Lorraine Hansberry was the youngest of four children born to Carl Augustus Hansberry, a successful real-estate broker and Nannie Louise (born Perry), a driving school teacher and ward committeewoman.
Carl Hansberry was also a supporter of the Urban League and NAACP in Chicago. Both Hansberrys were active in the Chicago Republican Party.[8] Carl died in 1946 when Lorraine was fifteen years old; "American racism helped kill him," she later said.[9]
The Hansberrys were routinely visited by prominent black people, including sociology professor W. E. B. Du Bois, poet Langston Hughes, singer, actor, and political activist Paul Robeson, musician Duke Ellington, and Olympic gold medalist Jesse Owens. Carl Hansberry's brother, William Leo Hansberry, founded the African Civilization section of the History Department at Howard University.[10] Lorraine was taught: "Above all, there were two things which were never to be betrayed: the family and the race."[8]
Lorraine Hansberry has many notable relatives, including director and playwright Shauneille Perry, whose eldest child is named after her. Her grandniece is the actress Taye Hansberry. Her cousin is the flautist, percussionist, and composer Aldridge Hansberry.
In 1950, Hansberry decided to leave Madison and pursue her career as a writer in New York City, where she attended The New School. She moved to Harlem in 1951[12] and became involved in activist struggles such as the fight against evictions.[14]
Freedom newspaper and activism
In 1951, Hansberry joined the staff of the black newspaper Freedom, edited by Louis E. Burnham and published by Paul Robeson. At Freedom, she worked with W. E. B. Du Bois, whose office was in the same building, and other black Pan-Africanists.[12] At the newspaper, she worked as a "subscription clerk, receptionist, typist, and editorial assistant"[15] besides writing news articles and editorials.[16]
Additionally, she wrote scripts at Freedom. To celebrate the newspaper's first birthday, Hansberry wrote the script for a rally at Rockland Palace, a then-famous Harlem hall,[17] on "the history of the Negro newspaper in America and its fighting role in the struggle for a people's freedom, from 1827 to the birth of FREEDOM." Performers in this pageant included Paul Robeson, his longtime accompanist Lawrence Brown, the multi-discipline artist Asadata Dafora, and numerous others.[18] The following year, she collaborated with the already produced playwright Alice Childress, who also wrote for Freedom, on a pageant for its Negro History Festival, with Harry Belafonte, Sidney Poitier, Douglas Turner Ward, and John O. Killens. This is her earliest remaining theatrical work.[19]
Like Robeson and many black civil rights activists, Hansberry understood the struggle against white supremacy to be interlinked with the program of the Communist Party. One of her first reports covered the Sojourners for Truth and Justice convened in Washington, D.C., by Mary Church Terrell.[20] Hansberry traveled to Georgia to cover the case of Willie McGee, and was inspired to write the poem "Lynchsong" about his case.[21]
Hansberry worked on not only the US civil rights movement, but also global struggles against colonialism and imperialism.[5][13] She wrote in support of the Mau Mau Uprising in Kenya, criticizing the mainstream press for its biased coverage.[16]
Hansberry often explained these global struggles in terms of female participants. She was particularly interested in the situation of Egypt,[5] "the traditional Islamic 'cradle of civilization,' where women had led one of the most important fights anywhere for the equality of their sex."[22]
In 1952, Hansberry attended a peace conference in Montevideo, Uruguay, in place of Robeson, who had been denied travel rights by the State Department.[12][23]
The success of the hit pop song "Cindy, Oh Cindy", co-authored by Nemiroff, enabled Hansberry to start writing full-time.[12] Although the couple separated in 1957 and divorced in 1962, their professional relationship lasted until Hansberry's death.[26][27][28]
