BEFORE IMMERSINGONESELFIN HISTORY PHOTORESPONSE … · include an annotated PowerPoint and an...

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BEFORE: IMMERSING ONESELF IN HISTORY PHOTO RESPONSE WI HISTORICAL SOCIETY POWERPOINT DURING: IMMERSING ONESELF IN THE PRODUCTION IDENTIFYING DESIGN ELEMENTS: TABLEAU, SET, LIGHT, SOUND AND COSTUMES AFTER: PROCESSING DISCUSSION TABLEAU NEWSPAPER HEADLINES Freedom High A RESOURCE GUIDE FOR INSTRUCTORS In commemoration of the 50th anniversary of Freedom Summer, the Wisconsin Historical Society has digitalized a wealth of records that document the 1964 Mississippi Freedom Summer Project. These files include an annotated PowerPoint and an Educator’s Sourcebook; they are available at www.wisconsinhistory.org/freedomsummer and can be used for non-profit educational purposes. Please consider using these high quality resources and the related primary source documents with your students. Using this Guide The purpose of this guide is to provide instructors with a framework for engaging adult students in conversation about diversity as it applies to the production Freedom High written by Adam Kraar and directed by Marti Gobel. It is designed to help students make connections to moments in history by asking them to respond to primary source visual representations (historical photographs), identify dramatic representations of these historical moments in Freedom High, and process them by discussing and recreating these moments in time through discussion, tableau and writing activities. Photo credit: Dr. Mark McPhail Photo credit: Student Nonviolent Coordinating Committee (SNCC) Freedom High The script for Freedom High was written by Adam Kraar. This production is directed by UW-Whitewater Theatre/Dance alumna and Uprooted Theatre artistic director, Marti Gobel. This play is a work of fiction, inspired by actual events during Freedom Summer in 1964. The leading characters do not represent actual persons. Time 1964 Place Western College in Oxford, Ohio Historical Notes The major events of the week of June 21, 1964 depicted in the play—including the disappearance of James Chaney, Andrew Goodman, Mickey Schwerner— represent historical fact. The public speeches of Bob Moses in the play are essentially drawn from his actual speeches. The play takes liberties with the historical record in several small ways. For dramatic purposes, I’ve expanded the length of time in which there was uncertainty about whether the Project would proceed. My aim is to honor the actual persons involved while also creating a theatrical piece that conjures up the dramatic spirit of this story. - Adam Kraar, playwright

Transcript of BEFORE IMMERSINGONESELFIN HISTORY PHOTORESPONSE … · include an annotated PowerPoint and an...

BEFORE: IMMERSING ONESELF IN HISTORY PHOTO RESPONSE WI HISTORICAL SOCIETY

POWERPOINT

DURING: IMMERSING ONESELF IN THE PRODUCTION IDENTIFYING DESIGN ELEMENTS:

TABLEAU, SET, LIGHT, SOUND AND COSTUMES

AFTER: PROCESSING DISCUSSION TABLEAU NEWSPAPER

HEADLINES Freedom High A RESOURCE GUIDE FOR INSTRUCTORS

In commemoration of the 50th anniversary of Freedom Summer, the

Wisconsin Historical Society has digitalized a wealth of records that

document the 1964 Mississippi Freedom Summer Project. These files

include an annotated PowerPoint and an Educator’s Sourcebook; they are

available at www.wisconsinhistory.org/freedomsummer and can be used

for non-profit educational purposes. Please consider using these high

quality resources and the related primary source documents with your

students.

Using this Guide The purpose of this guide is to provide instructors with a framework for engaging adult

students in conversation about diversity as it applies to the production Freedom High written

by Adam Kraar and directed by Marti Gobel. It is designed to help students make

connections to moments in history by asking them to respond to primary source visual

representations (historical photographs), identify dramatic representations of these historical

moments in Freedom High, and process them by discussing and recreating these moments in

time through discussion, tableau and writing activities.

