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And a Black deputy sheriff comes along and he remembers that this woman was someone. She had been sketching out a story loosely based on the lives and experiences of her parents in Eatonville. Narrator: Hurston spent another eight unaccounted years trying to find her way in the world.
In my heart as well as in the mirror. Her latest travels were to facilitate the work of two white folklorists recording Negro folk songs for the Library of Congress, but it wasn't easy. Anthropology in the 1890s, before Franz Boas really comes on the professional scene, construed people in terms of savage, barbarian, and civilized. They – to give emphasis – use the noun and put the function of the noun before it as an adjective. It's attracting all this great talent and energy. Half of a yellow sun movie download. And as I understand she was the only African American woman there. Like, we're not going to do this, because I've been there before. Tiffany Ruby Patterson, Historian: She still has a lot she wants to do.
Narrator: Something of a celebrity on campus, Hurston later remarked that she was "Barnard's sacred black cow. " Hurston (Archival VO singing "Halimuhfack"): You may leave and go to Halimuhfack, but my slow drag will bring you back…. The Great Depression had dashed the dreams of many Americans. Carla Kaplan, Literary Scholar: The Fort Pierce community in which she lived, loved and adored her. They use the rhythm to work it into place. They were hot behind me in Jacksonville and they wanted me in Miami. They don't have to look at the rail 'cause that's the captain's job to see when it's right. A Raisin in the Sun streaming: where to watch online. I am not being trained to do a routine job. Her mother gave her permission to dream, a permission to ask questions, a permission to be artistic. That is why I can't endure to get at odds with her. I think Hurston had a lot of courage to put her ideas out there, but she was also getting older. Ah shack-er-lack-er-lack-er-lack-er-lack-er-lack-er-lack!
Eve Dunbar, Literary Scholar: Basically, you send her to go in and collect, but have somebody who's trained write up the material, trained, meaning credentialized. Whatever I do know, I have no intention of putting but so much in the public ears. She wrote that book in dialect. She also had a motion picture camera, a rare and expensive tool for anthropologists, that would allow her to capture scenes of rural Black life. Half of a yellow sun streaming vostfr film. It's a world of jazz. Lee D. Baker, Anthropologist: Much of the impetus for cultural anthropology, ethnography was called "salvage ethnography. He only paid her tuition for a short time leaving Hurston to scrub the school's floors to finish out the year—and then she was on her own. On the other hand, it is the truth as she saw it. Irma McClaurin, Anthropologist: Columbia at that moment, has organized all of its courses around salvaging information about indigenous Native Americans.
Narrator: Hurston had not just lost her relationship with Mason. Hurston had hoped for a teaching position in Florida that did not materialize. Charlotte Osgood Mason was employing Zora Neale Hurston for the opposite because she thought it was primitive. Irma McClaurin, Anthropologist: She is flamboyant. Narrator: Collecting did not go as planned for one of the newest members of the American Folk-Lore Society. She tried to replicate Cudjo's own language. Irma McClaurin, Anthropologist: The idea that she would strive to jump at the sun really puts into place the idea that Zora is always trying to reach someplace that may be unattainable to the ordinary person, and represents a real challenge for her—and a real opportunity. It was the time to hear things and talk. Tiffany Ruby Patterson, Historian: She was smart. Zora (VO): If I had not learned how to take care of myself in these circumstances, I could have been maimed or killed on most any day of the several years of my research work. Narrator: Hurston lived in an eight-room house on five acres of land with her parents, Lucy and John, and seven siblings. Half of a yellow sun streaming vostfr streaming. Narrator: Sick, exhausted and bankrupt, in April Hurston reached out to Mason for financial help as she packed up to relocate to Eatonville. María Eugenia Cotera, Modern Thought Scholar: There is a complex positionality that Hurston had to adopt in order to do what she wanted to do. Carla Kaplan, Literary Scholar: She had waited a long time to have her intellectual gifts recognized.
