Word: slaving
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Dates: during 2000-2009
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...barn house, the American flag, Lincoln and Washington. Fading wooden dolls of soldiers and presidents fail to inspire, as do depictions of biblical stories in quilt form. To be valid Americana, the MFA must pull the exhibit out of its lily-white Northeastern provincialism. Harriet Powers, born a slave in Athens, Georgia, becomes the panacea. Her quilt depicts biblical scenes, natural events, and features tales of farming life. While the MFA calls the quilt extraordinary, the quilt appears to vary little from the others in the exhibit...
...they decide what to do, Oklahomans are in good company. International discussion over apologies and reparations spans slavery and Native American land in the United States, apartheid in South Africa, Nazi slave labor and war crimes in places like China, Korea and the Balkans. Meanwhile, Tulsa and the Oklahoma legislature have the opportunity to restore something to the 100 survivors of the riot who are still alive...
Sparked by David Horowitz’s recent advertisement in college newspapers, reparations for slavery has become a prominent issue. The Hartford Courant, one of the oldest newspapers in America, has apologized for advertising for runaway slaves. That apology was inspired by a story about another great Connecticut institution, Aetna Insurance, which had written policies on slaves’ lives. Now Congress is investigating the role of slave labor in constructing the United States Capitol...
...vogue in the 17th century French court admittedly serves as a nice parallel to the intricacies of a story that has two sets of identical “twins” roaming the stage. (Mercury takes a stint as an identical copy of Amphitryon’s slave in order to facilitate Zeus bedroom escapades.) But the script, to its own detriment, borrows freely from Shakespeare’s Comedy of Errors (which was based in part on Plautus’ Amphituo) and in doing so brazenly ignores any and all possible questions or concerns to which this unique...
...over-reliance on primary colors in lighting the play, one might expect oversized puppets to dance across the stage. This effect is heightened or perhaps created by the cartoonish acting of nearly the entire ensemble. Leading the pack is Brooks Ashmanskas as Amphitryon’s much-maligned slave Sosia. A dim-witted but earnest fellow, Ashmanskas’ Sosia reacts to his mistreatment at the hands of Mercury (and then practically everyone else in the play) with a bafflement and foolhardiness worthy of a character like Goofy. His attempts to elicit laughter from the audience with overwrought physical antics...