Photo credit: Dr. Mark McPhail

Photo credit: Student Nonviolent Coordinating Committee (SNCC)

Freedom High

The script for Freedom High was written by Adam Kraar. This production is

directed by UW-Whitewater Theatre/Dance alumna and Uprooted Theatre

artistic director, Marti Gobel.

This play is a work of fiction, inspired by actual events during Freedom

Summer in 1964. The leading characters do not represent actual persons.

Time 1964

Place Western College in Oxford, Ohio

Historical Notes

The major events of the week of June 21, 1964 depicted in the play—including

the disappearance of James Chaney, Andrew Goodman, Mickey Schwerner—

represent historical fact. The public speeches of Bob Moses in the play are

essentially drawn from his actual speeches.

The play takes liberties with the historical record in several small ways. For

dramatic purposes, I’ve expanded the length of time in which there was

uncertainty about whether the Project would proceed. My aim is to honor the

actual persons involved while also creating a theatrical piece that conjures up

the dramatic spirit of this story.

- Adam Kraar, playwright

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Freedom Summer In an effort to integrate Mississippi’s segregated political system, nonviolent

civil rights activists organized African American voter registration, Freedom

Rides (integrated travel on interstate commercial buses) and sit-ins.

Volunteers, many of them young college students, were recruited for training

in nonviolent resistance at Western College for Women in Oxford, Ohio,

June 15-28, 1964.

Mississippi’s black residents, a majority in many counties, were

systematically excluded from politics by arbitrary literacy tests and taxes as

well as other forms of legal discrimination. Those who wanted to exercise

their right to vote were harassed and beaten; they faced the potential loss of

their jobs, and they were threatened and intimidated by the Ku Klux Klan.

Few black residents of Mississippi took the chance of attempting to register

to vote.

Freedom Summer organizers, including The Student Nonviolent Coordinat-

ing Committee (SNCC), felt that helping African Americans register to vote

and participate in politics in Mississippi would help break down the racial

barriers in the South.

The major goal of Freedom Summer was to empower Mississippi’s black

residents to participate in local, state and national politics. The project also

aimed to focus the nation’s attention on conditions in Mississippi to force the

issue of the federal government passing laws to protect all U.S. citizens.

James Chaney, 21, Andrew Goodman, 20, and Michael Schwerner, 24, trained at Western College for Women before heading south to register black voters as part of The Mississippi Freedom Summer Project. They left Oxford, OH June 20, 1964, and disappeared the next day. Their bodies were found buried in an earthen dam on a farm near Philadelphia, Mississippi six weeks later.

Photo credit: Black Star

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Production Concept for FREEDOM HIGH

By Adam Kraar

More about the main

character...

Jessica, a 21 year-old white

woman, has arrived on the

campus of Western College in

Ohio to be trained as a volunteer

for the Freedom Summer

Project. In six days, she will

leave the sheltered campus for

Mississippi to help register

African-American voters. The

play is a representation of

Jessica’s memories and

impressions.

Photo credit: Herbert Randall

FREEDOM HIGH is a “Memory Piece” or a play written

from one or several individuals’ viewpoints of past events.

The scenes offered are intended to show memories and make

strong impressions on the audience. For this reason the

movement and blocking of this particular production is

extremely important. The actors will use simple props and

Tableaus to move the story forward. Some actors will play

more than one role—doubling. This quality is especially

important for the Volunteer Chorus who is a constant and

powerful presence in the play. They will aid in setting the

stage when there is a need to show religious gatherings, riots,

mobs, political rallies, etc. Think of them as a Greek Chorus.

This play is narrated by one character, Jessica. Her addresses

to the audience provide a constant connection with the

viewing audience. In addition, Jessica’s monologues are the

only realistic scene work in this production. Her emotions

are immediate when she speaks in the moment to the

audience. All other scenes are to be done in more stylistic

manner employing the use of The Tableau and exaggerated

movement. The contrast between the two approaches to

theatrical presentations allows the actors to tell the story in a

clear, vocal and physical way while constantly engaging the

audience.

