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Claire Good Group

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Preacher Behind The White Hoods: A Critical Exa... |BEST|

In the South, Anglican ministers sponsored by the Society for the Propagation of the Gospel, founded in England, made earnest attempts to teach Christianity by rote memorization; the approach had little appeal. Some white owners allowed the enslaved to worship in white churches, where they were segregated in the back of the building or in the balconies. Occasionally persons of African descent might hear a special sermon from white preachers, but these sermons tended to stress obedience and duty, and the message of the apostle Paul: "Slaves, obey your masters."

Preacher Behind the White Hoods: A Critical Exa...

Baaz, Gondola, Marijnen, and Verweijen, writing in Foreign Affairs, were critical of the "white savior complex" in the 2014 documentary Virunga, which features the Democratic Republic of the Congo's Virunga National Park and the conservation work of its park rangers. They said, "The movie features endless footage of a park guard hugging and playing with the gorillas, evoking the notion of the 'noble savage' who is close to nature, honest and naive, and dependent on the white man for his salvation. Rarely do we see the Congolese exercising political agency, even though there are numerous civil society activists in the region, often working at great personal risk."[10]

Shuffle Along also brought jazz to Broadway. It combined jazz music with very creatively choreographed jazz dance to transform musical theater into something new, exciting, and daring. And the show was a critical and financial success. It ran 474 performances on Broadway and spawned three touring companies. It was a hit show written, performed, and produced by blacks, and it generated a demand for more. Within three years, nine other African American shows appeared on Broadway, and white writers and composers rushed to produce their versions of black musical comedies.

Following the war, black music, especially the blues and jazz, became increasingly popular with both black and white audiences. Europe continued his career as a successful bandleader until his untimely death in 1919. Ma Rainey and other jazz artists and blues singers began to sign recording contracts, initially with African American record companies like Black Swan Records, but very quickly with Paramount, Columbia, and other mainstream recording outlets. In Harlem, one club opened after another, each featuring jazz orchestras or blues singers. Noble Sissle, of course, was one of the team behind the production of Shuffle Along, which opened Broadway up to Chocolate Dandies and a series of other black musical comedies, featuring these new musical styles.

The relationship of the Harlem Renaissance to white venues and white audiences created controversy. While most African American critics strongly supported the movement, others like Benjamin Brawley and even W. E. B. Du Bois were sharply critical and accused Renaissance writers of reinforcing negative African American stereotypes. Langston Hughes's assertion that black artists intended to express themselves freely, no matter what the black public or white public thought, accurately reflected the attitude of most writers and artists.

The Message cult uses deceptive tactics to recruit and indoctrinate unsuspecting people. Cult recruiters do not tell new members that the cult originated with deep ties to white supremacy groups. In fact, cult leaders deliberately and systematically lie to members claiming otherwise, and they either dissuade or forbid members from accessing the critical information that would disprove their claims. Cult leaders usually forbid members from speaking with former members. And depending upon the sub-group, members are often forbidden from accessing television, radio, books, newspapers, magazines, and the internet. 041b061a72


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