Hansberry lived for many years as a closeted lesbian.[3][4][5] Before her marriage, she had written in her personal notebooks about her attraction to women.[3][29] In 1957, around the time she separated from Nemiroff, Hansberry contacted the Daughters of Bilitis, the San Francisco-based lesbian rights organization, contributing two letters to their magazine, The Ladder, both of which were published under her initials, first "L.H.N."[30] and then "L.N."[31][32] Pointing to these letters as evidence, some gay and lesbian writers credited Hansberry as having been involved in the homophile movement or as having been an activist for gay rights.[33][34] According to Kevin J. Mumford, however, beyond reading homophile magazines and corresponding with their creators, "no evidence has surfaced" to support claims that Hansberry was directly involved in the movement for gay and lesbian civil equality.[35][36]
Mumford stated that Hansberry's lesbianism left her feeling isolated while A Raisin in the Sun catapulted her to fame; still, while "her impulse to cover evidence of her lesbian desires sprang from other anxieties of respectability and conventions of marriage, Hansberry was well on her way to coming out."[37] Near the end of her life, she declared herself "committed [to] this homosexuality thing" and vowed to "create my life—not just accept it".[27] Before her death, she built a circle of gay and lesbian friends, took several lovers, vacationed in Provincetown (where she enjoyed, in her words, "a gathering of the clan"),[38] and subscribed to several homophile magazines.[38] Hansberry's atheist views were expressed within her dramas, particularly A Raisin in the Sun. Critics and historians have contextualised the humanist themes of her work within a broader history of black atheist literature and a wider English language humanist tradition.[39][40]
In 1964, Hansberry and Nemiroff divorced but continued to work together.[41] Upon his ex-wife's death, Robert Nemiroff donated all of Hansberry's personal and professional effects to the New York Public Library. In doing so, he blocked access to all materials related to Hansberry's lesbianism, meaning that no scholars or biographers had access for more than 50 years.[35] In 2013, Nemiroff's daughter released the restricted materials to Kevin J. Mumford, who explored Hansberry's self-identification in subsequent work.[35][27]
Success as playwright
Written and completed in 1957, A Raisin in the Sun opened at the Ethel Barrymore Theatre on March 11, 1959, becoming the first play by an African American woman to be produced on Broadway. The 29-year-old author became the youngest American playwright and only the fifth woman to receive the New York Drama Critics Circle Award for Best Play.[42] She was also nominated for the Tony Award for Best Play, among the four Tony Awards that the play was nominated for in 1960.[43] Over the next two years, Raisin was translated into 35 languages and was being performed all over the world.[44]
In April 1959, as a sign of her sudden fame just one month after A Raisin in the Sun premiered on Broadway, photographer David Attie did an extensive photo-shoot of Hansberry for Vogue magazine, in the apartment at 337 Bleecker Street where she had written Raisin, which produced many of the best-known images of her today.[45] In her award-winning Hansberry biography Looking for Lorraine: The Radiant and Radical Life of Lorraine Hansberry, Imani Perry writes that in his "gorgeous" images, "Attie captured her intellectual confidence, armour, and remarkable beauty."[46]
In 1960, during Delta Sigma Theta's 26th national convention in Chicago, Hansberry was made an honorary member.
In 1961, Hansberry was set to replace Vinnette Carroll as the director of the musical Kicks and Co, after its try-out at Chicago's McCormick Place. Written by Oscar Brown, Jr., the show featured an interracial cast including Lonnie Sattin, Nichelle Nichols, Vi Velasco, Al Freeman, Jr., Zabeth Wilde, and Burgess Meredith in the title role of Mr. Kicks. A satire involving miscegenation, the $400,000 production was co-produced by her husband Robert Nemiroff. Despite a warm reception in Chicago, the show never made it to Broadway.[48]
Hansberry agreed to speak to the winners of a creative writing conference on May 1, 1964: "Though it is a thrilling and marvelous thing to be merely young and gifted in such times, it is doubly so, doubly dynamic — to be young, gifted and black."[49]
While many of her other writings were published in her lifetime — essays, articles, and the text for the SNCC book The Movement: Documentary of a Struggle for Equality[50] — the only other play given a contemporary production was The Sign in Sidney Brustein's Window.[41] It ran for 101 performances on Broadway[51] and closed the night she died.