FREEDOM HIGH is a historically accurate fictional play.

That is, the roots of the play are founded in actual events but

the characters involved are not. The playwright uses fact and

imagination to write how they may have felt and responded

during these real situations.

Design Elements Many Design Elements go in to the creation of a full production. The choices made artistically for each element aid in telling the story

that the director wishes to share and that the playwright intended. The effective use of Tableaus, Set, Light, Sound and Costumes for any

given production can be key in storytelling or Theatrical Productions. At most times all of the Design Elements will be employed

simultaneously. They are, however, easy to isolate and analyze when you understand their purpose and how they are being used.

Tableaus: Tableau means moving picture. It is a group of actors carefully posed. The actors are simply costumed and theatrically lit.

There is no speech and once the actors reach the appropriate, pre-choreographed position they do not move until the scene shifts or

changes. It is a quick way to tie what is happening on stage to an event, painting or photograph. For this particular production, Tableaus

mirroring actual photographs from the day will be used. It is also a way to indicate violence and danger without the use of stage combat

and props.

Set: The set is the platform or stage that the actors are working on. The set indicates geographic location(s), period in history, public

and private structures, homes, offices, schools, etc.… The set can be elaborate and complex or simple and sparse in its design. This

production is designed to move at a quick pace from site to site within the story. For this reason the set is primarily bare. Tree trunks

and benches are the only set pieces. It is the actors’ responsibility to bring the audience imagination to life with sharp physicality and

innovative use of the simple set pieces.

Light: Lighting is a design element used to indicate to the audience location, time of day, shift in mood and to support what the

audience is already feeling. At its most basic function lighting helps all involved to see, or not see, the play. The design for this show

was chosen as a mixture of spots and highlights– used when Jessica is addressing the audience, and, dimmer lighting– used for group

scenes and properly balanced so that shadows can offer additional movement on stage and distinct shapes can be seen as the actors move

into Tableaus.

Photo credit: Student Nonviolent Coordinating

Committee (SNCC)

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Design Elements Sound: The Sound Design includes every sound

that the actors and audience use and hear. This

can be the ringing of a phone, a radio, dogs

barking, cars or sirens, thunderstorms and music.

Music was a large part of the Civil Rights

Movement. It offered a way to bring quick

commonality between the gathering of people

from different races, socio-economic and

religious backgrounds. This production will use

music in very much the same way to quickly

connect the audience to the play. The majority of

the songs selected will be sung A Capella, or,

without the use of supporting music. The music is

also chosen to be recognizable, further engaging

the audience. There is one instance in the play

when this approach to sound is broken, occurring

when a character plays an acoustic guitar. All

other sound will be generated from the actors

themselves.

Songs of

Freedom Summer

Freedom songs played a critical role in the voter registration drives, freedom rides and other non-violent protests during the Civil Rights Movement such as lunch counter sit-ins. As a result, folk music enjoyed a new visibility and relevance, and songs by artists Bob Dylan, Judy Collins and Peter, Paul and Mary became part of popular culture and history. Below are a sampling of songs to enhance your study of Freedom Summer. These songs are available as audio files at—www.uww.edu/youngauditorium/season/freedom-high Here’s to the State of Mississippi Phil Ochs Ballad of Medger Evers SNCC Freedom Singers Death of Medger Evers Donal Leace Song for Ben Chaney Jack Landron Goodman, Schwerner & Chaney Tom Paxton Only a Pawn, Bob Dylan Those Three Are On My Mind Kim and Reggie Harris Michael, Andrew & James Richard and Mimi Farina Three Young Men Carolyn Hester In the Mississippi River SNCC Freedom Singers You Should’ve Been Down in Mississippi, Magpie Mississippi Summer, Si Kahn Summer 64 Freedom Voices of Zion Waves of Freedom Eric Anderson

