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          "description" => "<h5>Above: Attorney Charles Hamilton Houston argues before the District of Columbia Board of Education for Marian Anderson’s use of the auditorium at Central High School, March 1939. Scurlock Studio Records, Archives Center, National Museum of American History, Smithsonian Institution.</h5><p>Marian Anderson’s musical connections in Washington, DC not only began long before her Easter Sunday concert in 1939, but led to it. In her autobiography,&nbsp;My Lord, What a Morning, Anderson frames her journey to sing at the Lincoln Memorial by explaining that her manager, Solomon Hurok, "sought appearances for me in all the places where the best performers were expected and taken for granted. The nation’s capital was such a place. I had sung in Washington years before—in schools and churches. It was time to appear on the city’s foremost concert platform—Constitution Hall" (184).</p><p>One of those churches was the <a title="Metropolian African Methodist Episcopal Church objects | NMAAHC" href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame">Metropolitan African Methodist Episcopal Church</a>, whose large sanctuary often hosted concerts. In 1926, for example, Anderson was among three internationally known singers engaged for a particularly notable&nbsp;<a title="Lift Every Voice | The Lake So Blue Historical Marker" href="https://www.hmdb.org/m.asp?m=130766" target="_blank" rel="noopener" data-mce-href="https://www.hmdb.org/m.asp?m=130766"><span style="color: blue;" data-mce-style="color: blue;">Howard University Homecoming</span></a>. (This "Classic Week" attracted 16,000 people and culminated in the Howard-Lincoln football game held in the newly christened Howard Stadium, renamed Greene Stadium in 1986.)&nbsp; Her Metropolitan AME recital benefitted Lincoln Temple Congregational Church, which would dedicate its new building in 1928.&nbsp;</p><p>In 1936, Anderson began singing annually for Howard's popular University concert series, which benefitted its School of Music. Not long after&nbsp;<a href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338" data-mce-href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338"><span style="color: blue;" data-mce-style="color: blue;">awarding Anderson an honorary doctorate</span></a> in June 1938, Howard sought a larger venue for her fourth appearance, having outgrown Armstrong High School and the Rialto Theatre, both African American-controlled venues. It gradually became clear that the DAR would deny Howard's request to reserve <a title="Marian Anderson and Constitution Hall | National Park Service" href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm" target="_blank" rel="noopener" data-mce-href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm"><span style="color: blue;" data-mce-style="color: blue;">Constitution Hall</span></a>, which seats almost 4,000, due to its segregationist policies.</p><p>In protest, the interracial&nbsp;<a href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">Marian Anderson Citizens Committee (MACC)</span></a>&nbsp;formed, electing as its chair Charles Hamilton Houston, the Howard University law professor who helped to dismantle “separate, but equal” policies, and mentored Thurgood Marshall. Houston spoke at MACC's meeting on March 26, 1939, along with leaders like&nbsp;<a href="https://sova.si.edu/record/ACMA.03-030" data-mce-href="https://sova.si.edu/record/ACMA.03-030"><span style="color: blue;" data-mce-style="color: blue;">Mary McLeod Bethune</span></a>, a member of President Franklin D. Roosevelt's “Black Cabinet.” MACC added to its agenda the DC School Board after it rejected Howard's request to use the all-white Central High School auditorium. Bethune’s friend, <a href="https://www.fdrlibrary.org/anderson" data-mce-href="https://www.fdrlibrary.org/anderson"><span style="color: blue;" data-mce-style="color: blue;">First Lady Eleanor Roosevelt</span></a>, joined MACC's protest, resigning from the DAR and helping to secure the Lincoln Memorial for the now-famous recital.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg" alt="Marian Anderson and Mary McLeod Bethune" width="400" height="330" data-mce-src="../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">Marian Anderson stands to the left of Mary McLeod Bethune at the launching of the SS Booker T. Washington with unidentified workers who helped construct the first Liberty ship named for an African American, California Shipbuilding Corporation's yards, Wilmington, CA, September 29, 1942. Photo by Alfred T. Palmer. Courtesy of the Library of Congress.</p></figcaption></figure><p>On April 9, 1939, an estimated 75,000 people gathered on the National Mall, and millions tuned into a national radio broadcast. Anderson's program pointedly began with&nbsp;<em>My Country ‘Tis of Thee</em>&nbsp;and continued with a mixture of classical music and African American spirituals. The image of Anderson singing on the steps of the Lincoln Memorial became iconic, representing a turning point in the Civil Rights Movement as well as an artistic achievement.</p><p>The Anacostia Community Museum’s collection includes renderings of the concert by Howard University art professor James Amos Porter and also items belonging to his spouse, renowned Howard University librarian <a title="Dorothy Burnett Porter" href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026" target="_blank" rel="noopener" data-mce-href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026"><span style="color: blue;" data-mce-style="color: blue;">Dorothy Burnett Porter</span></a>, who served on the&nbsp;<a title="Marian Anderson Citizens Committee" href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars" target="_blank" rel="noopener" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">concert committee</span></a>, according to their daughter, Constance Porter Uzelac. Another Howard University graduate, Lillian Evanti, and legendary tenor Roland Hayes were the other two featured concert artists for Howard’s Homecoming in 1926. When Anderson became the first African American to sing at the Metropolitan Opera in 1955, she credited Evanti's pioneering career in grand opera as contributing to her own pathbreaking career. With increased financial means, Anderson supported Evanti's endeavors, including the National Negro Opera Company, which Evanti helped to found.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg" alt="Program listing leadership and supporters of National Negro Opera Foundation and National Negro Opera Company Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution." width="368" height="500" data-mce-src="../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">This program lists Marian Anderson as the Honorary Chair of the National Negro Opera Company. Her portrait is adjacent to that of Dorothy Boulding Ferebee, a physician who taught at Howard University's School of Medicine and founded Southeast Neighborhood House, to which the Anacostia Community Museum traces its roots. Howard University librarian Dorothy Burnett Porter, who organized and expanded the Moorland-Spingarn Research Center, was also a member of the Washington, DC opera guild. <br>Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of the Estate of Thurlow E. Tibbs, Jr.</p></figcaption></figure><p>Anderson inspired another Washingtonian's opera career, mezzo-soprano Denyce Graves, who reprised Anderson's Easter Sunday concert in 2009. Singing at the Lincoln Memorial seventy years later, Graves wore a <a title="Satin gown worn by Marian Anderson and Denyce Graves" href="https://nmaahc.si.edu/object/nmaahc_2012.49.1" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/object/nmaahc_2012.49.1">satin gown</a> that Anderson gave to her.</p><p>Both Evanti and Anderson sang at the White House, starting in the 1930s. Anderson’s additional appearances in the District feature singing at the Capitol for the inaugurations of Presidents Eisenhower (1957) and Kennedy (1961). She returned to the Lincoln Memorial to sing at the&nbsp;<a href="https://youtu.be/y7-rK9i89dA" data-mce-href="https://youtu.be/y7-rK9i89dA"><span style="color: blue;" data-mce-style="color: blue;">March on Washington for Jobs and Freedom in 1963</span></a>. (Evanti was also there, marching with artist Alma Thomas, though she did not perform.) More than a decade later, Anderson became one of the first Kennedy Center Honorees, performing at the Center's first annual <a href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144" data-mce-href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144"><span style="color: blue;" data-mce-style="color: blue;">Honors ceremony in 1978</span></a>. Her relationships with the city and its citizens continue to reverberate in—and beyond—the nation’s capital.</p><h5>Resources</h5><p>Anderson, Marian.&nbsp;<a title="My Lord, What a Morning: An Autobiography" href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande" target="_blank" rel="noopener" data-mce-href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande"><em><span style="color: windowtext; text-decoration: none; text-underline: none;" data-mce-style="color: windowtext; text-decoration: none; text-underline: none;">My Lord, What a Morning: An Autobiography</span></em></a>. New York: Viking Press, 1956.</p><p>Black, Allida M.&nbsp;<a title="“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”" href="http://www.jstor.org/stable/20700156" target="_blank" rel="noopener" data-mce-href="http://www.jstor.org/stable/20700156"><span style="color: blue;" data-mce-style="color: blue;">“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”</span></a>Presidential Studies Quarterly&nbsp;20, no. 4 (1990): 719–36.</p><p>"Concert Will Begin Gala Classic Week for Negro Groups," <em>The Washington Post</em>. 21 Nov. 1926. M15.</p><p>Feman, Seth. <a title="“Marian Anderson’s Presence.”" href="https://doi.org/10.1086/676630" target="_blank" rel="noopener" data-mce-href="https://doi.org/10.1086/676630">“Marian Anderson’s Presence.”</a>&nbsp;<em>American Art,</em> Vol. 28, No. 1 (2014): 104–17.</p><p>Stamberg, Susan. <a title="&quot;Denied a Stage, She Sang for a Nation.&quot;" href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation" target="_blank" rel="noopener" data-mce-href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation">"Denied a Stage, She Sang for a Nation."</a> National Public Radio. April 9, 2014.</p>"
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        "content" => "<h5>Above: Attorney Charles Hamilton Houston argues before the District of Columbia Board of Education for Marian Anderson’s use of the auditorium at Central High School, March 1939. Scurlock Studio Records, Archives Center, National Museum of American History, Smithsonian Institution.</h5><p>Marian Anderson’s musical connections in Washington, DC not only began long before her Easter Sunday concert in 1939, but led to it. In her autobiography,&nbsp;My Lord, What a Morning, Anderson frames her journey to sing at the Lincoln Memorial by explaining that her manager, Solomon Hurok, "sought appearances for me in all the places where the best performers were expected and taken for granted. The nation’s capital was such a place. I had sung in Washington years before—in schools and churches. It was time to appear on the city’s foremost concert platform—Constitution Hall" (184).</p><p>One of those churches was the <a title="Metropolian African Methodist Episcopal Church objects | NMAAHC" href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame">Metropolitan African Methodist Episcopal Church</a>, whose large sanctuary often hosted concerts. In 1926, for example, Anderson was among three internationally known singers engaged for a particularly notable&nbsp;<a title="Lift Every Voice | The Lake So Blue Historical Marker" href="https://www.hmdb.org/m.asp?m=130766" target="_blank" rel="noopener" data-mce-href="https://www.hmdb.org/m.asp?m=130766"><span style="color: blue;" data-mce-style="color: blue;">Howard University Homecoming</span></a>. (This "Classic Week" attracted 16,000 people and culminated in the Howard-Lincoln football game held in the newly christened Howard Stadium, renamed Greene Stadium in 1986.)&nbsp; Her Metropolitan AME recital benefitted Lincoln Temple Congregational Church, which would dedicate its new building in 1928.&nbsp;</p><p>In 1936, Anderson began singing annually for Howard's popular University concert series, which benefitted its School of Music. Not long after&nbsp;<a href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338" data-mce-href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338"><span style="color: blue;" data-mce-style="color: blue;">awarding Anderson an honorary doctorate</span></a> in June 1938, Howard sought a larger venue for her fourth appearance, having outgrown Armstrong High School and the Rialto Theatre, both African American-controlled venues. It gradually became clear that the DAR would deny Howard's request to reserve <a title="Marian Anderson and Constitution Hall | National Park Service" href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm" target="_blank" rel="noopener" data-mce-href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm"><span style="color: blue;" data-mce-style="color: blue;">Constitution Hall</span></a>, which seats almost 4,000, due to its segregationist policies.