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Utilizing works of art as a primary source, Lisa Farrington's research in The World Before Racism conclusively answers the questions: Who invented racism? When? And why?

The term racism is understood to mean that race is the principal determinant of specific human traits and capacities and that due to racial differences, one race is inherently superior to all others. Over time, racism has commonly referenced the notion that the White race is superior to all others, fostering prejudice and discrimination. In The World Before Racism: An Art Story, author and art historian Lisa Farrington meticulously examines the intersection of art, history, and race, using original works of art as primary source materials to support her premise that racism is a construct, invented in the mid-1700s, to support the financial, political, and religious structures of European colonialism.

Using art from ancient Egypt, classical Greece, and the Roman Empire, through Medieval Europe and the colonization of the New World, to the art of the present day—sources that cannot be easily altered, edited, or selectively translated—Farrington expertly examines the intricate interplay between the Black and White races, how they saw and understood each other over the centuries. The artworks serve as powerful voices, precisely conveying the artist’s intended messages. The goal of The World Before Racism is to present irrefutable evidence that the ideology of racism is unfounded, unsupported, unjustified, and destined to fade away like so many other archaic and erroneous ideas.

Essays whose composition and editing were undertaken almost entirely within the transformed cultural and professional landscape of 2020

A few weeks prior to the submission deadline for this volume of Theatre Symposium, the murder of George Floyd by officers of the Minneapolis Police Department sparked a movement for racial justice that reverberated at every level of US society. At predominantly and historically white academic institutions (including Theatre Symposium and its parent organization, the Southeastern Theatre Conference) leaders were compelled, as perhaps never before, to account for the role of systematic racism in the foundation and perpetuation of their organizations. While the present volume’s theme of “Theatre and Race” was announced in the waning days of 2019, the composition and editing of the issue’s essays were undertaken almost entirely within the transformed cultural and professional landscape of 2020. Throughout its twenty-nine years of publication, Theatre Symposium’s pages have included many excellent essays whose authors have deployed theories of race as an analytical framework, and (less often) treated BIPOC-centered art and artists as subject. The intent of the current editors in conceiving this issue was to center such subjects and theorizations, a goal that has since taken on a more widely recognized urgency.

Taken together, these twelve essays represent a wide range of scholarly responses to the theme of “theatre and race.” The fact that there is so much to say on the topic, from so many different perspectives, is a sign of how profoundly theatre practices have been—and continue to be—shaped by racial discourses and their material manifestations.

An important historical account of Tuskegee University’s significant advances in health care, which affected millions of lives worldwide.

Alabama’s celebrated, historically black Tuskegee University is most commonly associated with its founding president, Booker T. Washington, the scientific innovator George Washington Carver, or the renowned Tuskegee Airmen. Although the university’s accomplishments and devotion to social issues are well known, its work in medical research and health care has received little acknowledgment. Tuskegee has been fulfilling Washington’s vision of “healthy minds and bodies” since its inception in 1881. In To Raise Up the Man Farthest Down, Dana R. Chandler and Edith Powell document Tuskegee University’s medical and public health history with rich archival data and never-before-published photographs. Chandler and Powell especially highlight the important but largely unsung role that Tuskegee University researchers played in the eradication of polio, and they add new dimension and context to the fascinating story of the HeLa cell line that has been brought to the public’s attention by popular media.

Tuskegee University was on the forefront in providing local farmers the benefits of agrarian research. The university helped create the massive Agricultural Extension System managed today by land grant universities throughout the United States. Tuskegee established the first baccalaureate nursing program in the state and was also home to Alabama’s first hospital for African Americans. Washington hired Alabama’s first female licensed physician as a resident physician at Tuskegee. Most notably, Tuskegee was the site of a remarkable development in American biochemistry history: its microbiology laboratory was the only one relied upon by the National Foundation for Infantile Paralysis (the organization known today as the March of Dimes) to produce the HeLa cell cultures employed in the national field trials for the Salk and Sabin polio vaccines. Chandler and Powell are also interested in correcting a long-held but false historical perception that Tuskegee University was the location for the shameful and infamous US Public Health Service study of untreated syphilis.

Meticulously researched, this book is filled with previously undocumented information taken directly from the vast Tuskegee University archives. Readers will gain a new appreciation for how Tuskegee’s people and institutions have influenced community health, food science, and national medical life throughout the twentieth century.