Photo credit: Student Nonviolent Coordinating Committee (SNCC)

Costume: The Costumes are the clothes the actors wear when on stage. They too are a great way to

indicate time period, social status, weather and sometimes location. On a bare set, if all of the actors

are in formal attire, it is safe to assume that they are at a high-end event. The costume design not

only aids in the telling of the story, it helps the actor create clearer characters. The costume design

for this show was chosen with the production’s high level of movement in mind. The actors’ bodies

are props and set designs themselves. Form fitting, comfortable clothes of similar style and color

will costume the cast. Because the true picture is created in the imagination of the viewer, the color

black allows the actors to portray multiple characters, move quickly and present their bodies in a

way to indicate appropriate action from scene to scene. The uniformity of style and color in the

costume design is particularly important for the Volunteer Chorus. This design choice immediately

indicates to the audience that this is an ensemble piece and that all of the characters are of equal

importance.

Photo credit: Student Nonviolent Coordinating Committee (SNCC)

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Photo Response before the play The purpose of this activity is to engage students in a visual literacy activity in order to

stimulate discussion about historical moments during Freedom Summer in 1964. The goal

is to have students read these photographs as they would any other “text.”

The photograph files listed below have been selected based upon their relevance to the Freedom

Summer Project. Some of these photographs will be represented using tableau during the play. The

photo files can be projected from the instructor’s computer or distributed as printed copies. Initially,

no notes or commentary should be provided by the instructor; therefore, the students may not know

what they are actually looking at until they have had a chance to observe the photos on their own.

Students will respond to and discuss each photo, sparking them to think more deeply about moments

in history that will be represented in Freedom High.

The photographs included are:

FSphoto1—Police dog attack (1964, Birmingham, Alabama): The Klan has helped elect Eugene

“Bull” Connor as Birmingham's police chief. Birmingham's black citizens march, protest, and

demonstrate. They want the same rights as everyone else. Bull Connor sends attack dogs. He

says, "All you gotta do is tell them you're going to bring the dogs. Look at 'em run. I want to see the

dogs work."

FSphoto2—Freedom Summer training (1964, Oxford, Ohio): Hundreds of volunteers attended

training at Western College to learn non-violent protest methods. They helped establish Freedom

schools, Freedom clinics, and assisted with African American voter registration, especially in

Mississippi.

FSphoto3—A Freedom Summer volunteer assists with African American voter registration (1964,

Mississippi).

FSphoto4—Freedom Summer workers/ Freedom songs (1964, Mississippi).

FSphoto5—Young volunteers on the Western College campus (1964, Oxford, Ohio).

FSphoto6—Members of the Student Nonviolent Coordinating Committee (SNCC) lead a training

session at Western College (1964, Oxford, Ohio).

Directions:

Introduce students to the Rhetorical Triangle and basic skill set for reading photos. Project the photos

(one at a time) or distribute printed copies and give students about five minutes to carefully look at the

photograph and respond by considering: subject/content, audience/content, and perspective. Their

responses can be in the form of informal written notes or a journal entry. Following this time for

individual response, give the students two minutes to share their unrestricted thoughts about the photo

with another student. At the end of two minutes, engage the class in discussion as you “group read”

the photo using the basic skill set for reading photographs. Provide the necessary factual and

background information related to the photograph and how it connects to Freedom Summer.

Rhetorical Triangle

Subject/ Content

The subjects of a photo,

their appearance and gaze ;

the components of the image,

their arrangement, the use of

color, and where your eye is

drawn within the image; the

types of narrative elements

present in the image—what

story is told? Is there an

implied chronology before or

after the image?

Audience/ Content

The historical and cultural

contexts from which the

image emerged; the historical

and cultural contexts in which

the image is seen or read—

the contexts surrounding the

audience; the message/image

itself, and how historical and

cultural contexts shape the

way a particular theme or

subject is presented.