</p><p>In protest, the interracial&nbsp;<a href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">Marian Anderson Citizens Committee (MACC)</span></a>&nbsp;formed, electing as its chair Charles Hamilton Houston, the Howard University law professor who helped to dismantle “separate, but equal” policies, and mentored Thurgood Marshall. Houston spoke at MACC's meeting on March 26, 1939, along with leaders like&nbsp;<a href="https://sova.si.edu/record/ACMA.03-030" data-mce-href="https://sova.si.edu/record/ACMA.03-030"><span style="color: blue;" data-mce-style="color: blue;">Mary McLeod Bethune</span></a>, a member of President Franklin D. Roosevelt's “Black Cabinet.” MACC added to its agenda the DC School Board after it rejected Howard's request to use the all-white Central High School auditorium. Bethune’s friend, <a href="https://www.fdrlibrary.org/anderson" data-mce-href="https://www.fdrlibrary.org/anderson"><span style="color: blue;" data-mce-style="color: blue;">First Lady Eleanor Roosevelt</span></a>, joined MACC's protest, resigning from the DAR and helping to secure the Lincoln Memorial for the now-famous recital.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg" alt="Marian Anderson and Mary McLeod Bethune" width="400" height="330" data-mce-src="../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">Marian Anderson stands to the left of Mary McLeod Bethune at the launching of the SS Booker T. Washington with unidentified workers who helped construct the first Liberty ship named for an African American, California Shipbuilding Corporation's yards, Wilmington, CA, September 29, 1942. Photo by Alfred T. Palmer. Courtesy of the Library of Congress.</p></figcaption></figure><p>On April 9, 1939, an estimated 75,000 people gathered on the National Mall, and millions tuned into a national radio broadcast. Anderson's program pointedly began with&nbsp;<em>My Country ‘Tis of Thee</em>&nbsp;and continued with a mixture of classical music and African American spirituals. The image of Anderson singing on the steps of the Lincoln Memorial became iconic, representing a turning point in the Civil Rights Movement as well as an artistic achievement.</p><p>The Anacostia Community Museum’s collection includes renderings of the concert by Howard University art professor James Amos Porter and also items belonging to his spouse, renowned Howard University librarian <a title="Dorothy Burnett Porter" href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026" target="_blank" rel="noopener" data-mce-href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026"><span style="color: blue;" data-mce-style="color: blue;">Dorothy Burnett Porter</span></a>, who served on the&nbsp;<a title="Marian Anderson Citizens Committee" href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars" target="_blank" rel="noopener" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">concert committee</span></a>, according to their daughter, Constance Porter Uzelac. Another Howard University graduate, Lillian Evanti, and legendary tenor Roland Hayes were the other two featured concert artists for Howard’s Homecoming in 1926. When Anderson became the first African American to sing at the Metropolitan Opera in 1955, she credited Evanti's pioneering career in grand opera as contributing to her own pathbreaking career. With increased financial means, Anderson supported Evanti's endeavors, including the National Negro Opera Company, which Evanti helped to found.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg" alt="Program listing leadership and supporters of National Negro Opera Foundation and National Negro Opera Company Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution." width="368" height="500" data-mce-src="../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">This program lists Marian Anderson as the Honorary Chair of the National Negro Opera Company. Her portrait is adjacent to that of Dorothy Boulding Ferebee, a physician who taught at Howard University's School of Medicine and founded Southeast Neighborhood House, to which the Anacostia Community Museum traces its roots. Howard University librarian Dorothy Burnett Porter, who organized and expanded the Moorland-Spingarn Research Center, was also a member of the Washington, DC opera guild. <br>Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of the Estate of Thurlow E. Tibbs, Jr.</p></figcaption></figure><p>Anderson inspired another Washingtonian's opera career, mezzo-soprano Denyce Graves, who reprised Anderson's Easter Sunday concert in 2009. Singing at the Lincoln Memorial seventy years later, Graves wore a <a title="Satin gown worn by Marian Anderson and Denyce Graves" href="https://nmaahc.si.edu/object/nmaahc_2012.49.1" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/object/nmaahc_2012.49.1">satin gown</a> that Anderson gave to her.</p><p>Both Evanti and Anderson sang at the White House, starting in the 1930s. Anderson’s additional appearances in the District feature singing at the Capitol for the inaugurations of Presidents Eisenhower (1957) and Kennedy (1961). She returned to the Lincoln Memorial to sing at the&nbsp;<a href="https://youtu.be/y7-rK9i89dA" data-mce-href="https://youtu.be/y7-rK9i89dA"><span style="color: blue;" data-mce-style="color: blue;">March on Washington for Jobs and Freedom in 1963</span></a>. (Evanti was also there, marching with artist Alma Thomas, though she did not perform.) More than a decade later, Anderson became one of the first Kennedy Center Honorees, performing at the Center's first annual <a href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144" data-mce-href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144"><span style="color: blue;" data-mce-style="color: blue;">Honors ceremony in 1978</span></a>. Her relationships with the city and its citizens continue to reverberate in—and beyond—the nation’s capital.</p><h5>Resources</h5><p>Anderson, Marian.&nbsp;<a title="My Lord, What a Morning: An Autobiography" href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande" target="_blank" rel="noopener" data-mce-href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande"><em><span style="color: windowtext; text-decoration: none; text-underline: none;" data-mce-style="color: windowtext; text-decoration: none; text-underline: none;">My Lord, What a Morning: An Autobiography</span></em></a>. New York: Viking Press, 1956.</p><p>Black, Allida M.&nbsp;<a title="“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”" href="http://www.jstor.org/stable/20700156" target="_blank" rel="noopener" data-mce-href="http://www.jstor.org/stable/20700156"><span style="color: blue;" data-mce-style="color: blue;">“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”</span></a>Presidential Studies Quarterly&nbsp;20, no. 4 (1990): 719–36.</p><p>"Concert Will Begin Gala Classic Week for Negro Groups," <em>The Washington Post</em>. 21 Nov. 1926. M15.</p><p>Feman, Seth. <a title="“Marian Anderson’s Presence.”" href="https://doi.org/10.1086/676630" target="_blank" rel="noopener" data-mce-href="https://doi.org/10.1086/676630">“Marian Anderson’s Presence.”</a>&nbsp;<em>American Art,</em> Vol. 28, No. 1 (2014): 104–17.</p><p>Stamberg, Susan. <a title="&quot;Denied a Stage, She Sang for a Nation.&quot;" href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation" target="_blank" rel="noopener" data-mce-href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation">"Denied a Stage, She Sang for a Nation."</a> National Public Radio. April 9, 2014.</p>"
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      "page:content" => "<h5>Above: Attorney Charles Hamilton Houston argues before the District of Columbia Board of Education for Marian Anderson’s use of the auditorium at Central High School, March 1939. Scurlock Studio Records, Archives Center, National Museum of American History, Smithsonian Institution.</h5><p>Marian Anderson’s musical connections in Washington, DC not only began long before her Easter Sunday concert in 1939, but led to it. In her autobiography,&nbsp;My Lord, What a Morning, Anderson frames her journey to sing at the Lincoln Memorial by explaining that her manager, Solomon Hurok, "sought appearances for me in all the places where the best performers were expected and taken for granted. The nation’s capital was such a place. I had sung in Washington years before—in schools and churches. It was time to appear on the city’s foremost concert platform—Constitution Hall" (184).</p><p>One of those churches was the <a title="Metropolian African Methodist Episcopal Church objects | NMAAHC" href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame">Metropolitan African Methodist Episcopal Church</a>, whose large sanctuary often hosted concerts. In 1926, for example, Anderson was among three internationally known singers engaged for a particularly notable&nbsp;<a title="Lift Every Voice | The Lake So Blue Historical Marker" href="https://www.hmdb.org/m.asp?m=130766" target="_blank" rel="noopener" data-mce-href="https://www.hmdb.org/m.asp?m=130766"><span style="color: blue;" data-mce-style="color: blue;">Howard University Homecoming</span></a>. (This "Classic Week" attracted 16,000 people and culminated in the Howard-Lincoln football game held in the newly christened Howard Stadium, renamed Greene Stadium in 1986.)&nbsp; Her Metropolitan AME recital benefitted Lincoln Temple Congregational Church, which would dedicate its new building in 1928.&nbsp;</p><p>In 1936, Anderson began singing annually for Howard's popular University concert series, which benefitted its School of Music. Not long after&nbsp;<a href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338" data-mce-href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338"><span style="color: blue;" data-mce-style="color: blue;">awarding Anderson an honorary doctorate</span></a> in June 1938, Howard sought a larger venue for her fourth appearance, having outgrown Armstrong High School and the Rialto Theatre, both African American-controlled venues. It gradually became clear that the DAR would deny Howard's request to reserve <a title="Marian Anderson and Constitution Hall | National Park Service" href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm" target="_blank" rel="noopener" data-mce-href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm"><span style="color: blue;" data-mce-style="color: blue;">Constitution Hall</span></a>, which seats almost 4,000, due to its segregationist policies.</p><p>In protest, the interracial&nbsp;<a href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">Marian Anderson Citizens Committee (MACC)</span></a>&nbsp;formed, electing as its chair Charles Hamilton Houston, the Howard University law professor who helped to dismantle “separate, but equal” policies, and mentored Thurgood Marshall. Houston spoke at MACC's meeting on March 26, 1939, along with leaders like&nbsp;<a href="https://sova.si.edu/record/ACMA.03-030" data-mce-href="https://sova.si.edu/record/ACMA.03-030"><span style="color: blue;" data-mce-style="color: blue;">Mary McLeod Bethune</span></a>, a member of President Franklin D. Roosevelt's “Black Cabinet.” MACC added to its agenda the DC School Board after it rejected Howard's request to use the all-white Central High School auditorium. Bethune’s friend, <a href="https://www.fdrlibrary.org/anderson" data-mce-href="https://www.fdrlibrary.org/anderson"><span style="color: blue;" data-mce-style="color: blue;">First Lady Eleanor Roosevelt</span></a>, joined MACC's protest, resigning from the DAR and helping to secure the Lincoln Memorial for the now-famous recital.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg" alt="Marian Anderson and Mary McLeod Bethune" width="400" height="330" data-mce-src="../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">Marian Anderson stands to the left of Mary McLeod Bethune at the launching of the SS Booker T. Washington with unidentified workers who helped construct the first Liberty ship named for an African American, California Shipbuilding Corporation's yards, Wilmington, CA, September 29, 1942. Photo by Alfred T. Palmer. Courtesy of the Library of Congress.</p></figcaption></figure><p>On April 9, 1939, an estimated 75,000 people gathered on the National Mall, and millions tuned into a national radio broadcast. Anderson's program pointedly began with&nbsp;<em>My Country ‘Tis of Thee</em>&nbsp;and continued with a mixture of classical music and African American spirituals. The image of Anderson singing on the steps of the Lincoln Memorial became iconic, representing a turning point in the Civil Rights Movement as well as an artistic achievement.</p><p>The Anacostia Community Museum’s collection includes renderings of the concert by Howard University art professor James Amos Porter and also items belonging to his spouse, renowned Howard University librarian <a title="Dorothy Burnett Porter" href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026" target="_blank" rel="noopener" data-mce-href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026"><span style="color: blue;" data-mce-style="color: blue;">Dorothy Burnett Porter</span></a>, who served on the&nbsp;<a title="Marian Anderson Citizens Committee" href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars" target="_blank" rel="noopener" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">concert committee</span></a>, according to their daughter, Constance Porter Uzelac. Another Howard University graduate, Lillian Evanti, and legendary tenor Roland Hayes were the other two featured concert artists for Howard’s Homecoming in 1926. When Anderson became the first African American to sing at the Metropolitan Opera in 1955, she credited Evanti's pioneering career in grand opera as contributing to her own pathbreaking career. With increased financial means, Anderson supported Evanti's endeavors, including the National Negro Opera Company, which Evanti helped to found.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg" alt="Program listing leadership and supporters of National Negro Opera Foundation and National Negro Opera Company Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution." width="368" height="500" data-mce-src="../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">This program lists Marian Anderson as the Honorary Chair of the National Negro Opera Company. Her portrait is adjacent to that of Dorothy Boulding Ferebee, a physician who taught at Howard University's School of Medicine and founded Southeast Neighborhood House, to which the Anacostia Community Museum traces its roots. Howard University librarian Dorothy Burnett Porter, who organized and expanded the Moorland-Spingarn Research Center, was also a member of the Washington, DC opera guild. <br>Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of the Estate of Thurlow E. Tibbs, Jr.