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She could have gone, studied those courses and everything and gotten a Ph. Narrator: "Papa Franz" wrote, "On the whole her methods are more journalistic than scientific and I am not under the impression that she is just the right caliber for a Guggenheim Fellowship. " She had been sketching out a story loosely based on the lives and experiences of her parents in Eatonville. Half of a yellow sun streaming vostfr online. Irma McClaurin, Anthropologist: Harlem in the 1920s is a magnet. Her scathing response was never published.
Zora (VO): [T]he Negro is a very original being. They eat it up…You are being quoted in railroad camps, phosphate mines, turpentine still, etc. But now, the sun and the bossman were gone, so the skins felt powerful and human. María Eugenia Cotera, Modern Thought Scholar: She was never going to be the nice and silent and acquiescent, ah, Black woman ever. Hurston believed deeply that it was going to be Black drama brought to wide audiences that was going to do more to counter racism than anything else. Watch Zora Neale Hurston: Claiming a Space | American Experience | Official Site | PBS. People abandoned Zora Neale Hurston. Carla Kaplan, Literary Scholar: Charlotte Osgood Mason was unable to control Zora Neale Hurston. And he literally snatches materials, her belongings, out of the fire and hangs on to them. Lee D. Baker, Anthropologist: Eatonville shaped Zora Neale Hurston's worldview from the beginning, and what it did more than anything else is it showed that Black lives mattered. She worked in drama; she worked in writing; she worked in academia; she worked in teaching. Charles King, Political Scientist: Hurston is an early practitioner of what would later come to be called native anthropology. She was somebody who could function in almost any milieu.
She was employed to collect for Charlotte Osgood Mason. Irma McClaurin, Anthropologist: He's created his own language. Narrator: Mason supported other writers and artists of the Harlem Renaissance, including Howard professor Alain Locke. I don't want anything but to get at my work with the least possible trouble. Half of a yellow sun streaming vostfr film. Sharing a tiny apartment with his wife, son, sister and mother, he seems like an imprisoned man. Narrator: At twenty-six Hurston landed in Baltimore with education still on her mind. You can see her as a vivid participant observer. Narrator: Something of a celebrity on campus, Hurston later remarked that she was "Barnard's sacred black cow. " At that moment in time, Harlem is also about respectability. Blues made and used right on the spot.
Narrator: With the success of her books, Hurston streamlined her focus, deciding that her "life work" was literature. Eve Dunbar, Literary Scholar: Why a text like Mules and Men is so important is that she resists the simple extraction, cultural extraction. Zora (VO): I am getting much more material than before because I am learning better technique. Lee D. Baker, Anthropologist: Being at Barnard I'm sure gave her both confidence as well as excitement that she was as smart as anyone in the country. Half of a yellow sun streaming. Narrator: For Tell My Horse: Voodoo and Life in Haiti and Jamaica, published the next year, Hurston drew on the material she had collected during her back-to-back Guggenheim fellowships.
Narrator: Hurston again looked to the Guggenheim Foundation for support. Narrator: Just four months after arriving with hope and a bag of stories, newcomer Zora Neale Hurston gained a pivotal foothold in New York at Opportunity's first annual literary awards. That they had the childlike energies and the childlike insights that would reinvigorate white American society. With Godmother's approval, she had submitted "Dance Songs and Tales from the Bahamas" based on three months of fieldwork in the country. Publishers wanted her to translate it for white readers into Standard English, and she refused. Carla Kaplan, Literary Scholar: There were very few Black women with doctorates of any kind in the 1930s. And it would drive her father bananas. Lee D. Baker, Anthropologist: Zora Neale Hurston was excited to study anthropology at Columbia because so much of American society and the media did not value African American culture. Her Americanness really comes through in how she writes that work. Narrator: Hurston once confided in Hughes how Mason's detailed oversight and periodic angry outbursts affected her. Eve Dunbar, Literary Scholar: There was a certain amount of progressiveness in Boas' vision about training, in deputizing minoritized people in order to go into their own cultures that wasn't necessarily done.
