|James D. Lynch (1839–1872) was the first African American to serve as the Secretary of State of Mississippi. Born to a white father and black mother in Baltimore, Maryland, Lynch was trained as a minister at Kimball Union Academy in Meriden, New Hampshire, and then preached in Galena, Indiana until the Civil War. After the war, Lynch preached in South Carolina, and later in Mississippi, where the plight of blacks led him to join the Republican Party. He quickly rose to prominence in the party and in Mississippi politics. Shortly after his death, the Republican-controlled Mississippi legislature voted to invest $1000 in a monument to Lynch to be erected in the previously all-white Greenwood Cemetery in Jackson, Mississippi.|
The Bulletin compiles news from in and around the US South. We hope these posts will provide space for lively discussion and debate regarding issues of importance to those living in and intellectually engaging with the US South.
- The Army Corps of Engineers is planning to close a controversial freshwater diversion that appeared to be building new land at West Bay at the mouth of the Mississippi in the lower Plaquemines Parish, Louisiana. The Corps now plans to use sediment dredged from the river to accomplish the same goal of rebuilding wetlands on the Louisiana coast.
- Mississippi Secretary of State Delbert Hosemann is seeking federal approval for the state's new voter ID law (House Bill 921). Hosemann is in the process of estimating how many Mississippi voters currently lack proper identification under the new law. He claims that the bill does not suffer from the same issues that led the Justice Department to reject similar proposals in Texas and South Carolina earlier this year.
- The US Supreme Court handed down a ruling yesterday in the case of Fletcher v. Lamone which upheld Maryland's "No Representation Without Population Act." The law was enacted in 2010 to ensure that incarcerated persons would be counted as residents of their home addresses when the state drew new legislative districts. Large populations of incarcerated persons had previously been counted in the districts in which they were imprisoned (prison-based gerrymandering). Passage of the bill (passed as HB 496 and SB 400) in 2010, and its affirmation in the nation's highest court on Tuesday, was heralded as a major civil rights victory.
The Bulletin—June 26, 2012»
|Tom Rankin, Delta Winter, Bolivar County, Mississippi, 2010.|
Tom Rankin is stepping down as the director of the Center for Documentary Studies at Duke University after fifteen years of service. During Tom’s tenure as director, CDS has become an internationally recognized documentary arts institution, annually offering many undergraduate courses and continuing education classes leading to certificates. Integral to these educational experiences are the center’s exhibitions, books, awards, radio programming, multimedia production, fieldwork projects, and the Full Frame Documentary Film Festival. In addition to his work at CDS, Tom Rankin is an editorial board member of Southern Spaces. We are excited that Tom will have time to do more photography and teaching. He will also become director of the MFA in Experimental and Documentary Arts program. Below is the job announcement for the open director position:
The Center for Documentary Studies at Duke University seeks a director with proven leadership skills and a demonstrated passion for the documentary arts. The director will supervise a management team with thirty-two full-time and approximately forty part-time staff and faculty. The Center has an operating budget of $4 million, eighteen percent of which comes from Duke University, with the remainder flowing from its $30 million endowment and additional grants. Managing additional fund-raising is a major responsibility of the director. Founded in 1989, the Center annually oversees numerous undergraduate and continuing education courses as well as workshops in the documentary arts. It also collaborates on an MFA program, while supporting cutting-edge documentary work in photography, film and video, narrative writing, community studies, and documentary radio production. Dedicated to the ideals of social and environmental justice, CDS specializes in work that documents diverse, underrepresented voices and that balances community goals with individual artistic expression. The new director should have significant experience as a practitioner, teacher, and leader in the documentary arts, and ordinarily will hold an academic appointment in the appropriate department in Duke's School of Arts and Sciences. Read more: www.documentarystudies.duke.edu.
DEADLINE: September 1, 2012. To apply, send a cover letter, resume, and references to Professor William Chafe, c/o Joan Shipman, Office of the Dean of Arts and Sciences, Box 90046, 421 Chapel Drive, Allen Building 104, Durham, NC, 27708.
According to Duke Yearlook:
Courtesy of Duke University Archives, Durham, North Carolina.
This week's Bulletin focuses on recent announcements in publishing and digital scholarship. We hope these posts will provide space for lively discussion and debate regarding these issues.
- The Modern Language Association (MLA) announced that its journals (PMLA, Profession, and the bulletins of the Association for Departments of English and Association for Departments of Foreign Languages) have adopted new "open-access-friendly" author agreements, which "leave copyright with the authors and explicitly permit authors to deposit in open-access repositories and post on personal or departmental Web sites the versions of their manuscripts accepted for publication." MLA Executive Director Rosemary G. Feal suggested that the change might encourage open access to humanities scholarship more broadly.
- Also, the American Historical Association announced the establishment of a Task Force on Digital Scholarship to assess the state of digital scholarship in the historical profession, evaluate tenure and promotion practices and graduate training, and issue guidelines for the evaluation of digital scholarship similar to those released by the MLA in 2007. This task force was formed in response to an open letter drafted by graduate students, tenured and non-tenured faculty, and librarians at a THATCamp AHA session in January.
- On May 24, the University of Missouri announced that it would begin phasing out its press, the University of Missouri Press, beginning in July. The planned shutdown of the press, which was established in 1958 and is known for the collected works of Langston Hughes and series on Mark Twain and Harry S. Truman, has been met with opposition via letters to the editor in Missouri newspapers, a facebook page, and public statements by prominent alums and donors. It is unclear whether these voices will ultimately save the press, as happened with the Louisiana State University Press in 2009.