</p></figcaption></figure><p>Anderson inspired another Washingtonian's opera career, mezzo-soprano Denyce Graves, who reprised Anderson's Easter Sunday concert in 2009. Singing at the Lincoln Memorial seventy years later, Graves wore a <a title="Satin gown worn by Marian Anderson and Denyce Graves" href="https://nmaahc.si.edu/object/nmaahc_2012.49.1" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/object/nmaahc_2012.49.1">satin gown</a> that Anderson gave to her.</p><p>Both Evanti and Anderson sang at the White House, starting in the 1930s. Anderson’s additional appearances in the District feature singing at the Capitol for the inaugurations of Presidents Eisenhower (1957) and Kennedy (1961). She returned to the Lincoln Memorial to sing at the&nbsp;<a href="https://youtu.be/y7-rK9i89dA" data-mce-href="https://youtu.be/y7-rK9i89dA"><span style="color: blue;" data-mce-style="color: blue;">March on Washington for Jobs and Freedom in 1963</span></a>. (Evanti was also there, marching with artist Alma Thomas, though she did not perform.) More than a decade later, Anderson became one of the first Kennedy Center Honorees, performing at the Center's first annual <a href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144" data-mce-href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144"><span style="color: blue;" data-mce-style="color: blue;">Honors ceremony in 1978</span></a>. Her relationships with the city and its citizens continue to reverberate in—and beyond—the nation’s capital.</p><h5>Resources</h5><p>Anderson, Marian.&nbsp;<a title="My Lord, What a Morning: An Autobiography" href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande" target="_blank" rel="noopener" data-mce-href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande"><em><span style="color: windowtext; text-decoration: none; text-underline: none;" data-mce-style="color: windowtext; text-decoration: none; text-underline: none;">My Lord, What a Morning: An Autobiography</span></em></a>. New York: Viking Press, 1956.</p><p>Black, Allida M.&nbsp;<a title="“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”" href="http://www.jstor.org/stable/20700156" target="_blank" rel="noopener" data-mce-href="http://www.jstor.org/stable/20700156"><span style="color: blue;" data-mce-style="color: blue;">“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”</span></a>Presidential Studies Quarterly&nbsp;20, no. 4 (1990): 719–36.</p><p>"Concert Will Begin Gala Classic Week for Negro Groups," <em>The Washington Post</em>. 21 Nov. 1926. M15.</p><p>Feman, Seth. <a title="“Marian Anderson’s Presence.”" href="https://doi.org/10.1086/676630" target="_blank" rel="noopener" data-mce-href="https://doi.org/10.1086/676630">“Marian Anderson’s Presence.”</a>&nbsp;<em>American Art,</em> Vol. 28, No. 1 (2014): 104–17.</p><p>Stamberg, Susan. <a title="&quot;Denied a Stage, She Sang for a Nation.&quot;" href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation" target="_blank" rel="noopener" data-mce-href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation">"Denied a Stage, She Sang for a Nation."</a> National Public Radio. April 9, 2014.</p>"
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      "description" => "<h5>Above: Attorney Charles Hamilton Houston argues before the District of Columbia Board of Education for Marian Anderson’s use of the auditorium at Central High School, March 1939. Scurlock Studio Records, Archives Center, National Museum of American History, Smithsonian Institution.</h5><p>Marian Anderson’s musical connections in Washington, DC not only began long before her Easter Sunday concert in 1939, but led to it. In her autobiography,&nbsp;My Lord, What a Morning, Anderson frames her journey to sing at the Lincoln Memorial by explaining that her manager, Solomon Hurok, "sought appearances for me in all the places where the best performers were expected and taken for granted. The nation’s capital was such a place. I had sung in Washington years before—in schools and churches. It was time to appear on the city’s foremost concert platform—Constitution Hall" (184).</p><p>One of those churches was the <a title="Metropolian African Methodist Episcopal Church objects | NMAAHC" href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame">Metropolitan African Methodist Episcopal Church</a>, whose large sanctuary often hosted concerts. In 1926, for example, Anderson was among three internationally known singers engaged for a particularly notable&nbsp;<a title="Lift Every Voice | The Lake So Blue Historical Marker" href="https://www.hmdb.org/m.asp?m=130766" target="_blank" rel="noopener" data-mce-href="https://www.hmdb.org/m.asp?m=130766"><span style="color: blue;" data-mce-style="color: blue;">Howard University Homecoming</span></a>. (This "Classic Week" attracted 16,000 people and culminated in the Howard-Lincoln football game held in the newly christened Howard Stadium, renamed Greene Stadium in 1986.)&nbsp; Her Metropolitan AME recital benefitted Lincoln Temple Congregational Church, which would dedicate its new building in 1928.&nbsp;</p><p>In 1936, Anderson began singing annually for Howard's popular University concert series, which benefitted its School of Music. Not long after&nbsp;<a href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338" data-mce-href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338"><span style="color: blue;" data-mce-style="color: blue;">awarding Anderson an honorary doctorate</span></a> in June 1938, Howard sought a larger venue for her fourth appearance, having outgrown Armstrong High School and the Rialto Theatre, both African American-controlled venues. It gradually became clear that the DAR would deny Howard's request to reserve <a title="Marian Anderson and Constitution Hall | National Park Service" href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm" target="_blank" rel="noopener" data-mce-href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm"><span style="color: blue;" data-mce-style="color: blue;">Constitution Hall</span></a>, which seats almost 4,000, due to its segregationist policies.</p><p>In protest, the interracial&nbsp;<a href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">Marian Anderson Citizens Committee (MACC)</span></a>&nbsp;formed, electing as its chair Charles Hamilton Houston, the Howard University law professor who helped to dismantle “separate, but equal” policies, and mentored Thurgood Marshall. Houston spoke at MACC's meeting on March 26, 1939, along with leaders like&nbsp;<a href="https://sova.si.edu/record/ACMA.03-030" data-mce-href="https://sova.si.edu/record/ACMA.03-030"><span style="color: blue;" data-mce-style="color: blue;">Mary McLeod Bethune</span></a>, a member of President Franklin D. Roosevelt's “Black Cabinet.” MACC added to its agenda the DC School Board after it rejected Howard's request to use the all-white Central High School auditorium. Bethune’s friend, <a href="https://www.fdrlibrary.org/anderson" data-mce-href="https://www.fdrlibrary.org/anderson"><span style="color: blue;" data-mce-style="color: blue;">First Lady Eleanor Roosevelt</span></a>, joined MACC's protest, resigning from the DAR and helping to secure the Lincoln Memorial for the now-famous recital.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg" alt="Marian Anderson and Mary McLeod Bethune" width="400" height="330" data-mce-src="../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">Marian Anderson stands to the left of Mary McLeod Bethune at the launching of the SS Booker T. Washington with unidentified workers who helped construct the first Liberty ship named for an African American, California Shipbuilding Corporation's yards, Wilmington, CA, September 29, 1942. Photo by Alfred T. Palmer. Courtesy of the Library of Congress.</p></figcaption></figure><p>On April 9, 1939, an estimated 75,000 people gathered on the National Mall, and millions tuned into a national radio broadcast. Anderson's program pointedly began with&nbsp;<em>My Country ‘Tis of Thee</em>&nbsp;and continued with a mixture of classical music and African American spirituals. The image of Anderson singing on the steps of the Lincoln Memorial became iconic, representing a turning point in the Civil Rights Movement as well as an artistic achievement.</p><p>The Anacostia Community Museum’s collection includes renderings of the concert by Howard University art professor James Amos Porter and also items belonging to his spouse, renowned Howard University librarian <a title="Dorothy Burnett Porter" href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026" target="_blank" rel="noopener" data-mce-href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026"><span style="color: blue;" data-mce-style="color: blue;">Dorothy Burnett Porter</span></a>, who served on the&nbsp;<a title="Marian Anderson Citizens Committee" href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars" target="_blank" rel="noopener" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">concert committee</span></a>, according to their daughter, Constance Porter Uzelac. Another Howard University graduate, Lillian Evanti, and legendary tenor Roland Hayes were the other two featured concert artists for Howard’s Homecoming in 1926. When Anderson became the first African American to sing at the Metropolitan Opera in 1955, she credited Evanti's pioneering career in grand opera as contributing to her own pathbreaking career. With increased financial means, Anderson supported Evanti's endeavors, including the National Negro Opera Company, which Evanti helped to found.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg" alt="Program listing leadership and supporters of National Negro Opera Foundation and National Negro Opera Company Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution." width="368" height="500" data-mce-src="../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">This program lists Marian Anderson as the Honorary Chair of the National Negro Opera Company. Her portrait is adjacent to that of Dorothy Boulding Ferebee, a physician who taught at Howard University's School of Medicine and founded Southeast Neighborhood House, to which the Anacostia Community Museum traces its roots. Howard University librarian Dorothy Burnett Porter, who organized and expanded the Moorland-Spingarn Research Center, was also a member of the Washington, DC opera guild. <br>Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of the Estate of Thurlow E. Tibbs, Jr.</p></figcaption></figure><p>Anderson inspired another Washingtonian's opera career, mezzo-soprano Denyce Graves, who reprised Anderson's Easter Sunday concert in 2009. Singing at the Lincoln Memorial seventy years later, Graves wore a <a title="Satin gown worn by Marian Anderson and Denyce Graves" href="https://nmaahc.si.edu/object/nmaahc_2012.49.1" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/object/nmaahc_2012.49.1">satin gown</a> that Anderson gave to her.</p><p>Both Evanti and Anderson sang at the White House, starting in the 1930s. Anderson’s additional appearances in the District feature singing at the Capitol for the inaugurations of Presidents Eisenhower (1957) and Kennedy (1961). She returned to the Lincoln Memorial to sing at the&nbsp;<a href="https://youtu.be/y7-rK9i89dA" data-mce-href="https://youtu.be/y7-rK9i89dA"><span style="color: blue;" data-mce-style="color: blue;">March on Washington for Jobs and Freedom in 1963</span></a>. (Evanti was also there, marching with artist Alma Thomas, though she did not perform.) More than a decade later, Anderson became one of the first Kennedy Center Honorees, performing at the Center's first annual <a href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144" data-mce-href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144"><span style="color: blue;" data-mce-style="color: blue;">Honors ceremony in 1978</span></a>. Her relationships with the city and its citizens continue to reverberate in—and beyond—the nation’s capital.</p><h5>Resources</h5><p>Anderson, Marian.&nbsp;<a title="My Lord, What a Morning: An Autobiography" href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande" target="_blank" rel="noopener" data-mce-href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande"><em><span style="color: windowtext; text-decoration: none; text-underline: none;" data-mce-style="color: windowtext; text-decoration: none; text-underline: none;">My Lord, What a Morning: An Autobiography</span></em></a>. New York: Viking Press, 1956.</p><p>Black, Allida M.&nbsp;<a title="“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”" href="http://www.jstor.org/stable/20700156" target="_blank" rel="noopener" data-mce-href="http://www.jstor.org/stable/20700156"><span style="color: blue;" data-mce-style="color: blue;">“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”</span></a>Presidential Studies Quarterly&nbsp;20, no. 4 (1990): 719–36.</p><p>"Concert Will Begin Gala Classic Week for Negro Groups," <em>The Washington Post</em>. 21 Nov. 1926. M15.</p><p>Feman, Seth. <a title="“Marian Anderson’s Presence.”" href="https://doi.org/10.1086/676630" target="_blank" rel="noopener" data-mce-href="https://doi.org/10.1086/676630">“Marian Anderson’s Presence.”</a>&nbsp;<em>American Art,</em> Vol. 28, No. 1 (2014): 104–17.</p><p>Stamberg, Susan. <a title="&quot;Denied a Stage, She Sang for a Nation.&quot;" href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation" target="_blank" rel="noopener" data-mce-href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation">"Denied a Stage, She Sang for a Nation."</a> National Public Radio. April 9, 2014.</p>"