Perspective

The photographer’s gaze or

perspective and camera

angle; the framing of the

subject matter; the use of the

camera to establish an

illusion of intimacy or sense

of distance.

Distinguish between facts

and evidence

Discover how various

parts of an image support

a larger idea or concept

Demonstrate how explicit

parts combine to form

implicit wholes

Address specific ideas

(how, for example, an

idea of poverty is

supported by elements

within an image), or more

theoretical positions

(how, for example, the

parts of an image speak

to an understanding

of war).

Historical Background before the play WI Historical Society PowerPoint

Source: Writing Studio/ Duke University

http://uwp.aas.duke.edu/wstudio

Basic Skills for

Reading a Photo

This PowerPoint (available at www.uww.edu/youngauditorium/season/freedom-high) and on

the WI Historical Society website (www.wisconsinhistory.org) tells the story of the 1964

Freedom Summer project. It contains about 40 slides with images taken mainly from the digital

collection of manuscripts at the Wisconsin Historical Society where much more information is

available.

The notes to each slide provide brief historical information about events and suggest readings

drawn from online documents and first-person accounts.

Teachers and students are free to download this presentation and adapt it to their own

situations. Edit or delete slides, insert new ones, revise the texts, and alter it as needed to suit

your classroom or audience. If you redistribute it, please include this introductory note.

Copyright to specific images is possessed by their creators. Using them for non-profit

educational purposes is generally permitted under the U.S. Copyright Law but reproduction for

commercial use could bring prosecution by copyright holders. You, the end user, are

responsible for obeying the copyright law.

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Identifying Design Elements during the play

During the play, challenge yourself to identify each of the following design elements. Consider how each element contributes

to the overall production and aids in your understanding and connection to historical events that occurred during Freedom

Summer.

Tableau

How many of the Tableau scenes do you think are actual photographs, and which photos were they? If you viewed the

historical photographs associated with this resource guide and/or completed the photo response activity in class, did you

recognize any specific photographs?

How do the actors move into and out of the Tableau?

What shapes were evident in the Tableaus when there was violence? Peacefulness?

Set

How many different locations does the story require?

What are some of the unconventional ways the set pieces are used to represent different objects?

How much of the language in the play indicates where you are versus what you are seeing with your eyes?

Light

What colors are present when danger is near or present?

How does lighting support the shifts between present and past?

When is specific use of lighting employed to indicate location, and how is it done?

Sound

When music is used during the production, how does it support the actions on stage?

Aside from music, what other sound elements are present in the production?

How do the actors accomplish presenting the various non-musical sounds needed?

Costume

How did the actors show the audience when they had hats and coats or accessories on or with them?

How did the actors show that their wear was formal or casual?

How would the use of elaborate costumes affect this particular production?

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Discussion after the play 1. What challenges did civil rights organizers face in standing up to the racist power structures in Mississippi?

2. What challenges did the leaders and volunteers face during the orientation and early days of the Freedom Summer project?

3. Describe the process by which the black leaders and white volunteers overcame racial divisions and formed a coalition.

4. Why was interracial coalition so important to this project, and what does the importance of the white allies reveal about race,

media, and public opinion and power in American society? Are these concerns still relevant?

5. What additional personal and social benefits did the volunteers, the organizers, and the host families experience through

building an interracial coalition?

6. What special challenges did female volunteers face and what was significant about the role they played in African American

voter registration during Freedom Summer?

7. What impact did Freedom Summer have among youth in the Mississippi communities that participated?

8. The 50th anniversary of the passage of the Voting Rights Act recently occurred in June 2014. What can your generation do to

honor, perpetuate and advance the goals of the civil rights movement? Are these goals still relevant?

9. Why is voting such an important civil right?

What tactics did white supremacists in the Jim Crow South use to prevent African American people from voting? Why

were they afraid of the black vote?

