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Dancers, printmakers, actors, and writers all found a place where they could practice their crafts. The Jelliffes held high standards of excellence in the arts, not for the sake of excellence, but because they knew that pursuing excellence makes the greatest demands on the individual to fulfill the promise of his potential. The Playhouse Settlement became an active contributor to the Harlem Renaissance, and Langston Hughes roamed the Settlement’s halls constantly. The first stop of Raisin in the Sun off of Broadway was right on this stage, said Sias. Famous people like Muhammed Ali was one of many who enjoyed the countless performances. Rechristened the “Playhouse Settlement,” it quickly became a magnet for some of the best African-American artists of the day -- actors, dancers, printmakers and writers all found a place where they could practice their crafts.
Reinvigorated, A Cleveland Institution Surges Forward
Reflecting the strength of the Black influence on its development, the Playhouse Settlement was officially renamed Karamu House in 1941. Karamu is a word in the Swahili language meaning “a place of joyful gathering.” It became a place where families could gather, share stories, feast, and enjoy. It’s been approximately 14 years since I last directed a play by my brother and friend Michael Oatman. In It Happened in Atlanta by Michael Oatman, we get to explore the different ways that “Black Love” tries to find its way in the world.
Karamu House's Black Nativity returns to Playhouse Square with weekend premiere - News 5 Cleveland WEWS
Karamu House's Black Nativity returns to Playhouse Square with weekend premiere.
Posted: Fri, 09 Dec 2022 08:00:00 GMT [source]
- Cleveland
Following a fire which destroyed the theater in 1939, Karamu was eventually rebuilt in 1949, through the aid of LEONARD HANNA, JR., and the Rockefeller Foundation as a 2-theater complex at E. Facilities were also provided for Karamu's noteworthy programs and classes in dancing and the visual arts. Led in the 1950s by such professional staff members as Benno Frank and Reuben Silver, Karamu gained a reputation as one of the best amateur groups in the country. With the rise of Black Nationalism in the 1970s, however, it embarked upon a controversial course which promoted theatrical presentations primarily by blacks about the black experience and its attempt to form a professional acting company in 1982 proved unsuccessful. In 1980 Marjorie Witt Johnson, together with Karamu artistic director Linda Thomas Jones, founded the Imani African American Dance Co., a troupe which danced to African drum beats, reminiscent of the original Karamu Dancers. Today, karamu’s mission is to produce professional theatre, provide arts education, and present programs for all people while honoring the african american experience.
Historic Karamu House donates treasured archives to Case Western Reserve University's Kelvin Smith Library - The Daily Case Western Reserve University
Historic Karamu House donates treasured archives to Case Western Reserve University's Kelvin Smith Library.
Posted: Tue, 06 Jul 2021 07:00:00 GMT [source]
COMMUNITY PROGRAMS
To be a premiere professional theatre producing socially relevant entertainment, while delivering innovative, culturally responsive arts education programs for life-long learners. To produce professional theatre, provide arts education and present community programs for all people while honoring the Black experience. In the heart of Cleveland, Ohio, neighborhood settlement Karamu House has stood since 1915 as a symbol of community and artistic innovation. Founded as the Neighborhood Association, but most commonly known as the Playhouse Settlement, the space was created by two white social workers, Rowen and Russell Jelliffe, who sought out to produce plays with interracial casts for the community. With the support of the Second Presbyterian Church, they began these productions in 1917. Most importantly, addressing the issues people of color have experienced by communicating through art, has demonstrated the importance of these problems.
Karamu house remains a community-based non-profit arts and education institution and has continued to keep history alive with its commitment to preserve Black culture. The company was best known for its performances of Shakespearean classics, ballets, comedies, and original work by Brown (The Drama of King Shotaway). It was eventually shut down by city officials after rival companies orchestrated disturbances of productions in an effort to harass and sabotage the African Grove's success. Theatre and performance is a cathartic escape for everyone, but Black Americans were not always included fairly in that vision. Since the early 19th century, Black people were impersonated by white performers on stage through racist stereotypes in vaudeville and minstrel shows, creating offensive caricatures of Black people using blackface for the enjoyment of white audiences. Karamu’s story begins with Russell and Rowena Jelliffe, who founded what was originally called the Neighborhood Association but was later named Karamu House.