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    "description" => "<h5>Above: Attorney Charles Hamilton Houston argues before the District of Columbia Board of Education for Marian Anderson’s use of the auditorium at Central High School, March 1939. Scurlock Studio Records, Archives Center, National Museum of American History, Smithsonian Institution.</h5><p>Marian Anderson’s musical connections in Washington, DC not only began long before her Easter Sunday concert in 1939, but led to it. In her autobiography,&nbsp;My Lord, What a Morning, Anderson frames her journey to sing at the Lincoln Memorial by explaining that her manager, Solomon Hurok, "sought appearances for me in all the places where the best performers were expected and taken for granted. The nation’s capital was such a place. I had sung in Washington years before—in schools and churches. It was time to appear on the city’s foremost concert platform—Constitution Hall" (184).</p><p>One of those churches was the <a title="Metropolian African Methodist Episcopal Church objects | NMAAHC" href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame">Metropolitan African Methodist Episcopal Church</a>, whose large sanctuary often hosted concerts. In 1926, for example, Anderson was among three internationally known singers engaged for a particularly notable&nbsp;<a title="Lift Every Voice | The Lake So Blue Historical Marker" href="https://www.hmdb.org/m.asp?m=130766" target="_blank" rel="noopener" data-mce-href="https://www.hmdb.org/m.asp?m=130766"><span style="color: blue;" data-mce-style="color: blue;">Howard University Homecoming</span></a>. (This "Classic Week" attracted 16,000 people and culminated in the Howard-Lincoln football game held in the newly christened Howard Stadium, renamed Greene Stadium in 1986.)&nbsp; Her Metropolitan AME recital benefitted Lincoln Temple Congregational Church, which would dedicate its new building in 1928.&nbsp;</p><p>In 1936, Anderson began singing annually for Howard's popular University concert series, which benefitted its School of Music. Not long after&nbsp;<a href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338" data-mce-href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338"><span style="color: blue;" data-mce-style="color: blue;">awarding Anderson an honorary doctorate</span></a> in June 1938, Howard sought a larger venue for her fourth appearance, having outgrown Armstrong High School and the Rialto Theatre, both African American-controlled venues. It gradually became clear that the DAR would deny Howard's request to reserve <a title="Marian Anderson and Constitution Hall | National Park Service" href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm" target="_blank" rel="noopener" data-mce-href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm"><span style="color: blue;" data-mce-style="color: blue;">Constitution Hall</span></a>, which seats almost 4,000, due to its segregationist policies.</p><p>In protest, the interracial&nbsp;<a href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">Marian Anderson Citizens Committee (MACC)</span></a>&nbsp;formed, electing as its chair Charles Hamilton Houston, the Howard University law professor who helped to dismantle “separate, but equal” policies, and mentored Thurgood Marshall. Houston spoke at MACC's meeting on March 26, 1939, along with leaders like&nbsp;<a href="https://sova.si.edu/record/ACMA.03-030" data-mce-href="https://sova.si.edu/record/ACMA.03-030"><span style="color: blue;" data-mce-style="color: blue;">Mary McLeod Bethune</span></a>, a member of President Franklin D. Roosevelt's “Black Cabinet.” MACC added to its agenda the DC School Board after it rejected Howard's request to use the all-white Central High School auditorium. Bethune’s friend, <a href="https://www.fdrlibrary.org/anderson" data-mce-href="https://www.fdrlibrary.org/anderson"><span style="color: blue;" data-mce-style="color: blue;">First Lady Eleanor Roosevelt</span></a>, joined MACC's protest, resigning from the DAR and helping to secure the Lincoln Memorial for the now-famous recital.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg" alt="Marian Anderson and Mary McLeod Bethune" width="400" height="330" data-mce-src="../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">Marian Anderson stands to the left of Mary McLeod Bethune at the launching of the SS Booker T. Washington with unidentified workers who helped construct the first Liberty ship named for an African American, California Shipbuilding Corporation's yards, Wilmington, CA, September 29, 1942. Photo by Alfred T. Palmer. Courtesy of the Library of Congress.</p></figcaption></figure><p>On April 9, 1939, an estimated 75,000 people gathered on the National Mall, and millions tuned into a national radio broadcast. Anderson's program pointedly began with&nbsp;<em>My Country ‘Tis of Thee</em>&nbsp;and continued with a mixture of classical music and African American spirituals. The image of Anderson singing on the steps of the Lincoln Memorial became iconic, representing a turning point in the Civil Rights Movement as well as an artistic achievement.</p><p>The Anacostia Community Museum’s collection includes renderings of the concert by Howard University art professor James Amos Porter and also items belonging to his spouse, renowned Howard University librarian <a title="Dorothy Burnett Porter" href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026" target="_blank" rel="noopener" data-mce-href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026"><span style="color: blue;" data-mce-style="color: blue;">Dorothy Burnett Porter</span></a>, who served on the&nbsp;<a title="Marian Anderson Citizens Committee" href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars" target="_blank" rel="noopener" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">concert committee</span></a>, according to their daughter, Constance Porter Uzelac. Another Howard University graduate, Lillian Evanti, and legendary tenor Roland Hayes were the other two featured concert artists for Howard’s Homecoming in 1926. When Anderson became the first African American to sing at the Metropolitan Opera in 1955, she credited Evanti's pioneering career in grand opera as contributing to her own pathbreaking career. With increased financial means, Anderson supported Evanti's endeavors, including the National Negro Opera Company, which Evanti helped to found.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg" alt="Program listing leadership and supporters of National Negro Opera Foundation and National Negro Opera Company Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution." width="368" height="500" data-mce-src="../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">This program lists Marian Anderson as the Honorary Chair of the National Negro Opera Company. Her portrait is adjacent to that of Dorothy Boulding Ferebee, a physician who taught at Howard University's School of Medicine and founded Southeast Neighborhood House, to which the Anacostia Community Museum traces its roots. Howard University librarian Dorothy Burnett Porter, who organized and expanded the Moorland-Spingarn Research Center, was also a member of the Washington, DC opera guild. <br>Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of the Estate of Thurlow E. Tibbs, Jr.</p></figcaption></figure><p>Anderson inspired another Washingtonian's opera career, mezzo-soprano Denyce Graves, who reprised Anderson's Easter Sunday concert in 2009. Singing at the Lincoln Memorial seventy years later, Graves wore a <a title="Satin gown worn by Marian Anderson and Denyce Graves" href="https://nmaahc.si.edu/object/nmaahc_2012.49.1" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/object/nmaahc_2012.49.1">satin gown</a> that Anderson gave to her.</p><p>Both Evanti and Anderson sang at the White House, starting in the 1930s. Anderson’s additional appearances in the District feature singing at the Capitol for the inaugurations of Presidents Eisenhower (1957) and Kennedy (1961). She returned to the Lincoln Memorial to sing at the&nbsp;<a href="https://youtu.be/y7-rK9i89dA" data-mce-href="https://youtu.be/y7-rK9i89dA"><span style="color: blue;" data-mce-style="color: blue;">March on Washington for Jobs and Freedom in 1963</span></a>. (Evanti was also there, marching with artist Alma Thomas, though she did not perform.) More than a decade later, Anderson became one of the first Kennedy Center Honorees, performing at the Center's first annual <a href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144" data-mce-href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144"><span style="color: blue;" data-mce-style="color: blue;">Honors ceremony in 1978</span></a>. Her relationships with the city and its citizens continue to reverberate in—and beyond—the nation’s capital.</p><h5>Resources</h5><p>Anderson, Marian.&nbsp;<a title="My Lord, What a Morning: An Autobiography" href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande" target="_blank" rel="noopener" data-mce-href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande"><em><span style="color: windowtext; text-decoration: none; text-underline: none;" data-mce-style="color: windowtext; text-decoration: none; text-underline: none;">My Lord, What a Morning: An Autobiography</span></em></a>. New York: Viking Press, 1956.</p><p>Black, Allida M.&nbsp;<a title="“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”" href="http://www.jstor.org/stable/20700156" target="_blank" rel="noopener" data-mce-href="http://www.jstor.org/stable/20700156"><span style="color: blue;" data-mce-style="color: blue;">“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”</span></a>Presidential Studies Quarterly&nbsp;20, no. 4 (1990): 719–36.</p><p>"Concert Will Begin Gala Classic Week for Negro Groups," <em>The Washington Post</em>. 21 Nov. 1926. M15.</p><p>Feman, Seth. <a title="“Marian Anderson’s Presence.”" href="https://doi.org/10.1086/676630" target="_blank" rel="noopener" data-mce-href="https://doi.org/10.1086/676630">“Marian Anderson’s Presence.”</a>&nbsp;<em>American Art,</em> Vol. 28, No. 1 (2014): 104–17.</p><p>Stamberg, Susan. <a title="&quot;Denied a Stage, She Sang for a Nation.&quot;" href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation" target="_blank" rel="noopener" data-mce-href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation">"Denied a Stage, She Sang for a Nation."</a> National Public Radio. April 9, 2014.</p>"
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      "description" => "<h5>Above: Attorney Charles Hamilton Houston argues before the District of Columbia Board of Education for Marian Anderson’s use of the auditorium at Central High School, March 1939. Scurlock Studio Records, Archives Center, National Museum of American History, Smithsonian Institution.</h5><p>Marian Anderson’s musical connections in Washington, DC not only began long before her Easter Sunday concert in 1939, but led to it. In her autobiography,&nbsp;My Lord, What a Morning, Anderson frames her journey to sing at the Lincoln Memorial by explaining that her manager, Solomon Hurok, "sought appearances for me in all the places where the best performers were expected and taken for granted. The nation’s capital was such a place. I had sung in Washington years before—in schools and churches. It was time to appear on the city’s foremost concert platform—Constitution Hall" (184).</p><p>One of those churches was the <a title="Metropolian African Methodist Episcopal Church objects | NMAAHC" href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame">Metropolitan African Methodist Episcopal Church</a>, whose large sanctuary often hosted concerts. In 1926, for example, Anderson was among three internationally known singers engaged for a particularly notable&nbsp;<a title="Lift Every Voice | The Lake So Blue Historical Marker" href="https://www.hmdb.org/m.asp?m=130766" target="_blank" rel="noopener" data-mce-href="https://www.hmdb.org/m.asp?m=130766"><span style="color: blue;" data-mce-style="color: blue;">Howard University Homecoming</span></a>. (This "Classic Week" attracted 16,000 people and culminated in the Howard-Lincoln football game held in the newly christened Howard Stadium, renamed Greene Stadium in 1986.)&nbsp; Her Metropolitan AME recital benefitted Lincoln Temple Congregational Church, which would dedicate its new building in 1928.&nbsp;</p><p>In 1936, Anderson began singing annually for Howard's popular University concert series, which benefitted its School of Music. Not long after&nbsp;<a href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338" data-mce-href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338"><span style="color: blue;" data-mce-style="color: blue;">awarding Anderson an honorary doctorate</span></a> in June 1938, Howard sought a larger venue for her fourth appearance, having outgrown Armstrong High School and the Rialto Theatre, both African American-controlled venues. It gradually became clear that the DAR would deny Howard's request to reserve <a title="Marian Anderson and Constitution Hall | National Park Service" href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm" target="_blank" rel="noopener" data-mce-href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm"><span style="color: blue;" data-mce-style="color: blue;">Constitution Hall</span></a>, which seats almost 4,000, due to its segregationist policies.