Beliefs
According to historian Fanon Che Wilkins, "Hansberry believed that gaining civil rights in the United States and obtaining independence in colonial Africa were two sides of the same coin that presented similar challenges for Africans on both sides of the Atlantic."[52] In response to the independence of Ghana, led by Kwame Nkrumah, Hansberry wrote: "The promise of the future of Ghana is that of all the colored peoples of the world; it is the promise of freedom."[53]
Regarding tactics, Hansberry said blacks "must concern themselves with every single means of struggle: legal, illegal, passive, active, violent and non-violent... They must harass, debate, petition, give money to court struggles, sit-in, lie-down, strike, boycott, sing hymns, pray on steps—and shoot from their windows when the racists come cruising through their communities."[54]
James Baldwin described Hansberry's 1963 meeting with Robert F. Kennedy, in which Hansberry asked for a "moral commitment" on civil rights from Kennedy. According to Baldwin, Hansberry stated: "I am not worried about black men--who have done splendidly, it seems to me, all things considered....But I am very worried...about the state of the civilization which produced that photograph of the white cop standing on that Negro woman's neck in Birmingham."[55]
In a Town Hall debate on June 15, 1964, Hansberry criticized white liberals who could not accept civil disobedience, expressing a need to "encourage the white liberal to stop being a liberal and become an American radical." At the same time, she said, "some of the first people who have died so far in this struggle have been white men."[56]
In 1959, Hansberry commented that women who are "twice oppressed" may become "twice militant". She held out some hope for male allies of women, writing in an unpublished essay: "If by some miracle women should not ever utter a single protest against their condition there would still exist among men those who could not endure in peace until her liberation had been achieved."[60]
Hansberry was appalled by the nuclear bombing of Hiroshima and Nagasaki, which took place while she was in high school. She expressed a desire for a future in which "Nobody fights. We get rid of all the little bombs—and the big bombs," though she also believed in the right of people to defend themselves with force against their oppressors.[54]
The FBI began surveillance of Hansberry when she prepared to go to the Montevideo peace conference. The Washington, D.C., office searched her passport files "in an effort to obtain all available background material on the subject, any derogatory information contained therein, and a photograph and complete description," while officers in Milwaukee and Chicago examined her life history. Later, an FBI reviewer of Raisin in the Sun highlighted its Pan-Africanist themes as "dangerous".[23]
Death
Hansberry died of pancreatic cancer[5][61] on January 12, 1965, aged 34.[41] In his introduction to Hansberry's posthumously released autobiography, To Be Young, Gifted and Black: An Informal Autobiography, James Baldwin wrote that "it is not at all farfetched to suspect that what she saw contributed to the strain which killed her, for the effort to which Lorraine was dedicated is more than enough to kill a man."[62]
Hansberry's funeral was held in Harlem on January 15, 1965. Paul Robeson and SNCC organizer James Forman gave eulogies.[6] The presiding minister, Eugene Callender, recited a message from Baldwin, and also a message from the Reverend Martin Luther King Jr. that read: "Her creative ability and her profound grasp of the deep social issues confronting the world today will remain an inspiration to generations yet unborn." The 15th was also Dr. King's birthday. She is buried at Asbury United Methodist Church Cemetery in Croton-on-Hudson, New York.[63]
Posthumous works
Hansberry's ex-husband, Robert Nemiroff, became the executor for several unfinished manuscripts.[41] He added minor changes to complete the play Les Blancs, which Julius Lester termed her best work, and he adapted many of her writings into the play To Be Young, Gifted and Black, which was the longest-running Off Broadway play of the 1968–69 season.[64] It appeared in book form the following year under the title To Be Young, Gifted and Black: Lorraine Hansberry in Her Own Words. She left behind an unfinished novel and several other plays, including The Drinking Gourd and What Use Are Flowers?, with a range of content, from slavery to a post-apocalyptic future.[41]
When Nemiroff donated Hansberry's personal and professional effects to the New York Public Library, he "separated out the lesbian-themed correspondence, diaries, unpublished manuscripts, and full runs of the homophile magazines and restricted them from access to researchers." In 2013, more than twenty years after Nemiroff's death, the new executor released the restricted material to scholar Kevin J. Mumford.[65]
Legacy
In 1973, a musical based on A Raisin in the Sun, entitled Raisin, opened on Broadway, with music by Judd Woldin, lyrics by Robert Brittan, and a book by Nemiroff and Charlotte Zaltzberg. The show ran for more than two years and won two Tony Awards, including Best Musical.