In 2013, the Supreme Court struck down Section 4 of the 1965 Voting Rights Act, liberating Alabama, Alaska, Arizona,

Georgia, Louisiana, Mississippi, South Carolina, Texas and Virginia of federal oversight of voting procedures. Chief

Justice John Roberts said that “our country has changed” and we no longer need to worry about racial discrimination at the

polls. Do you think that America is cured of institutional racism, or is voter discrimination still a concern?

Throughout U.S. history specific groups have been the target of exclusion when it comes to voting rights. (Refer to the U.S.

Voting Rights Timeline included in the resource set for Freedom High.) Women, African Americans, Chinese, Japanese,

and Native American peoples have all experienced discriminatory practices preventing them from exercising their rights to

vote. Property ownership, special taxes, literacy tests, and changes in requirements for citizenship have all been used as

tactics to keep certain groups of people from voting. How have members of these persecuted groups fought this injustice?

Historically, how have certain groups like women and African Americans formed coalitions in order to fight for the right to

vote? Discuss the relevance of Freedom Summer in light of this history related to voting rights.

9. What were Freedom Schools and why was there such a need for education in the African American communities in Mississippi?

10. Do you think that our modern school system puts enough emphasis on African American history and the history of other

oppressed and minority communities in the United States?

11. The Ku Klux Klan still organizes marches and rallies in communities throughout the U.S. to this day. Many communities,

including university campus communities, have taken the approach of ignoring these events (refer to jpg image “Ignore Klan,

but…” in the resource set for Freedom High available at www.uww.edu/youngauditorium/season/freedom-high). Do you agree

with this approach? Is it possible that not acknowledging this type of event is just as harmful as acknowledging it? Why or why

not?

12. “Mississippi was a terrorist state at that time,” said Richard Momeyer, a Miami professor who was among those training young

people in 1964. “They used monopolized force to repress the civil rights of black people and the government worked alongside

terrorist organizations to ensure that the blacks remained helpless.” The word “terrorist” certainly has a different connotation

for you as a 21st century citizen, but in many ways the tactics used then and now are the same. Discuss some of the parallels

that are evident when you think about the word “terrorist” in historical context versus present day.

13. In your lifetime, you and your fellow students and friends may have faced or will face injustices and discrimination based on

race, color, national origin, sex, religion, age, disability, sexual orientation, gender identity, veteran status, height, weight, or

marital status. Are there injustices, persecutions, or discriminatory practices that you or your close family members or friends

have personally experienced? In what way have you expressed your feelings about these situations? Is it important to you to

speak out against injustices toward others, even if you don’t perceive that the situation will directly affect you? Why or why

not?

14. As a young adult living in 21st century America, what is your

relationship to the Civil Rights Movement? How does this history affect

your daily life?

Credit: Some of the discussion questions listed above were created by and used with permission of The San Francisco Film Society Education Department.

Photo credit: Herbert Randall

8

Tableau Activity after the play Tableau means moving picture. It is a group of actors carefully posed. The actors are simply costumed and theatrically lit. There is no

speech and once the actors reach the appropriate, pre-choreographed position they do not move until the scene shifts or changes. It is a

quick way to tie what is happening on stage to an event, painting or photograph. For this particular production, Tableaus mirroring

actual photographs from the day will be used. It is also a way to indicate violence and danger without the use of stage combat and

props.

The purpose of this tableau activity is to help the student assign emotion and depth to the historical moment that they are recreating. In

this case, it should help them better understand and connect with the actual subjects in the historical photos from the 1964 Freedom

Summer Project. You will find a brief description of these six photos on page 2 of this guide. The actual photos are included as jpg

files in the resource set for Freedom High available at www.uww.edu/youngauditorium/season/freedom-high. These are the same

photos used for the photo response activity and used as tableau in the production Freedom High.