</p><p>In protest, the interracial&nbsp;<a href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">Marian Anderson Citizens Committee (MACC)</span></a>&nbsp;formed, electing as its chair Charles Hamilton Houston, the Howard University law professor who helped to dismantle “separate, but equal” policies, and mentored Thurgood Marshall. Houston spoke at MACC's meeting on March 26, 1939, along with leaders like&nbsp;<a href="https://sova.si.edu/record/ACMA.03-030" data-mce-href="https://sova.si.edu/record/ACMA.03-030"><span style="color: blue;" data-mce-style="color: blue;">Mary McLeod Bethune</span></a>, a member of President Franklin D. Roosevelt's “Black Cabinet.” MACC added to its agenda the DC School Board after it rejected Howard's request to use the all-white Central High School auditorium. Bethune’s friend, <a href="https://www.fdrlibrary.org/anderson" data-mce-href="https://www.fdrlibrary.org/anderson"><span style="color: blue;" data-mce-style="color: blue;">First Lady Eleanor Roosevelt</span></a>, joined MACC's protest, resigning from the DAR and helping to secure the Lincoln Memorial for the now-famous recital.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg" alt="Marian Anderson and Mary McLeod Bethune" width="400" height="330" data-mce-src="../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">Marian Anderson stands to the left of Mary McLeod Bethune at the launching of the SS Booker T. Washington with unidentified workers who helped construct the first Liberty ship named for an African American, California Shipbuilding Corporation's yards, Wilmington, CA, September 29, 1942. Photo by Alfred T. Palmer. Courtesy of the Library of Congress.</p></figcaption></figure><p>On April 9, 1939, an estimated 75,000 people gathered on the National Mall, and millions tuned into a national radio broadcast. Anderson's program pointedly began with&nbsp;<em>My Country ‘Tis of Thee</em>&nbsp;and continued with a mixture of classical music and African American spirituals. The image of Anderson singing on the steps of the Lincoln Memorial became iconic, representing a turning point in the Civil Rights Movement as well as an artistic achievement.</p><p>The Anacostia Community Museum’s collection includes renderings of the concert by Howard University art professor James Amos Porter and also items belonging to his spouse, renowned Howard University librarian <a title="Dorothy Burnett Porter" href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026" target="_blank" rel="noopener" data-mce-href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026"><span style="color: blue;" data-mce-style="color: blue;">Dorothy Burnett Porter</span></a>, who served on the&nbsp;<a title="Marian Anderson Citizens Committee" href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars" target="_blank" rel="noopener" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">concert committee</span></a>, according to their daughter, Constance Porter Uzelac. Another Howard University graduate, Lillian Evanti, and legendary tenor Roland Hayes were the other two featured concert artists for Howard’s Homecoming in 1926. When Anderson became the first African American to sing at the Metropolitan Opera in 1955, she credited Evanti's pioneering career in grand opera as contributing to her own pathbreaking career. With increased financial means, Anderson supported Evanti's endeavors, including the National Negro Opera Company, which Evanti helped to found.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg" alt="Program listing leadership and supporters of National Negro Opera Foundation and National Negro Opera Company Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution." width="368" height="500" data-mce-src="../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">This program lists Marian Anderson as the Honorary Chair of the National Negro Opera Company. Her portrait is adjacent to that of Dorothy Boulding Ferebee, a physician who taught at Howard University's School of Medicine and founded Southeast Neighborhood House, to which the Anacostia Community Museum traces its roots. Howard University librarian Dorothy Burnett Porter, who organized and expanded the Moorland-Spingarn Research Center, was also a member of the Washington, DC opera guild. <br>Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of the Estate of Thurlow E. Tibbs, Jr.</p></figcaption></figure><p>Anderson inspired another Washingtonian's opera career, mezzo-soprano Denyce Graves, who reprised Anderson's Easter Sunday concert in 2009. Singing at the Lincoln Memorial seventy years later, Graves wore a <a title="Satin gown worn by Marian Anderson and Denyce Graves" href="https://nmaahc.si.edu/object/nmaahc_2012.49.1" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/object/nmaahc_2012.49.1">satin gown</a> that Anderson gave to her.</p><p>Both Evanti and Anderson sang at the White House, starting in the 1930s. Anderson’s additional appearances in the District feature singing at the Capitol for the inaugurations of Presidents Eisenhower (1957) and Kennedy (1961). She returned to the Lincoln Memorial to sing at the&nbsp;<a href="https://youtu.be/y7-rK9i89dA" data-mce-href="https://youtu.be/y7-rK9i89dA"><span style="color: blue;" data-mce-style="color: blue;">March on Washington for Jobs and Freedom in 1963</span></a>. (Evanti was also there, marching with artist Alma Thomas, though she did not perform.) More than a decade later, Anderson became one of the first Kennedy Center Honorees, performing at the Center's first annual <a href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144" data-mce-href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144"><span style="color: blue;" data-mce-style="color: blue;">Honors ceremony in 1978</span></a>. Her relationships with the city and its citizens continue to reverberate in—and beyond—the nation’s capital.</p><h5>Resources</h5><p>Anderson, Marian.&nbsp;<a title="My Lord, What a Morning: An Autobiography" href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande" target="_blank" rel="noopener" data-mce-href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande"><em><span style="color: windowtext; text-decoration: none; text-underline: none;" data-mce-style="color: windowtext; text-decoration: none; text-underline: none;">My Lord, What a Morning: An Autobiography</span></em></a>. New York: Viking Press, 1956.</p><p>Black, Allida M.&nbsp;<a title="“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”" href="http://www.jstor.org/stable/20700156" target="_blank" rel="noopener" data-mce-href="http://www.jstor.org/stable/20700156"><span style="color: blue;" data-mce-style="color: blue;">“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”</span></a>Presidential Studies Quarterly&nbsp;20, no. 4 (1990): 719–36.</p><p>"Concert Will Begin Gala Classic Week for Negro Groups," <em>The Washington Post</em>. 21 Nov. 1926. M15.</p><p>Feman, Seth. <a title="“Marian Anderson’s Presence.”" href="https://doi.org/10.1086/676630" target="_blank" rel="noopener" data-mce-href="https://doi.org/10.1086/676630">“Marian Anderson’s Presence.”</a>&nbsp;<em>American Art,</em> Vol. 28, No. 1 (2014): 104–17.</p><p>Stamberg, Susan. <a title="&quot;Denied a Stage, She Sang for a Nation.&quot;" href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation" target="_blank" rel="noopener" data-mce-href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation">"Denied a Stage, She Sang for a Nation."</a> National Public Radio. April 9, 2014.</p>"
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          "description" => "Born Philadelphia, PennsylvaniaThe trailblazing singer Marian Anderson's talent and success not only broke boundaries but also turned her into a civil rights icon who overcame racism throughout her career. Anderson is best remembered for her gripping performance on the steps of the Lincoln Memorial on Easter Sunday in April 1939. On that day, some seventy-five thousand people gathered to hear her sing while countless others across the nation listened to the live radio broadcast. Because of her race, Anderson had been prohibited from performing at the Daughters of the American Revolution’s Constitution Hall and other venues in Washington, D.C. The recital at the Lincoln Memorial thus became a watershed moment in the struggle against segregationist policies and discrimination. Among Anderson’s many admirers was Eleanor Roosevelt, who had praised her “beautiful and moving voice.” The first lady renounced her D.A.R. membership and helped to facilitate the singer’s Lincoln Memorial performance.Nacida en Filadelfia, PensilvaniaCon su talento y su éxito, la cantante Marian Anderson no solo rompió barreras, sino que se convirtió en ícono de los derechos civiles, superando el racismo a lo largo de su carrera. Anderson es muy recordada por su emocionante actuación en las escalinatas del Monumento a Lincoln el Domingo de Pascua de 1939. Ese día se reunieron unas 75,000 personas para oírla cantar, y muchos más la escucharon por radio en vivo a través del país. Debido a su raza, le habían impedido presentarse en la sala Constitution Hall de las Hijas de la Revolución Estadounidense (D.A.R.) y en otros lugares de Washington D.C. El recital en el Monumento a Lincoln fue, por tanto, un momento histórico en la lucha contra las prácticas segregacionistas y la discriminación. Entre los numerosos admiradores de Anderson estaba Eleanor Roosevelt, que había elogiado su “voz hermosa y emotiva”. La primera dama canceló su membresía en D.A.R. y facilitó la presentación de la cantante en el Monumento a Lincoln.Harmon Foundation; gift 1967 to NPG.The Harmon Foundation, a philanthropic organization based in New York City (active 1922–1967), included this portrait in their exhibition Portraits of Outstanding Americans of Negro Origin, which opened at the Smithsonian in 1944 and documented noteworthy African Americans’ contributions to the country. Modeling their goal of social equality, the Harmon sought portraits from African American artist Laura Wheeler Waring and Euro-American artist Betsy Graves Reyneau. The two painters followed the conventional codes of academic portraiture, seeking to convey their sitters’ extraordinary accomplishments. This painting, along with a variety of educational materials, toured nation-wide for ten years, serving as a visual rebuttal to racism.La Harmon Foundation, entidad filantrópica con sede en la ciudad de Nueva York (activa entre 1922 y 1967), incluyó este retrato en Portraits of Outstanding Americans of Negro Origin (Retratos de estadounidenses destacados de origen negro), una exposición inaugurada en la Smithsonian en 1944 que documentó las aportaciones de afroamericanos notables al país. A tono con sus ideales de igualdad social, la fundación encargó retratos a la artista afroamericana Laura Wheeler Waring y a la euroamericana Betsy Graves Reyneau. Ambas adoptaron los códigos convencionales del retrato académico para comunicar en sus obras los logros extraordinarios de sus modelos. Esta pintura, junto con diversos materiales educativos, viajó por la nación durante diez años planteando una impugnación visual del racismo."
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          "description" => "Graphic artist Donnell Lewis depicted contralto Marian Anderson in the 1990 census poster because her legacy of challenging discrimination could educate and motivate Americans, promoting widespread census participation. When Anderson was barred from performing at the Daughters of the American Revolution’s Constitution Hall in 1939, she instead held a concert at the Lincoln Memorial, evoked here by the two large columns supporting an American flag. She stands behind four microphones, her hands clasped together and her lips parted in song. The viewer looks up at the elegant contralto, who wears a white hat and dress, admiring her from the crowd below.Large teal blocks on top and underneath the drawing enabled census officials to add text encouraging Americans to lift their voices like Anderson, answering the call of the census. Purple and yellow sides complete the border of this iconic image."
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          "description" => "On April 9, 1939, Marian Anderson sang on the steps of the Lincoln Memorial before a desegregated crowd of 75,000 people. This had not been her intended stage. The concert’s organizer, Howard University, had initially contacted the Daughters of the American Revolution (DAR) and then the D.C. Board of Education about renting a large venue to accommodate her many fans. Both organizations, however, upheld segregationist policies and turned down the university’s request. A national controversy ensued, one that highlighted discrimination in the United States. Reporters repeatedly asked Anderson if she had anything to say. As with prior segregation-related disputes, she remained relatively silent. Years later, in her 1956 autobiography My Lord, What a Morning, she explained that she “did not want to talk” and especially “did not want to say anything about the D.A.R.” This would not be the last time that Anderson would feel reticent about confronting issues of race.El 9 de abril de 1939, Marian Anderson cantó en las escalinatas del Monumento a Lincoln ante una multitud no segregada de 75,000 personas. Este no era el escenario que había planeado. La organizadora del concierto, la Universidad Howard, había contactado inicialmente a las Hijas de la Revolución Americana (DAR) y luego al Consejo de Educación de Washington D.C. para alquilar un gran recinto donde cupieran los muchos admiradores de la cantante. Ambas organizaciones, sin embargo, tenían políticas segregacionistas y rechazaron la solicitud de la universidad. Esto resultó en una controversia a nivel nacional, que puso de relieve la discriminación en Estados Unidos.Los reporteros preguntaron a Anderson repetidamente si tenía algún comentario. Al igual que con disputas anteriores relacionadas con la segregación, la cantante mantuvo un relativo silencio. Años más tarde, en su autobiografía de 1956 titulada Dios mío, qué mañana, explicó que “no quería hablar” y que especialmente “no quería decir nada sobre la D.A.R.”. Esta no sería la última vez que Anderson se mostraría reticente a confrontar problemas raciales."
