (Washington State U)
BlackPast.org
Black Panther Party Sound Recording Project
The Blues, Black Vaudeville and the Silver Screen, 1912-1930s
Booker T. Washington Papers
Born in Slavery: Slave Narratives from the Federal Writers' Project...
Brown Before and After (VSU Library)
Brown University Steering Committee on Slavery & Justice
Brown vs. the Board of Education Digital Archive (U Michigan)
The California Underground Railroad
The Church in the Southern Black Community
Civil Rights Oral History Interviews (Washington State U)
Civil Rights Documentation Project
Civil Rights in Mississippi Digital Archive
Civil Rights Special Collection
Civil War Soldiers and Sailors (CWSS)
Crossroads to Freedom
Death or Liberty Exhibition
Duluth Lynchings Online Resources
Diary of a Contraband
Digital Schomburg: Images of African Americans from the 19th Century (Schomburg,
NYPL)
Digitized Collections (Fayetteville State University, NC)
Documenting the American South (U NC)
The Dred Scott Case
Elizabeth Johnson Harris: Life Story (Duke U)
Emancipation Proclamation (National Archives)
Exploring Amistad at Mystic Seaport
Faces and Voices: An Anthology of Verse and Prose (Howard U)
Faces of Science: African Americans in the Sciences (Princeton U)
The FBI Freedom of Information Act Electronic Reading Room
Films of Marlon Riggs (CA Digital Library)
First-Person Narratives of the American South, 1860-1920 (LC)
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13. June, 2010
Florida Folklife from the WPA Collections, 1937-1942 (LC)
The Frederick Douglass Papers
The Free People of Color of New Orleans: Les Gens de Couleur Libres
Freedom's Journal
Freedom Now
From Slavery to Freedom: The African-American Pamphlet Collection, ... (LC)
Geography of Slavery in Virginia
Global Mappings: Arthur Alfonso Schomburg (Schomburg, NYPL)
Hannah Valentine and Lethe Jackson: Slave Letters (Duke U)
Harlem 1900-1940: Schomburg Exhibit Arturo Schomburg (Schomburg, NYPL)
Harlem History
Historical African-American Autographs from the Ramos Collection, K... (Kansas City PL)
Historical Publications of the United States Civil Rights Commission
Historical Text Archive: African American
Historically Black College & University, Digital Collection
Howard University
AfroBlue
American Art from the Howard University Collection
Covington, Charles (Pianist)
Faculty Authors Posters
Charlotte Wesley Holloman, Soprano
Howard University Jazz Ensemble
HUStream
Jackson, Raymond (Pianist)
Jones, Lois Mailou, 1905-1998
Journeys
Karen Walwyn (Pianist)
Legacy: Treasures of Black History
A Proud Continuum: Eight Decades of Art at Howard University
Snowden, Jr., Frank M.
Vignettes from the Writing Workshop
Images of African Americans in the 19th Century (Schomburg, NYPL)
Images of the American Civil War: African Americans
Jackson Davis Collection of African American Educational Photographs (U Virginia)
Jim Crow Museum of Racist Memorabilia
Jump, Jim Crow; or, What Difference Did Emancipation Make?
Land of (Unequal) Opportunity
Lest We Forget: The Triumph Over Slavery (Schomburg, NYPL)
Louis Armstrong Jazz Oral History Project, Selected Clips (Schomburg, NYPL)
Marian Anderson Collections, University of Pennsylvania (U Pennsylvania)
Malcolm X: A Search for Truth (Schomburg, NYPL)
Marcus Garvey & UNIA Papers Project
Martin Luther King, Jr. Project
MLK Newspaper Archive
Milburn (Mississippi Burning) Investigation
Monticello Plantation Database
North American Slave Narratives
Now What a Time: Blues, Gospel, and the Fort Valley Music Festivals...
Oral Histories of the American South - Civil Rights
Papers of Justice Tom C. Clark
Photographs of the 369th Infantry and African Americans during Worl...
Powerful Days: The Civil Rights Photography of Charles Moore
Proffit Historic District Online Resource Archive (U Virginia)
www.vcdh.virginia.edu/afam/civilwar.html">Race and Place: African Americans in the Jim
Crow South (U Virginia)
Roanoke Island Freedmens Colony
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Samuel J. May Anti-Slavery Collection
The Schomburg Legacy: Documenting the Global Black Experience for t... (Schomburg,
NYPL)
Seattle Civil Rights and Labor History Project
Slave Movement during the Eighteenth and Nineteenth Centuries
Slaves and the Courts
Social Activism Sound Recording Project: The Black Panther Party (CA Digital Library)
Sovereignty Commission Online
Still Going On: An Exhibit Celebrating the Life and Times of Willia... (Duke U)
Storming the Gates of Knowledge: A Documentary History of Desegrega... (U Viginia)
Tangled Roots
Television News of the Civil Rights Era 1950-1970
Third Person, First Person: Slave Voices from the Special Collectio... (Duke U)
Trials of the Scottsboro Boys
The Truman Administration and the Desegregation of the Armed Forces
Uncle Tom's Cabin and American Culture: a Multimedia Archive (U Virginia)
The Valley of the Shadow: Two Communities in the American Civil War (U Virginia)
Vilet Lester Letter (Duke U)
Virginia Emigrants to Liberia
Voices from the Gaps: Women Writers of Color
W.E.B. Du Bois Virtual University
We Shall Overcome: Historic Places of the Civil Rights Movement
Without Sanctuary
See also:
African American Digital Collections ( Google Search)
Africana Studies: Digital Historical Documents (Vassar College)
Web Resources on African American Writers and Literature
Tutorial by Marc Imhotep Cray, M.D. / bna RBG Street Scholar
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