The Bulletin—June 12, 2012»
|Natasha Trethewey interviewing Elizabeth Alexander, 2009. From Southern Spaces.|
This week, Natasha Trethewey was named the United States Poet Laureate. As we celebrate and congratulate her, we wanted to take a moment to share her contributions to Southern Spaces.
Trethewey has been an important figure in the life of our journal. As well as serving on our board, she co-produces Poets in Place, a series on the site since 2005. Poets in Place presents original videos of poets reading and discussing their poems in locations they write about. Videos of her poems "Elegy for the Native Guards" and "Theories of Time and Space" were published in 2005. Since then, as Trethewey won the Pulitzer Prize and became the US Poet Laureate, she continued her commitment to Southern Spaces, interviewing poets, including Elizabeth Alexander, publishing readings of "Congregation" and "Geography," and sitting for an hour long interview in 2010. Below is a bibliography of Trethewey's contributions to Southern Spaces.
Poets in Place, http://southernspaces.org/browse/poets-in-place.
Trethewey, Natasha. "Congregation." September 9, 2010. http://www.southernspaces.org/2010/congregation.
———. "Elegy for the Native Guards." June 10, 2005. http://www.southernspaces.org/2005/elegy-native-guards.
———. "Geography." January 11, 2011. http://southernspaces.org/2011/geography.
———. "Jake Adam York interviews Natasha Trethewey." June 25, 2010. http://www.southernspaces.org/2010/jake-adam-york-interviews-natasha-trethewey.
———. "Theories of Time and Space." June 20, 2005. http://www.southernspaces.org/2005/theories-time-and-space.
Albergotti, Dan. "Shadows along the Waccamaw." November 24, 2008. http://www.southernspaces.org/2008/shadows-along-waccamaw.
Alexander, Elizabeth. "Natasha Trethewey interveiws Elizabeth Alexander." December 10, 2009. http://www.southernspaces.org/2009/natasha-trethewey-interviews-elizabeth-alexander.
Brown, Jericho. "Naming Each Place." March 4, 2010. http://www.southernspaces.org/2010/naming-each-place.
Hill, Sean. "The Morning with Many Tongues." February 27, 2009. http://www.southernspaces.org/2009/morning-many-tongues.
Jones, Rodney. "An Absence I Know I Won't Reclaim." January 22, 2009. http://www.southernspaces.org/2009/absence-i-know-i-wont-reclaim.
Phillips, Patrick. "Watching the Surface for a Sign." April 14, 2009. http://southernspaces.org/2009/watching-surface-sign.
York, Jake Adam. "A Field Guide to Northeast Alabama." March 7, 2008. http://www.southernspaces.org/2008/field-guide-northeast-alabama.
|Debby Holcombe, Cover of booklet for "Georgia Harmonies: Celebrating Georgia Roots Music," 2012. Image courtesy of the Center for Public History, University of West Georgia.|
On April 14, the exhibition “Georgia Harmonies: Celebrating Georgia Roots Music” opened at the Harris Arts Center in Calhoun, Georgia. The first of a dozen stops in Georgia of “New Harmonies” (a project of the Smithsonian’s Museum on Main Street program), the exhibit focuses on the connections between musical cultures and place. Events and performances at each of the small towns at which the exhibit stops feature musics with historical ties to the town and region, and present-day roots in the area.
In Laurie K. Sommers’ Southern Spaces article, “Hoboken Style: Meaning and Change in Okefenokee Sacred Harp Singing,” the author describes the “Hoboken style” of Sacred Harp singing in south Georgia’s Okefenokee region, where “Georgia Harmonies” will stop (and feature Sacred Harp singing) in the summer and fall of 2013. Sommers details how some Okefenokee residents understood Sacred Harp singing as a regional, rather than religious denominational practice. This way of thinking about the style rendered broader participation possible and facilitated increased exchange with singers from other regions of the United States, a process which in turn precipitated changes to regional singing practices.
|James Robert Chambless, Michael Thompson and Joyce Walton lead a song at a Sacred Harp singing, Holly Springs Primitive Baptist Church, Bremen, Georgia, June 2, 2012.|
Sommers’ account demonstrates how associating a community-based music with place (rather than solely with family, religious denomination, race, ethnicity, or another cultural marker) creates openings for individuals who fall outside the group previously associated with the music to participate. By connecting varied forms of “roots music” otherwise identified with racial or religious groups with the towns and regions where they occur, the “New Harmonies” exhibition likewise has the potential to introduce such music to new people, and to bring practitioners of different musical styles together. This certainly happened in my case.
|Ann McCleary, Members of the United Note Singers sing shape-note music, Sweet Home Baptist Church, Hiram, Georgia, February, 2011. Image courtesy of the Center for Public History, University of West Georgia.|
I traveled to Calhoun on Saturday, May 5 to participate in a Sacred Harp singing held in conjunction with the traveling exhibition. The event attracted a group of perhaps a dozen long-time white Sacred Harp singers like myself, thirty or so listeners from the Calhoun area, and three participants in a related predominantly-black shape-note singing community who had long heard of Sacred Harp singers but had a scheduling conflict with the annual Sacred Harp singing in Calhoun and had never had an opportunity to attend. Over lunch I and a couple of other Sacred Harp singers shared histories and information with these visiting singers, who were members of an association of black shape-note singers called the United Note Singers. The next day, four other white Sacred Harp singers and I traveled to Marietta to participate in a shape-note singing under the group’s umbrella at Zion Baptist Church. Members of both groups were grateful for the opportunity—precipitated by the Smithsonian exhibition’s association of our respective musical styles with place—to meet, share histories, and compare and contrast our musical practices.
“Georgia Harmonies: Celebrating Georgia Roots Music” was held in Calhoun from April 14–May 24 and will stop in eleven other locations across Georgia through November 26, 2013.