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          #eventDispatcher: Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher {#54 …3}
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            "large" => "720"
            "constrain" => "max_h"
            "sliderSource" => "module"
            "lazyload" => 1
            "viewer" => array:3 [ …3]
            "limit_to_local" => 0
            "unit_codes" => array:4 [ …4]
            "_core" => array:1 [ …1]
            "alt_template" => array:5 [ …5]
          ]
          #moduleOverrides: null
          #settingsOverrides: null
          #storage: Drupal\Core\Config\CachedStorage {#91}
          #schemaWrapper: null
          #typedConfigManager: Drupal\Core\Config\TypedConfigManager {#99}
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            "sliderSource" => "module"
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            "viewer" => array:3 [ …3]
            "limit_to_local" => 0
            "unit_codes" => array:4 [ …4]
            "_core" => array:1 [ …1]
            "alt_template" => array:5 [ …5]
          ]
          #name: "edan_record.settings"
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            "viewer" => array:3 [ …3]
            "limit_to_local" => 0
            "unit_codes" => array:4 [ …4]
            "_core" => array:1 [ …1]
            "alt_template" => array:5 [ …5]
          ]
          #_serviceIds: []
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        "page:content" => "<h5>Above: Attorney Charles Hamilton Houston argues before the District of Columbia Board of Education for Marian Anderson’s use of the auditorium at Central High School, March 1939. Scurlock Studio Records, Archives Center, National Museum of American History, Smithsonian Institution.</h5><p>Marian Anderson’s musical connections in Washington, DC not only began long before her Easter Sunday concert in 1939, but led to it. In her autobiography,&nbsp;My Lord, What a Morning, Anderson frames her journey to sing at the Lincoln Memorial by explaining that her manager, Solomon Hurok, "sought appearances for me in all the places where the best performers were expected and taken for granted. The nation’s capital was such a place. I had sung in Washington years before—in schools and churches. It was time to appear on the city’s foremost concert platform—Constitution Hall" (184).</p><p>One of those churches was the <a title="Metropolian African Methodist Episcopal Church objects | NMAAHC" href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame">Metropolitan African Methodist Episcopal Church</a>, whose large sanctuary often hosted concerts. In 1926, for example, Anderson was among three internationally known singers engaged for a particularly notable&nbsp;<a title="Lift Every Voice | The Lake So Blue Historical Marker" href="https://www.hmdb.org/m.asp?m=130766" target="_blank" rel="noopener" data-mce-href="https://www.hmdb.org/m.asp?m=130766"><span style="color: blue;" data-mce-style="color: blue;">Howard University Homecoming</span></a>. (This "Classic Week" attracted 16,000 people and culminated in the Howard-Lincoln football game held in the newly christened Howard Stadium, renamed Greene Stadium in 1986.)&nbsp; Her Metropolitan AME recital benefitted Lincoln Temple Congregational Church, which would dedicate its new building in 1928.&nbsp;</p><p>In 1936, Anderson began singing annually for Howard's popular University concert series, which benefitted its School of Music. Not long after&nbsp;<a href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338" data-mce-href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338"><span style="color: blue;" data-mce-style="color: blue;">awarding Anderson an honorary doctorate</span></a> in June 1938, Howard sought a larger venue for her fourth appearance, having outgrown Armstrong High School and the Rialto Theatre, both African American-controlled venues. It gradually became clear that the DAR would deny Howard's request to reserve <a title="Marian Anderson and Constitution Hall | National Park Service" href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm" target="_blank" rel="noopener" data-mce-href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm"><span style="color: blue;" data-mce-style="color: blue;">Constitution Hall</span></a>, which seats almost 4,000, due to its segregationist policies.</p><p>In protest, the interracial&nbsp;<a href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">Marian Anderson Citizens Committee (MACC)</span></a>&nbsp;formed, electing as its chair Charles Hamilton Houston, the Howard University law professor who helped to dismantle “separate, but equal” policies, and mentored Thurgood Marshall. Houston spoke at MACC's meeting on March 26, 1939, along with leaders like&nbsp;<a href="https://sova.si.edu/record/ACMA.03-030" data-mce-href="https://sova.si.edu/record/ACMA.03-030"><span style="color: blue;" data-mce-style="color: blue;">Mary McLeod Bethune</span></a>, a member of President Franklin D. Roosevelt's “Black Cabinet.” MACC added to its agenda the DC School Board after it rejected Howard's request to use the all-white Central High School auditorium. Bethune’s friend, <a href="https://www.fdrlibrary.org/anderson" data-mce-href="https://www.fdrlibrary.org/anderson"><span style="color: blue;" data-mce-style="color: blue;">First Lady Eleanor Roosevelt</span></a>, joined MACC's protest, resigning from the DAR and helping to secure the Lincoln Memorial for the now-famous recital.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg" alt="Marian Anderson and Mary McLeod Bethune" width="400" height="330" data-mce-src="../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">Marian Anderson stands to the left of Mary McLeod Bethune at the launching of the SS Booker T. Washington with unidentified workers who helped construct the first Liberty ship named for an African American, California Shipbuilding Corporation's yards, Wilmington, CA, September 29, 1942. Photo by Alfred T. Palmer. Courtesy of the Library of Congress.</p></figcaption></figure><p>On April 9, 1939, an estimated 75,000 people gathered on the National Mall, and millions tuned into a national radio broadcast. Anderson's program pointedly began with&nbsp;<em>My Country ‘Tis of Thee</em>&nbsp;and continued with a mixture of classical music and African American spirituals. The image of Anderson singing on the steps of the Lincoln Memorial became iconic, representing a turning point in the Civil Rights Movement as well as an artistic achievement.</p><p>The Anacostia Community Museum’s collection includes renderings of the concert by Howard University art professor James Amos Porter and also items belonging to his spouse, renowned Howard University librarian <a title="Dorothy Burnett Porter" href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026" target="_blank" rel="noopener" data-mce-href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026"><span style="color: blue;" data-mce-style="color: blue;">Dorothy Burnett Porter</span></a>, who served on the&nbsp;<a title="Marian Anderson Citizens Committee" href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars" target="_blank" rel="noopener" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">concert committee</span></a>, according to their daughter, Constance Porter Uzelac. Another Howard University graduate, Lillian Evanti, and legendary tenor Roland Hayes were the other two featured concert artists for Howard’s Homecoming in 1926. When Anderson became the first African American to sing at the Metropolitan Opera in 1955, she credited Evanti's pioneering career in grand opera as contributing to her own pathbreaking career. With increased financial means, Anderson supported Evanti's endeavors, including the National Negro Opera Company, which Evanti helped to found.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg" alt="Program listing leadership and supporters of National Negro Opera Foundation and National Negro Opera Company Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution." width="368" height="500" data-mce-src="../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">This program lists Marian Anderson as the Honorary Chair of the National Negro Opera Company. Her portrait is adjacent to that of Dorothy Boulding Ferebee, a physician who taught at Howard University's School of Medicine and founded Southeast Neighborhood House, to which the Anacostia Community Museum traces its roots. Howard University librarian Dorothy Burnett Porter, who organized and expanded the Moorland-Spingarn Research Center, was also a member of the Washington, DC opera guild. <br>Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of the Estate of Thurlow E. Tibbs, Jr.</p></figcaption></figure><p>Anderson inspired another Washingtonian's opera career, mezzo-soprano Denyce Graves, who reprised Anderson's Easter Sunday concert in 2009. Singing at the Lincoln Memorial seventy years later, Graves wore a <a title="Satin gown worn by Marian Anderson and Denyce Graves" href="https://nmaahc.si.edu/object/nmaahc_2012.49.1" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/object/nmaahc_2012.49.1">satin gown</a> that Anderson gave to her.</p><p>Both Evanti and Anderson sang at the White House, starting in the 1930s. Anderson’s additional appearances in the District feature singing at the Capitol for the inaugurations of Presidents Eisenhower (1957) and Kennedy (1961). She returned to the Lincoln Memorial to sing at the&nbsp;<a href="https://youtu.be/y7-rK9i89dA" data-mce-href="https://youtu.be/y7-rK9i89dA"><span style="color: blue;" data-mce-style="color: blue;">March on Washington for Jobs and Freedom in 1963</span></a>. (Evanti was also there, marching with artist Alma Thomas, though she did not perform.) More than a decade later, Anderson became one of the first Kennedy Center Honorees, performing at the Center's first annual <a href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144" data-mce-href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144"><span style="color: blue;" data-mce-style="color: blue;">Honors ceremony in 1978</span></a>. Her relationships with the city and its citizens continue to reverberate in—and beyond—the nation’s capital.</p><h5>Resources</h5><p>Anderson, Marian.&nbsp;<a title="My Lord, What a Morning: An Autobiography" href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande" target="_blank" rel="noopener" data-mce-href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande"><em><span style="color: windowtext; text-decoration: none; text-underline: none;" data-mce-style="color: windowtext; text-decoration: none; text-underline: none;">My Lord, What a Morning: An Autobiography</span></em></a>. New York: Viking Press, 1956.</p><p>Black, Allida M.&nbsp;<a title="“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”" href="http://www.jstor.org/stable/20700156" target="_blank" rel="noopener" data-mce-href="http://www.jstor.org/stable/20700156"><span style="color: blue;" data-mce-style="color: blue;">“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”</span></a>Presidential Studies Quarterly&nbsp;20, no. 4 (1990): 719–36.</p><p>"Concert Will Begin Gala Classic Week for Negro Groups," <em>The Washington Post</em>. 21 Nov. 1926. M15.</p><p>Feman, Seth. <a title="“Marian Anderson’s Presence.”" href="https://doi.org/10.1086/676630" target="_blank" rel="noopener" data-mce-href="https://doi.org/10.1086/676630">“Marian Anderson’s Presence.”</a>&nbsp;<em>American Art,</em> Vol. 28, No. 1 (2014): 104–17.</p><p>Stamberg, Susan. <a title="&quot;Denied a Stage, She Sang for a Nation.&quot;" href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation" target="_blank" rel="noopener" data-mce-href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation">"Denied a Stage, She Sang for a Nation."</a> National Public Radio. April 9, 2014.</p>"