You can buy "A Raisin in the Sun" on Apple TV, Amazon Video, Google Play Movies, YouTube, Microsoft Store, DIRECTV, AMC on Demand, Vudu as download or rent it on Apple TV, Amazon Video, Google Play Movies, YouTube, Vudu, Microsoft Store, DIRECTV, AMC on Demand online. Lee D. Baker, Anthropologist: She was using this contemporary poetry that was written up in New York, bringing it down south and then the the southern folkloric tradition would take it, turn it up on its head and make it anew, and so she was documenting how folklore and culture was actually being created in front of her eyes. Lee D. Baker, Anthropologist: She wanted a much more comprehensive and much more scientific sort of tone, including a lot of religion, and the children's games, and sort of almost an encyclopedia. María Eugenia Cotera, Modern Thought Scholar: Their Eyes Were Watching God is to me the most personal of all of her books. Mason paid Hurston's theater bills and came through with six dollars for the new shoes, money for a one-way ticket and $75 in spending money. "The major problem…as I see it" Hurston wrote in her application, "is the collection of Negro folk material in as thorough a manner as possible, as soon as possible. It was the time for sitting on porches beside the road. Charles King, Political Scientist: Salvage anthropology was the idea that one of the goals of the anthropologist was to rush in and collect things before they were all destroyed by modernity. Carla Kaplan, Literary Scholar: He's a very important voice. Charles King, Political Scientist: Hurston is reporting on a set of experiences that she had, using the first person. Narrator: In September 1937, her book, Their Eyes Were Watching God, was on its way to becoming a mainstream critical success.
She would give money for everything else but that. Narrator: The Rosenwald Fund had agreed to provide $3, 000 over two years to support Hurston's doctorate. María Eugenia Cotera, Modern Thought Scholar: What I find really fascinating about that book is her admissions—they're very stealthy, that some of the folklore she collected, she collected actually when she was seven years old, nine years old, when she was a child growing up in Eatonville, immersed in this culture that she later collected. She sang and danced with them at their bi-monthly payday parties. Zora (VO): I was careful to do my classwork and be worthy to stand there under the shadow of the hovering spirit of Howard. Carla Kaplan, Literary Scholar: It was an enormous disappointment for her—one of the heartbreaks of her life.
Irma McClaurin, Anthropologist: It's now what we call autoethnography, because it's rooted in some of what she has lived herself, but also what she's researched in her own community. Daphne Lamothe, Literary Scholar: I think that Hurston had an understanding that at the root of it, whether people in Haiti thought about and talked about zombies as a kind of folklore, or a phenomenon that actually existed, that at the heart of it, this kind of fascination with the zombie is really about freewill. I would like to know her. Narrator: Hurston was livid, and she wrote that Locke knew "less about Negro life than anyone in America. It is a "lovely book, " stated a review in The New York Herald Tribune, praising Hurston as "an author that writes with her head and her heart.
That is to say, she's someone from the communities that she is studying. So the first week of January, 1925, found me in New York with $1. Zora (VO): What will be the end? She wrote for Howard's prestigious literary journal The Stylus and, in 1924, she co-founded The Hilltop, the university's newspaper. When she approached the people as an outsider, she encountered what she called the "featherbed resistance. " Narrator: In 1942 Dust Tracks on a Road was published to great fanfare. She fought for us in her writing. Narrator: Hurston's new methodological approach was apparent once she arrived at the Alabama home of Cudjo Lewis, one of the last known surviving Africans of the Clotilda, thought to be the last American slave ship. Hurston (Archival VO singing): I got a rainbow wrapped and tied around my shoulder. Eve Dunbar, Literary Scholar: She was articulating something where her investment in a particular version of Blackness was not valued. But she never allowed anybody to treat her as lesser than or to minimize her.
The next year, her friend anthropologist Jane Belo asked her to conduct research on religious trances in Beaufort, South Carolina. Narrator: To motor around the South, Hurston took out a car loan in Jacksonville using Boas's name for reference—a surprise he did not appreciate—and secured a chrome-plated pistol. Her arrival was met with a blur of invitations to dinners and speaking engagements. They even began calling it "da party book, " and asking for her to bring out the party book and read something else from it. All your senses need to be engaged in this beautiful creation.