In 2014, the play was revived on Broadway again in a production starring Denzel Washington, directed again by Kenny Leon; it won three Tony Awards, for Best Revival of a Play, Best Featured Actress in a Play for Sophie Okonedo, and Best Direction of a Play.
In 1969, Nina Simone first released a song about Hansberry called "To Be Young, Gifted and Black." The title of the song refers to the title of Hansberry's autobiography, which Hansberry first coined when speaking to the winners of a creative writing conference on May 1, 1964: "Though it is a thrilling and marvelous thing to be merely young and gifted in such times, it is doubly so, doubly dynamic — to be young, gifted and black."[49] Simone wrote the song with the poet Weldon Irvine and told him that she wanted lyrics that would "make black children all over the world feel good about themselves forever." When Irvine read the lyrics after it was finished, he thought, "I didn't write this. God wrote it through me." A studio recording by Simone was released as a single and the first live recording on October 26, 1969, was captured on Black Gold (1970).[66] The single reached the top 10 of the R&B charts.[67] In the introduction of the live version, Simone explains the difficulty of losing a close friend and talented artist.
The Lorraine Hansberry Theatre of San Francisco, which specializes in original stagings and revivals of African-American theatre, is named in her honor.
On the eightieth anniversary of Hansberry's birth, Adjoa Andoh presented a BBC Radio 4 program entitled Young, Gifted and Black in tribute to her life.[71]
Founded in 2004 and officially launched in 2006, The Hansberry Project of Seattle, Washington was created as an African-American theatre lab, led by African-American artists and was designed to provide the community with consistent access to the African-American artistic voice. A Contemporary Theatre (ACT) was their first incubator and in 2012 they became an independent organization. The Hansberry Project is rooted in the convictions that black artists should be at the center of the artistic process, that the community deserves excellence in its art, and that theatre's fundamental function is to put people in a relationship with one another. Their goal is to create a space where the entire community can be enriched by the voices of professional black artists, reflecting autonomous concerns, investigations, dreams, and artistic expression.
In 2010, Hansberry was inducted into the Chicago Literary Hall of Fame.[72]
In 2013, Hansberry was inducted into the Legacy Walk, an outdoor public display that celebrates LGBT history and people. This made her the first Chicago native to be honored along the North Halsted corridor.[73]
In January 2018, the PBS series American Masters released a new documentary, Lorraine Hansberry: Sighted Eyes/Feeling Heart, directed by Tracy Heather Strain.[76]
On September 18, 2018, the biography Looking for Lorraine: The Radiant and Radical Life of Lorraine Hansberry, written by scholar Imani Perry, was published by Beacon Press.[77]
On June 9, 2022, the Lilly Awards Foundation unveiled a statue of Hansberry in Times Square. The statue will be sent on a tour of major US cities.[78]
To Be Young, Gifted and Black: Lorraine Hansberry in Her Own Words (1969)
Les Blancs: The Collected Last Plays / by Lorraine Hansberry. Edited by Robert Nemiroff (1994)
Toussaint. This fragment from a work in progress, unfinished at the time of Hansberry's untimely death, deals with a Haitian plantation owner and his wife whose lives are soon to change drastically as a result of the revolution of Toussaint L'Ouverture. (From the Samuel French, Inc. catalog of plays.)