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        "description" => "<h5>Above: Attorney Charles Hamilton Houston argues before the District of Columbia Board of Education for Marian Anderson’s use of the auditorium at Central High School, March 1939. Scurlock Studio Records, Archives Center, National Museum of American History, Smithsonian Institution.</h5><p>Marian Anderson’s musical connections in Washington, DC not only began long before her Easter Sunday concert in 1939, but led to it. In her autobiography,&nbsp;My Lord, What a Morning, Anderson frames her journey to sing at the Lincoln Memorial by explaining that her manager, Solomon Hurok, "sought appearances for me in all the places where the best performers were expected and taken for granted. The nation’s capital was such a place. I had sung in Washington years before—in schools and churches. It was time to appear on the city’s foremost concert platform—Constitution Hall" (184).</p><p>One of those churches was the <a title="Metropolian African Methodist Episcopal Church objects | NMAAHC" href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame">Metropolitan African Methodist Episcopal Church</a>, whose large sanctuary often hosted concerts. In 1926, for example, Anderson was among three internationally known singers engaged for a particularly notable&nbsp;<a title="Lift Every Voice | The Lake So Blue Historical Marker" href="https://www.hmdb.org/m.asp?m=130766" target="_blank" rel="noopener" data-mce-href="https://www.hmdb.org/m.asp?m=130766"><span style="color: blue;" data-mce-style="color: blue;">Howard University Homecoming</span></a>. (This "Classic Week" attracted 16,000 people and culminated in the Howard-Lincoln football game held in the newly christened Howard Stadium, renamed Greene Stadium in 1986.)&nbsp; Her Metropolitan AME recital benefitted Lincoln Temple Congregational Church, which would dedicate its new building in 1928.&nbsp;</p><p>In 1936, Anderson began singing annually for Howard's popular University concert series, which benefitted its School of Music. Not long after&nbsp;<a href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338" data-mce-href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338"><span style="color: blue;" data-mce-style="color: blue;">awarding Anderson an honorary doctorate</span></a> in June 1938, Howard sought a larger venue for her fourth appearance, having outgrown Armstrong High School and the Rialto Theatre, both African American-controlled venues. It gradually became clear that the DAR would deny Howard's request to reserve <a title="Marian Anderson and Constitution Hall | National Park Service" href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm" target="_blank" rel="noopener" data-mce-href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm"><span style="color: blue;" data-mce-style="color: blue;">Constitution Hall</span></a>, which seats almost 4,000, due to its segregationist policies.</p><p>In protest, the interracial&nbsp;<a href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">Marian Anderson Citizens Committee (MACC)</span></a>&nbsp;formed, electing as its chair Charles Hamilton Houston, the Howard University law professor who helped to dismantle “separate, but equal” policies, and mentored Thurgood Marshall. Houston spoke at MACC's meeting on March 26, 1939, along with leaders like&nbsp;<a href="https://sova.si.edu/record/ACMA.03-030" data-mce-href="https://sova.si.edu/record/ACMA.03-030"><span style="color: blue;" data-mce-style="color: blue;">Mary McLeod Bethune</span></a>, a member of President Franklin D. Roosevelt's “Black Cabinet.” MACC added to its agenda the DC School Board after it rejected Howard's request to use the all-white Central High School auditorium. Bethune’s friend, <a href="https://www.fdrlibrary.org/anderson" data-mce-href="https://www.fdrlibrary.org/anderson"><span style="color: blue;" data-mce-style="color: blue;">First Lady Eleanor Roosevelt</span></a>, joined MACC's protest, resigning from the DAR and helping to secure the Lincoln Memorial for the now-famous recital.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg" alt="Marian Anderson and Mary McLeod Bethune" width="400" height="330" data-mce-src="../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">Marian Anderson stands to the left of Mary McLeod Bethune at the launching of the SS Booker T. Washington with unidentified workers who helped construct the first Liberty ship named for an African American, California Shipbuilding Corporation's yards, Wilmington, CA, September 29, 1942. Photo by Alfred T. Palmer. Courtesy of the Library of Congress.</p></figcaption></figure><p>On April 9, 1939, an estimated 75,000 people gathered on the National Mall, and millions tuned into a national radio broadcast. Anderson's program pointedly began with&nbsp;<em>My Country ‘Tis of Thee</em>&nbsp;and continued with a mixture of classical music and African American spirituals. The image of Anderson singing on the steps of the Lincoln Memorial became iconic, representing a turning point in the Civil Rights Movement as well as an artistic achievement.</p><p>The Anacostia Community Museum’s collection includes renderings of the concert by Howard University art professor James Amos Porter and also items belonging to his spouse, renowned Howard University librarian <a title="Dorothy Burnett Porter" href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026" target="_blank" rel="noopener" data-mce-href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026"><span style="color: blue;" data-mce-style="color: blue;">Dorothy Burnett Porter</span></a>, who served on the&nbsp;<a title="Marian Anderson Citizens Committee" href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars" target="_blank" rel="noopener" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">concert committee</span></a>, according to their daughter, Constance Porter Uzelac. Another Howard University graduate, Lillian Evanti, and legendary tenor Roland Hayes were the other two featured concert artists for Howard’s Homecoming in 1926. When Anderson became the first African American to sing at the Metropolitan Opera in 1955, she credited Evanti's pioneering career in grand opera as contributing to her own pathbreaking career. With increased financial means, Anderson supported Evanti's endeavors, including the National Negro Opera Company, which Evanti helped to found.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg" alt="Program listing leadership and supporters of National Negro Opera Foundation and National Negro Opera Company Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution." width="368" height="500" data-mce-src="../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">This program lists Marian Anderson as the Honorary Chair of the National Negro Opera Company. Her portrait is adjacent to that of Dorothy Boulding Ferebee, a physician who taught at Howard University's School of Medicine and founded Southeast Neighborhood House, to which the Anacostia Community Museum traces its roots. Howard University librarian Dorothy Burnett Porter, who organized and expanded the Moorland-Spingarn Research Center, was also a member of the Washington, DC opera guild. <br>Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of the Estate of Thurlow E. Tibbs, Jr.</p></figcaption></figure><p>Anderson inspired another Washingtonian's opera career, mezzo-soprano Denyce Graves, who reprised Anderson's Easter Sunday concert in 2009. Singing at the Lincoln Memorial seventy years later, Graves wore a <a title="Satin gown worn by Marian Anderson and Denyce Graves" href="https://nmaahc.si.edu/object/nmaahc_2012.49.1" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/object/nmaahc_2012.49.1">satin gown</a> that Anderson gave to her.</p><p>Both Evanti and Anderson sang at the White House, starting in the 1930s. Anderson’s additional appearances in the District feature singing at the Capitol for the inaugurations of Presidents Eisenhower (1957) and Kennedy (1961). She returned to the Lincoln Memorial to sing at the&nbsp;<a href="https://youtu.be/y7-rK9i89dA" data-mce-href="https://youtu.be/y7-rK9i89dA"><span style="color: blue;" data-mce-style="color: blue;">March on Washington for Jobs and Freedom in 1963</span></a>. (Evanti was also there, marching with artist Alma Thomas, though she did not perform.) More than a decade later, Anderson became one of the first Kennedy Center Honorees, performing at the Center's first annual <a href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144" data-mce-href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144"><span style="color: blue;" data-mce-style="color: blue;">Honors ceremony in 1978</span></a>. Her relationships with the city and its citizens continue to reverberate in—and beyond—the nation’s capital.</p><h5>Resources</h5><p>Anderson, Marian.&nbsp;<a title="My Lord, What a Morning: An Autobiography" href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande" target="_blank" rel="noopener" data-mce-href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande"><em><span style="color: windowtext; text-decoration: none; text-underline: none;" data-mce-style="color: windowtext; text-decoration: none; text-underline: none;">My Lord, What a Morning: An Autobiography</span></em></a>. New York: Viking Press, 1956.</p><p>Black, Allida M.&nbsp;<a title="“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”" href="http://www.jstor.org/stable/20700156" target="_blank" rel="noopener" data-mce-href="http://www.jstor.org/stable/20700156"><span style="color: blue;" data-mce-style="color: blue;">“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”</span></a>Presidential Studies Quarterly&nbsp;20, no. 4 (1990): 719–36.</p><p>"Concert Will Begin Gala Classic Week for Negro Groups," <em>The Washington Post</em>. 21 Nov. 1926. M15.</p><p>Feman, Seth. <a title="“Marian Anderson’s Presence.”" href="https://doi.org/10.1086/676630" target="_blank" rel="noopener" data-mce-href="https://doi.org/10.1086/676630">“Marian Anderson’s Presence.”</a>&nbsp;<em>American Art,</em> Vol. 28, No. 1 (2014): 104–17.</p><p>Stamberg, Susan. <a title="&quot;Denied a Stage, She Sang for a Nation.&quot;" href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation" target="_blank" rel="noopener" data-mce-href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation">"Denied a Stage, She Sang for a Nation."</a> National Public Radio. April 9, 2014.</p>"
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      "description" => "<h5>Above: Attorney Charles Hamilton Houston argues before the District of Columbia Board of Education for Marian Anderson’s use of the auditorium at Central High School, March 1939. Scurlock Studio Records, Archives Center, National Museum of American History, Smithsonian Institution.</h5><p>Marian Anderson’s musical connections in Washington, DC not only began long before her Easter Sunday concert in 1939, but led to it. In her autobiography,&nbsp;My Lord, What a Morning, Anderson frames her journey to sing at the Lincoln Memorial by explaining that her manager, Solomon Hurok, "sought appearances for me in all the places where the best performers were expected and taken for granted. The nation’s capital was such a place. I had sung in Washington years before—in schools and churches. It was time to appear on the city’s foremost concert platform—Constitution Hall" (184).</p><p>One of those churches was the <a title="Metropolian African Methodist Episcopal Church objects | NMAAHC" href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame">Metropolitan African Methodist Episcopal Church</a>, whose large sanctuary often hosted concerts. In 1926, for example, Anderson was among three internationally known singers engaged for a particularly notable&nbsp;<a title="Lift Every Voice | The Lake So Blue Historical Marker" href="https://www.hmdb.org/m.asp?m=130766" target="_blank" rel="noopener" data-mce-href="https://www.hmdb.org/m.asp?m=130766"><span style="color: blue;" data-mce-style="color: blue;">Howard University Homecoming</span></a>. (This "Classic Week" attracted 16,000 people and culminated in the Howard-Lincoln football game held in the newly christened Howard Stadium, renamed Greene Stadium in 1986.)&nbsp; Her Metropolitan AME recital benefitted Lincoln Temple Congregational Church, which would dedicate its new building in 1928.&nbsp;</p><p>In 1936, Anderson began singing annually for Howard's popular University concert series, which benefitted its School of Music. Not long after&nbsp;<a href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338" data-mce-href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338"><span style="color: blue;" data-mce-style="color: blue;">awarding Anderson an honorary doctorate</span></a> in June 1938, Howard sought a larger venue for her fourth appearance, having outgrown Armstrong High School and the Rialto Theatre, both African American-controlled venues. It gradually became clear that the DAR would deny Howard's request to reserve <a title="Marian Anderson and Constitution Hall | National Park Service" href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm" target="_blank" rel="noopener" data-mce-href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm"><span style="color: blue;" data-mce-style="color: blue;">Constitution Hall</span></a>, which seats almost 4,000, due to its segregationist policies.</p><p>In protest, the interracial&nbsp;<a href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">Marian Anderson Citizens Committee (MACC)</span></a>&nbsp;formed, electing as its chair Charles Hamilton Houston, the Howard University law professor who helped to dismantle “separate, but equal” policies, and mentored Thurgood Marshall. Houston spoke at MACC's meeting on March 26, 1939, along with leaders like&nbsp;<a href="https://sova.si.edu/record/ACMA.03-030" data-mce-href="https://sova.si.edu/record/ACMA.03-030"><span style="color: blue;" data-mce-style="color: blue;">Mary McLeod Bethune</span></a>, a member of President Franklin D. Roosevelt's “Black Cabinet.” MACC added to its agenda the DC School Board after it rejected Howard's request to use the all-white Central High School auditorium. Bethune’s friend, <a href="https://www.fdrlibrary.org/anderson" data-mce-href="https://www.fdrlibrary.org/anderson"><span style="color: blue;" data-mce-style="color: blue;">First Lady Eleanor Roosevelt</span></a>, joined MACC's protest, resigning from the DAR and helping to secure the Lincoln Memorial for the now-famous recital.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg" alt="Marian Anderson and Mary McLeod Bethune" width="400" height="330" data-mce-src="../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">Marian Anderson stands to the left of Mary McLeod Bethune at the launching of the SS Booker T. Washington with unidentified workers who helped construct the first Liberty ship named for an African American, California Shipbuilding Corporation's yards, Wilmington, CA, September 29, 1942. Photo by Alfred T. Palmer. Courtesy of the Library of Congress.</p></figcaption></figure><p>On April 9, 1939, an estimated 75,000 people gathered on the National Mall, and millions tuned into a national radio broadcast. Anderson's program pointedly began with&nbsp;<em>My Country ‘Tis of Thee</em>&nbsp;and continued with a mixture of classical music and African American spirituals. The image of Anderson singing on the steps of the Lincoln Memorial became iconic, representing a turning point in the Civil Rights Movement as well as an artistic achievement.