Directions:

You can either break the class into groups and assign each group a different picture, OR you can focus on one picture at a time

(projected) and call for student volunteers. It is also interesting to assign the SAME picture to two different groups in order to see

different interpretations of the same moment in time. The purpose of the tableau is not to recreate the same picture but to interpret it

and represent it based on those interpretations. Students should discuss the historical significance of the photo and their personal

reactions to it. They should discuss who the subjects of the photo are (or might be, if unknown) and what emotions they might be

feeling at that moment. Refer to the guidelines on page 2 of this guide for reading photography and using the Rhetorical Triangle. The

group should then create a tableau that represents that moment in time. Students will decide on what their final “picture” will look like

and then determine how they will move into that picture until they achieve their final (frozen) poses. Remind students that in a

completed tableau each subject is carefully and intentionally posed and remains still. It may be helpful to give students a paced

transition by counting down from 8 to 1 as they move into their tableau.

9

Newspaper Headline Activity after the play A grassy hill on the Western Campus of Miami University is home to a stone monument dedicated to the Freedom Summer Project of

1964. Each stone is engraved with a newspaper headline in memory of the events of Freedom Summer.

The purpose of this activity is to provide students with an opportunity for a written reflective response after seeing the play Freedom

High and/or discussing Freedom Summer.

Directions: Provide students with newspaper headlines printed in 1964 in reference to Freedom Summer. There are several options

listed below. The two photos of headlines engraved on the monument’s stones pictured below are included as jpg images in the

resource set for Freedom High available at www.uww.edu/youngauditorium/season/freedom-high. Students should select a newspaper

headline to use as a prompt for a written response following the play or discussion about Freedom Summer. It is the instructor’s

prerogative to determine the format of the written response and provide appropriate guidelines for the written piece; the writing can be

done as a straight piece of journalism or can simply be an informal personal response prompted by the headline and the student’s

experience with Freedom High.

1964 Newspaper Headlines

Arrested Riders Now Stand at 110

Martin Luther King Speech Today in Open Air Theater

Miss. Jails Freedom Riders

Ambushers Burn Bus: Riots Hit Birmingham

Three Civil Rights Workers Missing

Rights Team’s Burned Car Found in Mississippi Bog; Dulles to Aid Hunt for 3

Young Rights Trainees Scared, Dedicated

Missing car found burned, no sign of three workers. Car

was on list circulated statewide by Canton White Citizens

Council.

Tuesday, June 23, 1964

Philadelphia, Mississippi

Freedom Summer

FBI Joins in Search in South for 3 Missing Rights

Workers

Tuesday, June 23, 1964

Yonkers Herald

Statesman, N.Y.

Photo credit: Dr. Mark McPhail

10

Resource Set

Thank you for providing us with resources and text for use in this guide: Marti Gobel, Adam Kraar, Dr. Mark McPhail, Herbert Randall, and The San

Francisco Film Society Education Department.

Please direct all comments and queries to Shannon Dozoryst, Director of Education and Outreach

Young Auditorium

930 W. Main St.

Whitewater, WI 53190

[email protected]

262-472-1432

Acknowledgements

The following resources are referenced in this guide and are available for download at—

http://www.uww.edu/youngauditorium/season/freedom-high/freedom-high-resources

Please keep in mind that these resources should be used for non-profit educational purposes only.

Photos of Freedom Summer: 6 Jpg photo files for use in photo response and tableau activities; some of these photos will be

represented as tableau in the production Freedom High

Songs of Freedom Summer: 14 audio files ready for classroom use to enhance discussion and study of Freedom Summer

Wisconsin Historical Society Freedom Summer Sourcebook for Educators

Wisconsin Historical Society Freedom Summer Teacher PowerPoint

Writing Studio/ Duke University - Visual Rhetoric/ Visual Literacy: Writing About Photography; pdf file for use in photo response

and tableau activities

U.S. Voting Rights Timeline: referenced in discussion question #9.

KKK newspaper image (jpg): referenced in discussion question #11.

Monument images (jpg): referenced in Newspaper Headlines activity.