Word: viewing
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Dates: during 1970-1970
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...Style Schooling. According to Sociologist James Coleman, principal author of the famous Coleman report of 1966, the key to equalizing black education is school integration. In this view, integration is the most effective way to infuse ghetto children with the positive spirit of middle-class teachers and students who expect the best from life and learning. Yet the principle of integration is now being questioned. The vast majority of blacks want it for the realistic reason that white schools get more money and better facilities than black schools. At the same time, many young blacks question integration if it means...
...resist for a moment the temptation to view everything having to do with Negro Americans in terms of their racially imposed status, we become aware of the fact that for all the harsh reality of the social and economic injustices visited upon them, these injustices have failed to keep Negroes clear of the cultural mainstream; Negro Americans are in fact one of its major tributaries. If we can cease approaching American social reality in terms of such false concepts as white and nonwhite, black culture and white culture, and think of these apparently unthinkable matters in the realistic manner...
Though he is broad-minded in some areas of theology (he is a graduate of liberal Colgate Rochester Divinity School), Jackson has a view of the Negro recalling the old-fashioned suffering servant image from Isaiah. Christianity, he argues, permits protest against unjust laws but not rebellion against civil order. "The difference between Negro Christians and white Christians." says Jackson, "is the meaning of the cross of Jesus Christ. Our forefathers were cross-bearers. They believed in it. You can't build a great church preaching hate, envy, and revenge, and sending the people out on the street after...
...born in Mississippi 37 years ago, took an M.A. from the University of Louisville, and now teaches at the Maryland Institute of Art in Baltimore. His canvases are not so much shaped as draped-in drooping paint-spattered bunches, like clothes drying on a line. He had one on view in this year's Whitney Annual, has had shows at Washington's Jefferson Place Gallery and the Phillips Collection. The only hint of racial origin on the guy-roped canvases of Joe Overstreet is his use of African and, most lately, American Indian colors...
...cover distinctly black stories, and frequently it is by choice. Says Lem Tucker: "There are black stories like riots and Black Power conferences where I feel I can bring better understanding to what's going on, a better balance to the story." But too often in the view of some, blacks are used to write routine race stories, many of which are not printed, and they are then used as legmen for white reporters when a major race story breaks. There are also times when black reporters are available but ignored for white stories...