BLACK THEATRE 1998: A THIRTY-YEAR LOOK AT BLACK ARTS THEATRE (1998)
Bibliographic record
Abstract
In early August 1997, I attended the National Black Theatre Festival and International Black Theatre Colloquium in Winston-Salem, North Carolina. The theme of this fifth biennial Black Theatre Festival was “An International Celebration and Reunion of Spirit”. Founder, executive and artistic director of the NBTF, Larry Leon Hamlin, pointed out that “global theatre practitioners and scholars from South Africa, Brazil, Cuba, Nigeria, Jamaica, Republic of Benin, England, Ghana, Canada and other parts of the world come together” here. The National Black Theatre Festival showcased the new World Black Theatre Movement. One of the prominent features of the festival was the International Colloquia/Workshop, organized by Dr Olasope O. Oyelaran of the International Program at Winston-Salem State University. This year’s theme for the colloquia was The Black Family on Stage’, which looked at how Black theatres around the world deal with family issues. In addition, there were ninety performances by more than twenty-three of the world’s Black theatre companies in a six-day period. I was able to attend the Crossroads Theatre Company production of August Wilson’s Jitney, directed by Walter Dallas; Black Goat Entertainment and Enlightenment’s Ghost Café, featuring Andre De Shields; Woodie King’s National Black Touring Circuit’s Do Lord Remember Me, by James de Jongh, directed by Regge Life; Jomandi Productions’ Hip II: Birth of the Boom, by Thomas W.Jones II, directed by Marsha A.Jackson; curator Idris Ackamoor’s New Performance in Black Theatre series, featuring a stand-in reading/ performance for ailing Sekou Sundiata by Amiri Baraka with Craig Harris; and a standing-room-only visit to a reading of a play by Samuel Hay, Crack Cream an’ Brown Sugar, at the Festival’s ‘Readers Theatre’ under the direction of Garland Thompson.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.012 | 0.002 |
| Scholarly communication | 0.006 | 0.003 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.002 | 0.004 |
| Insufficient payload (model declined to judge) | 0.057 | 0.008 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".