^Wilkins, "Beyond Bandung" (2006), p. 194: "It was common for the Hansberry household to host a range of African-American luminaries such as Paul Robeson, W. E. B. Du Bois, Duke Ellington, Walter White, Joe E. Louis, Jesse Owens, and others. Hansberry's uncle, William Leo Hansberry, was a distinguished professor of African history at Howard University and had made a name for himself as a specialist in African antiquity. Thus, Hansberry became deeply familiar with pan-African ideas and the international contours of black liberation at an early age (8)."
^Cohodas, Nadine (2010), Princess Noire: The Tumultuous Reign of Nina Simone, Pantheon; online.
^ abcdefgCarter, "Commitment amid Complexity" (1980), p. 41.
^Carter, "Commitment amid Complexity" (1980), p. 47. "While working at Freedom, Hansberry also demonstrated her dedication to the cause by marching on picket lines, by speaking on street corners in Harlem, and by helping to move the furniture of evicted black tenants back into their apartments."
^Higashida, Cheryl (2011). Black internationalist feminism : women writers of the Black left, 1945–1995. Urbana: University of Illinois Press. p. 49. ISBN978-0252093548. JSTOR10.5406/j.ctt2tt9dg.5.
^ abWilkins, "Beyond Bandung" (2006), pp. 196–197. "In an article titled 'Kenya's Kikuyu: A Peaceful People Wage Heroic Struggle against the British,' Hansberry presented an opposite view and applauded the Kikuyu for 'helping to set fire to British Imperialism in Kenya.' Put off by the 'frantic dispatches about the "terrorists" and "witchcraft societies" in the colony' that preceded the December 1952 publication of her article, Hansberry criticized anti – Mau Mau coverage that only 'distort[ed] the fight for freedom by the five million Masai, Wahamba, Kavirondo, and Kikuyu people who [made] up the African people of Kenya.'"
^Anderson, "Freedom Family" (2008), p. 260. "No sooner had she joined Freedom, which had been founded by Paul Robeson as part of his tightening embrace of the Communist Party line in the increasingly frigid Cold War than she was serving as a participant-correspondent: she accompanied the 'Sojourners for Truth and Justice,' a group of 132 black women from 15 states which was convened in September 1951, in Washington by the long-time activist Mary Church Terrell 'to demand that the Federal Government protect the lives and liberties' of black Americans. Hansberry's full-page report detailed the graphic and, inevitably, frustrating encounter between officials of the Justice Department and women like Amy Mallard, the widow of a World War II veteran who had been shot to death for attempting to vote in Georgia."
^Mumford, Kevin J. (2016). Not Straight, Not White: Black Gay Men from the March on Washington to the AIDS Crisis. Chapel Hill: University of North Carolina Press. pp. 14–22. ISBN978-1-4696-2684-0. OCLC1001715112.
^"Hansberry, Lorraine". glbtq: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture. glbtq, Inc. Archived from the original on March 14, 2013. Retrieved March 31, 2013.
^Riemer, Matthew; Brown, Leighton (2019). We Are Everywhere: Protest, Power, and Pride in the History of Queer Liberation. Berkeley: Ten Speed Press. p. 84. ISBN9780399581823.
^Still, Larry (October 12, 1961). Johnson, John H (ed.). "Oscar Brown musical gets warm reception in windy city". Jet. 20 (25): 58–61. After the first showing, co-producers Burt Charles D'Lugoff and Robert Nemiroff announced that original director Vinnette Carroll would be replaced by Nemiroff's wife, prize-winning playwright Lorraine (A Raisin in the Sun) Hansberry in her first major directing spot.
^Carter, "Commitment amid Complexity" (1980), p. 46.
^Higashida, Black Internationalist Feminism (2011), p. 60. "For Hansberry, existentialism encoded, politicized, and dramatized racial and sexual identities (because Jean Genet and Norman Mailer represented blacks, gays, and prostitutes who exposed the falsities upon which modern life was scaffolded) but it denied the historical material conditions which gave rise to both oppression and social change. [...] Hansberry's review of Wright, then, was only an early salvo in an argument with the work of Genet and Mailer as well as that of Albert Camus, Samuel Beckett, and Edward Albee over human existence, responsibility, and freedom. While these writers and thinkers presented diverse, even incommensurable world views, Hansberry understood them to be linked by an intellectually, politically, and morally bankrupt nihilism and solipsism."