Eve Dunbar, Literary Scholar: "The Negro way" means in a way that is respectful, that is set on debunking Black inferiority. Irma McClaurin, Anthropologist: That book is a great illustration of Zora blending her literary skills and talent as a writer, and also her skills and talent as an anthropologist and ethnographer. That's what anthropologists do. She fought for Black women in her writing, in her anthropology. Tiffany Ruby Patterson, Historian: She ends up back in the community of Black people.
Boas (Archival Footage): The mental characteristics of a race are not an expression of bodily form. In autumn, Hurston returned North to write her reports and face her mentor. When I pitched headforemost into the world I landed in the crib of negroism. I have about enough for a good volume of stories. And this time, she only asked one anthropologist to serve as a recommender. There are so many sections of it that don't really center Haitian perspectives about their own culture in the way that she does with her ethnographies that are centered in the American South. Eve Dunbar, Literary Scholar: It's an unwillingness to be disciplined in the sense of academic disciplines—anthropology, and disciplined in the sense that she won't be contained. Narrator: Hurston lived in an eight-room house on five acres of land with her parents, Lucy and John, and seven siblings. Charles King, Political Scientist: Hurston is reporting on a set of experiences that she had, using the first person. Lee D. Baker, Anthropologist: Mules and Men was science informed by fiction, and Their Eyes Were Watching God was fiction informed by science because there's very little distinction between the signifying happening on Joe Stark's porch and Joe Clarke's porch. A part-time student secretly years older than her classmates, Hurston formed many close relationships and joined the theater company Howard Players and the so-called "brainy" sorority Zeta Phi Beta. Narrator: An unexpected encounter with Langston Hughes in Mobile, Alabama in July brightened Hurston's mood. They – to give emphasis – use the noun and put the function of the noun before it as an adjective.
So the first week of January, 1925, found me in New York with $1. Narrator: Hurston, who was likely forty-four-years-old by then, decided to stop attending classes and focus on her own writing instead. María Eugenia Cotera, Modern Thought Scholar: People are invested in saying she was a Black anthropologist, but another part of me wants to disinvite anthropology from her recuperation because there were so many moments when folks work behind the scenes not to support her, and so that is very painful. Lee D. Baker, Anthropologist: Historically, folklore has been an integral part of anthropology because people wanted to understand individuals' worldviews. Irma McClaurin, Anthropologist: She alienated a lot of people. María Eugenia Cotera, Modern Thought Scholar: She realized that no one was going to share songs with her or even let her into these incredibly rich spaces where people were exchanging stories and song and card playing games, if she didn't bring something herself to the table.
I think it speaks to her, again, desire to participate in the knowledge production of anthropology. Carla Kaplan, Literary Scholar: He's a very important voice. His laugh has a hundred meanings. The idea that they'll let you in only so far, but really you're not going to get at the truth of what the culture holds.
I am a tiny bit of your greatness. " I think that was an important form of resistance. Tiffany Ruby Patterson, Historian: Her father was very domineering. But she could no longer ignore the narrative that had been welling up inside her. She's really telling us about the conditions of Black women and what they have to confront against social norms, against a patriarchal society. Zora (VO): The five years following my leaving the school at Jacksonville were haunted.
And when their relationship exploded, they were both profoundly wounded by it. Narrator: The book with its strong sales validated the significance of her anthropological study, but success still did not translate into funding for her continued fieldwork. Her book Mules and Men would soon be published. Narrator: Hurston's instincts paid off. She uses that expensive and rare film equipment to document the lives of ordinary, everyday Black children, and Black women, and Black communities providing for us some of the earliest footage we have of the everyday visual lives of Black southern Americans. People are wanting to sort of move away from the Southern culture because it's seen as lower class. Tiffany Patterson, Historian: Zora was nosy, pure and simple.
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