Karamu House’s five-show 2023-24 season to kick off with Lynn Nottage’s ‘Clyde’s’
Phase two is nearing completion, which will feature a new Black Box Theater; a Bistro and an outdoor stage, all expected to be completed in May. Sias hoped that the production would promote healing, education, and activism in the form of voter registration and other types of civic engagement. The guest book at Karamu reads like a Who’s Who of writers, dancers, actors and producers, the most notable of which was Langston Hughes. CLEVELAND, Ohio – Nestled in Cleveland’s Fairfax neighborhood, just east of Downtown in the shadow of the Cleveland Clinic, sits Karamu House. Hosted on Tuesdays and Thursday schools and organizations receive a tour and workshop on the history of Karamu.
Founded in 1915 by two white social workers, Russell and Rowena Jelliffe, it opened as a settlement house, named the Neighborhood Assn., on E. 38th St., in an area then known as Cleveland’s “Roaring Third” -- home to bars, brothels, flophouses and gambling dens. Karamu in Swahili means “a place for joyful meeting,” a name that has been effortlessly embodied in the work of the theatre. However, as Black performers began to take the stage, many challenged these stereotypes by creating unique performances that displayed their own authentic talents, taking hold of their own stories within performance spaces that honored their experiences. However, with the rallying support of the Cleveland community and notable funders—and under the leadership of Tony F. Sias, President + CEO—Karamu House is experiencing its own renaissance of sorts. The Neighborhood Association, or Playhouse Settlement as it was also known, developed as part of a broader movement known as the Harlem Renaissance, which occurred in the 1920s as African Americans came north for better opportunities.
Karamu also announced the reopening of its newly renovated Arena Theatre on October 13. The 100-seat venue will be used for special programming and arts education performances. Founded in 1915, Karamu House is a place of joyful gathering (the meaning of ‘Karamu” in Swahili), where people from different races, religions, and economic backgrounds come together through the arts. Recognized as the oldest, producing African American theatre in the nation, Karamu House is continually cited as one of Cleveland’s top four treasures—and featured in the Smithsonian National Museum of African American History & Culture and listed on the U.S.
Oatman’s script allows us to journey through these choices and have fun along the way. Former Cleveland Mayor Carl Stokes, the first black elected mayor of a major city, donated his personal memorabilia to Karamu before he passed away in 1996. During the Great Depression the federal art project allowed visual artists like William E. Smith, Elmer Brown, and Cleveland’s Charles Sallee to develop their skills and teach at the theater. Artists like the great playwright, novelist and poet, Langston Hughes, got his start at Karamu. “Karamu House as a cultural arts institution allowed African-Americans to present themselves in an authentic way and we weren’t the caricatures that quite often mainstream presented ourselves, really changing the image of who we were perceived as,” expressed Sias. From Tarell Alvin McCraney, the chair of playwriting at the Yale School of Drama, the play tells the story of Pharus, a talented singer, but an outsider at his prep school struggling to fit in among the other boys on the institution’s prestigious gospel choir.
People of color have survived a myriad of terrible experiences, despite our American proclamations of commitment to equality. Karamu, offered its audiences, who are people of all backgrounds, to see the integration of African Americans through art. Most importantly, plays produced by Karamu were salient in their contributions to give black people freedom of expression and produce offerings from a Black person’s perspective. Such artistic contributions demonstrate to the public the truth of the reality of black people’s lives and their humility, suffering, and discrimination.
Karamu has given African Americans a vehicle for the expression of their work. Moreover, their theatrical productions have raised awareness of black lives, the black experience, and an awareness of black heritage. Although racial themes were addressed In Abraham’s Bosom and Stevedore, perhaps no theatrical productions at Karamu in the interwar years outshone Langston Hughes. Hughes was a poet, actor, and playwright, who was born in Joplin, Missouri, but also lived in Cleveland and New York during the era of the Harlem Renaissance. He was one of the most talented playwrights of his time and was significant in the evolution of Karamu as a theater and a force for social change.
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