^Higashida, Black Internationalist Feminism (2011), pp. 59–62.
^Higashida, Black Internationalist Feminism (2011), pp. 64–65. "Yet even in her unwavering criticism of existentialism, Hansberry did not dismiss it: she was strongly influenced by the existentialist feminism of Simone de Beauvoir's The Second Sex, which she called a 'great book' that might 'very well be the most important work of this century.'"
^Carter, "Commitment amid Complexity" (1980), p. 45.
^Buchanan, Paul D. (2009). The American Women's Rights Movement: a chronology of events and of opportunities from 1600 to 2008. Branden Books. p. 210. ISBN978-0-8283-2189-1.
Carter, Stephen R. "Commitment amid Complexity: Lorraine Hansberry's Life in Action". MELUS 7(3), Autumn 1980. Accessed December 25, 2013, via JStor.
Wilkins, Fanon Che, "Beyond Bandung: The Critical Nationalism of Lorraine Hansberry, 1950 – 1965". Radical History Review 95, Spring 2006. Accessed December 24, 2013 via Duke University Press.
"The Black Revolution and the White Backlash" (audio with transcript) – speech by Lorraine Hansberry, Forum at Town Hall sponsored by The Association of Artists for Freedom, New York City, June 15, 1964
Freedom, 1951–55, New York University digital archive. Monthly newspaper published by Paul Robeson and Louis Burnham. Lorraine Hansberry, "subscription clerk, receptionist, typist, and editorial assistant."
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2017 film by Noah Baumbach The Meyerowitz Stories(New and Selected)Film release posterDirected byNoah BaumbachWritten byNoah BaumbachProduced by Scott Rudin Noah Baumbach Lila Yacoub Eli Bush Starring Adam Sandler Ben Stiller Dustin Hoffman Emma Thompson CinematographyRobbie RyanEdited byJennifer LameMusic byRandy NewmanProductioncompaniesIAC FilmsScott Rudin ProductionsDistributed byNetflixRelease dates May 21, 2017 (2017-05-21) (Cannes) October 14, 2017 (2017-…
Questa voce sugli argomenti cestisti statunitensi e allenatori di pallacanestro statunitensi è solo un abbozzo. Contribuisci a migliorarla secondo le convenzioni di Wikipedia. Segui i suggerimenti dei progetti di riferimento 1, 2. C.M. Newton Nazionalità Stati Uniti Altezza 188 cm Peso 86 kg Pallacanestro Ruolo Guardia / alaAllenatore Termine carriera 1951 - giocatore1989 - allenatore Hall of fame Naismith Hall of Fame (2000) Carriera Giovanili Fort Lauderdale High School1949-1…
Pour les articles homonymes, voir Champagne. Champagne Le vignoble champenois à Passy-Grigny Désignation(s) Champagne Appellation(s) principale(s) champagne, coteaux-champenois, rosé des Riceys, haute-marne et coteaux-de-coiffy Type d'appellation(s) AOC-AOP et IGP Reconnue depuis décret-loi du 22 juillet 1927 Pays France Région parente vignoble de Champagne Sous-région(s) côte des blancs,côte des Bar,montagne de Reims etvallée de la Marne Localisation Marne, Aube, Aisne, Haute-Marne et …
Football match1994 Football League Third Division play-off FinalWembley StadiumEvent1993–94 Football League Third Division Wycombe Wanderers Preston North End 4 2 Date28 May 1994VenueWembley Stadium, LondonRefereeKeith CooperAttendance40,109← 1993 1995 → The 1994 Football League Third Division play-off Final was an association football match played on 28 May 1994 at the Wembley Stadium, London, between Wycombe Wanderers and Preston North End. The match determined the fourth and fin…