Pamela E. Pennock
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9781469630984
- eISBN:
- 9781469631004
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469630984.003.0007
- Subject:
- History, American History: 20th Century
The chapter explores how a transnational Arab American political consciousness played out on the local level in a series of inter-related developments in Dearborn, Michigan, starting with a movement ...
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The chapter explores how a transnational Arab American political consciousness played out on the local level in a series of inter-related developments in Dearborn, Michigan, starting with a movement to fight the city’s plans to destroy a working-class, immigrant neighborhood called the Southend, the creation of ACCESS, an Arab American community center, and a movement to protest the United Auto Workers’ investments in Israeli bonds. Tied to these activities was the activism of the Arab Workers Caucus that combined struggles for workplace justice and justice for Palestine.Less
The chapter explores how a transnational Arab American political consciousness played out on the local level in a series of inter-related developments in Dearborn, Michigan, starting with a movement to fight the city’s plans to destroy a working-class, immigrant neighborhood called the Southend, the creation of ACCESS, an Arab American community center, and a movement to protest the United Auto Workers’ investments in Israeli bonds. Tied to these activities was the activism of the Arab Workers Caucus that combined struggles for workplace justice and justice for Palestine.
Hannah Kosstrin
- Published in print:
- 2017
- Published Online:
- August 2017
- ISBN:
- 9780199396924
- eISBN:
- 9780199396979
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199396924.003.0005
- Subject:
- Music, Dance, History, American
Anna Sokolow’s early Cold War choreography cloaked social(ist) challenges to the status quo under the façade of American modernism. Lyric Suite (1953) laid bare sexual discontent in the guise of ...
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Anna Sokolow’s early Cold War choreography cloaked social(ist) challenges to the status quo under the façade of American modernism. Lyric Suite (1953) laid bare sexual discontent in the guise of universal abstraction; Rooms (1954) portrayed gay people’s and Jews’ experiences among those of society’s untouchables in tenement houses; and the Opus series (1958–1965) cemented the political significance of the Old Left meeting the New Left through ironic uses of musical and movement elements drawn from jazz, as Africanist elements like these signaled a generalized Americanness. Sokolow’s assimilation into concert dance whiteness through these works’ critical reception and Israeli Bonds festivals reflected the American Jewish community’s postwar assimilation from racially marked to Caucasian. Sokolow’s work evidences roles played by leftist Jews in crafting definitive images of midcentury Americana as they publicly rewrote their 1930s leftist actions into normative postwar American activities in the wake of the Second Red Scare.Less
Anna Sokolow’s early Cold War choreography cloaked social(ist) challenges to the status quo under the façade of American modernism. Lyric Suite (1953) laid bare sexual discontent in the guise of universal abstraction; Rooms (1954) portrayed gay people’s and Jews’ experiences among those of society’s untouchables in tenement houses; and the Opus series (1958–1965) cemented the political significance of the Old Left meeting the New Left through ironic uses of musical and movement elements drawn from jazz, as Africanist elements like these signaled a generalized Americanness. Sokolow’s assimilation into concert dance whiteness through these works’ critical reception and Israeli Bonds festivals reflected the American Jewish community’s postwar assimilation from racially marked to Caucasian. Sokolow’s work evidences roles played by leftist Jews in crafting definitive images of midcentury Americana as they publicly rewrote their 1930s leftist actions into normative postwar American activities in the wake of the Second Red Scare.