</p><p>The Anacostia Community Museum’s collection includes renderings of the concert by Howard University art professor James Amos Porter and also items belonging to his spouse, renowned Howard University librarian <a title="Dorothy Burnett Porter" href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026" target="_blank" rel="noopener" data-mce-href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026"><span style="color: blue;" data-mce-style="color: blue;">Dorothy Burnett Porter</span></a>, who served on the&nbsp;<a title="Marian Anderson Citizens Committee" href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars" target="_blank" rel="noopener" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">concert committee</span></a>, according to their daughter, Constance Porter Uzelac. Another Howard University graduate, Lillian Evanti, and legendary tenor Roland Hayes were the other two featured concert artists for Howard’s Homecoming in 1926. When Anderson became the first African American to sing at the Metropolitan Opera in 1955, she credited Evanti's pioneering career in grand opera as contributing to her own pathbreaking career. With increased financial means, Anderson supported Evanti's endeavors, including the National Negro Opera Company, which Evanti helped to found.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg" alt="Program listing leadership and supporters of National Negro Opera Foundation and National Negro Opera Company Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution." width="368" height="500" data-mce-src="../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">This program lists Marian Anderson as the Honorary Chair of the National Negro Opera Company. Her portrait is adjacent to that of Dorothy Boulding Ferebee, a physician who taught at Howard University's School of Medicine and founded Southeast Neighborhood House, to which the Anacostia Community Museum traces its roots. Howard University librarian Dorothy Burnett Porter, who organized and expanded the Moorland-Spingarn Research Center, was also a member of the Washington, DC opera guild. <br>Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of the Estate of Thurlow E. Tibbs, Jr.</p></figcaption></figure><p>Anderson inspired another Washingtonian's opera career, mezzo-soprano Denyce Graves, who reprised Anderson's Easter Sunday concert in 2009. Singing at the Lincoln Memorial seventy years later, Graves wore a <a title="Satin gown worn by Marian Anderson and Denyce Graves" href="https://nmaahc.si.edu/object/nmaahc_2012.49.1" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/object/nmaahc_2012.49.1">satin gown</a> that Anderson gave to her.</p><p>Both Evanti and Anderson sang at the White House, starting in the 1930s. Anderson’s additional appearances in the District feature singing at the Capitol for the inaugurations of Presidents Eisenhower (1957) and Kennedy (1961). She returned to the Lincoln Memorial to sing at the&nbsp;<a href="https://youtu.be/y7-rK9i89dA" data-mce-href="https://youtu.be/y7-rK9i89dA"><span style="color: blue;" data-mce-style="color: blue;">March on Washington for Jobs and Freedom in 1963</span></a>. (Evanti was also there, marching with artist Alma Thomas, though she did not perform.) More than a decade later, Anderson became one of the first Kennedy Center Honorees, performing at the Center's first annual <a href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144" data-mce-href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144"><span style="color: blue;" data-mce-style="color: blue;">Honors ceremony in 1978</span></a>. Her relationships with the city and its citizens continue to reverberate in—and beyond—the nation’s capital.</p><h5>Resources</h5><p>Anderson, Marian.&nbsp;<a title="My Lord, What a Morning: An Autobiography" href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande" target="_blank" rel="noopener" data-mce-href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande"><em><span style="color: windowtext; text-decoration: none; text-underline: none;" data-mce-style="color: windowtext; text-decoration: none; text-underline: none;">My Lord, What a Morning: An Autobiography</span></em></a>. New York: Viking Press, 1956.</p><p>Black, Allida M.&nbsp;<a title="“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”" href="http://www.jstor.org/stable/20700156" target="_blank" rel="noopener" data-mce-href="http://www.jstor.org/stable/20700156"><span style="color: blue;" data-mce-style="color: blue;">“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”</span></a>Presidential Studies Quarterly&nbsp;20, no. 4 (1990): 719–36.</p><p>"Concert Will Begin Gala Classic Week for Negro Groups," <em>The Washington Post</em>. 21 Nov. 1926. M15.</p><p>Feman, Seth. <a title="“Marian Anderson’s Presence.”" href="https://doi.org/10.1086/676630" target="_blank" rel="noopener" data-mce-href="https://doi.org/10.1086/676630">“Marian Anderson’s Presence.”</a>&nbsp;<em>American Art,</em> Vol. 28, No. 1 (2014): 104–17.</p><p>Stamberg, Susan. <a title="&quot;Denied a Stage, She Sang for a Nation.&quot;" href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation" target="_blank" rel="noopener" data-mce-href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation">"Denied a Stage, She Sang for a Nation."</a> National Public Radio. April 9, 2014.</p>"
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        "description" => "<h5>Above: Attorney Charles Hamilton Houston argues before the District of Columbia Board of Education for Marian Anderson’s use of the auditorium at Central High School, March 1939. Scurlock Studio Records, Archives Center, National Museum of American History, Smithsonian Institution.</h5><p>Marian Anderson’s musical connections in Washington, DC not only began long before her Easter Sunday concert in 1939, but led to it. In her autobiography,&nbsp;My Lord, What a Morning, Anderson frames her journey to sing at the Lincoln Memorial by explaining that her manager, Solomon Hurok, "sought appearances for me in all the places where the best performers were expected and taken for granted. The nation’s capital was such a place. I had sung in Washington years before—in schools and churches. It was time to appear on the city’s foremost concert platform—Constitution Hall" (184).</p><p>One of those churches was the <a title="Metropolian African Methodist Episcopal Church objects | NMAAHC" href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/explore/collection/search?edan_q=metropolitan ame">Metropolitan African Methodist Episcopal Church</a>, whose large sanctuary often hosted concerts. In 1926, for example, Anderson was among three internationally known singers engaged for a particularly notable&nbsp;<a title="Lift Every Voice | The Lake So Blue Historical Marker" href="https://www.hmdb.org/m.asp?m=130766" target="_blank" rel="noopener" data-mce-href="https://www.hmdb.org/m.asp?m=130766"><span style="color: blue;" data-mce-style="color: blue;">Howard University Homecoming</span></a>. (This "Classic Week" attracted 16,000 people and culminated in the Howard-Lincoln football game held in the newly christened Howard Stadium, renamed Greene Stadium in 1986.)&nbsp; Her Metropolitan AME recital benefitted Lincoln Temple Congregational Church, which would dedicate its new building in 1928.&nbsp;</p><p>In 1936, Anderson began singing annually for Howard's popular University concert series, which benefitted its School of Music. Not long after&nbsp;<a href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338" data-mce-href="https://womenshistory.si.edu/object/archives/components/sova-nmah-ac-0618-s04-06-ref27338"><span style="color: blue;" data-mce-style="color: blue;">awarding Anderson an honorary doctorate</span></a> in June 1938, Howard sought a larger venue for her fourth appearance, having outgrown Armstrong High School and the Rialto Theatre, both African American-controlled venues. It gradually became clear that the DAR would deny Howard's request to reserve <a title="Marian Anderson and Constitution Hall | National Park Service" href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm" target="_blank" rel="noopener" data-mce-href="https://www.nps.gov/articles/000/marian-anderson-and-constitution-hall.htm"><span style="color: blue;" data-mce-style="color: blue;">Constitution Hall</span></a>, which seats almost 4,000, due to its segregationist policies.</p><p>In protest, the interracial&nbsp;<a href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1015&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">Marian Anderson Citizens Committee (MACC)</span></a>&nbsp;formed, electing as its chair Charles Hamilton Houston, the Howard University law professor who helped to dismantle “separate, but equal” policies, and mentored Thurgood Marshall. Houston spoke at MACC's meeting on March 26, 1939, along with leaders like&nbsp;<a href="https://sova.si.edu/record/ACMA.03-030" data-mce-href="https://sova.si.edu/record/ACMA.03-030"><span style="color: blue;" data-mce-style="color: blue;">Mary McLeod Bethune</span></a>, a member of President Franklin D. Roosevelt's “Black Cabinet.” MACC added to its agenda the DC School Board after it rejected Howard's request to use the all-white Central High School auditorium. Bethune’s friend, <a href="https://www.fdrlibrary.org/anderson" data-mce-href="https://www.fdrlibrary.org/anderson"><span style="color: blue;" data-mce-style="color: blue;">First Lady Eleanor Roosevelt</span></a>, joined MACC's protest, resigning from the DAR and helping to secure the Lincoln Memorial for the now-famous recital.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg" alt="Marian Anderson and Mary McLeod Bethune" width="400" height="330" data-mce-src="../sites/default/files/edan/ACM/objectgroup/MarianAndersonMaryMcLeodBethune.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">Marian Anderson stands to the left of Mary McLeod Bethune at the launching of the SS Booker T. Washington with unidentified workers who helped construct the first Liberty ship named for an African American, California Shipbuilding Corporation's yards, Wilmington, CA, September 29, 1942. Photo by Alfred T. Palmer. Courtesy of the Library of Congress.</p></figcaption></figure><p>On April 9, 1939, an estimated 75,000 people gathered on the National Mall, and millions tuned into a national radio broadcast. Anderson's program pointedly began with&nbsp;<em>My Country ‘Tis of Thee</em>&nbsp;and continued with a mixture of classical music and African American spirituals. The image of Anderson singing on the steps of the Lincoln Memorial became iconic, representing a turning point in the Civil Rights Movement as well as an artistic achievement.</p><p>The Anacostia Community Museum’s collection includes renderings of the concert by Howard University art professor James Amos Porter and also items belonging to his spouse, renowned Howard University librarian <a title="Dorothy Burnett Porter" href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026" target="_blank" rel="noopener" data-mce-href="https://anacostia.si.edu/collection/object/acm_1997.0020.0026"><span style="color: blue;" data-mce-style="color: blue;">Dorothy Burnett Porter</span></a>, who served on the&nbsp;<a title="Marian Anderson Citizens Committee" href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars" target="_blank" rel="noopener" data-mce-href="https://dh.howard.edu/cgi/viewcontent.cgi?article=1016&amp;context=og_circulars"><span style="color: blue;" data-mce-style="color: blue;">concert committee</span></a>, according to their daughter, Constance Porter Uzelac. Another Howard University graduate, Lillian Evanti, and legendary tenor Roland Hayes were the other two featured concert artists for Howard’s Homecoming in 1926. When Anderson became the first African American to sing at the Metropolitan Opera in 1955, she credited Evanti's pioneering career in grand opera as contributing to her own pathbreaking career. With increased financial means, Anderson supported Evanti's endeavors, including the National Negro Opera Company, which Evanti helped to found.</p><figure class="image" style="text-align: center;" contenteditable="false" data-mce-style="text-align: center;"><img src="https://www.si.edu/../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg" alt="Program listing leadership and supporters of National Negro Opera Foundation and National Negro Opera Company Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution." width="368" height="500" data-mce-src="../sites/default/files/edan/ACM/objectgroup/NNOF_NNOC.jpg"><figcaption contenteditable="false"><p style="color: #000000; text-align: center;" data-mce-style="color: #000000; text-align: center;">This program lists Marian Anderson as the Honorary Chair of the National Negro Opera Company. Her portrait is adjacent to that of Dorothy Boulding Ferebee, a physician who taught at Howard University's School of Medicine and founded Southeast Neighborhood House, to which the Anacostia Community Museum traces its roots. Howard University librarian Dorothy Burnett Porter, who organized and expanded the Moorland-Spingarn Research Center, was also a member of the Washington, DC opera guild. <br>Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of the Estate of Thurlow E. Tibbs, Jr.</p></figcaption></figure><p>Anderson inspired another Washingtonian's opera career, mezzo-soprano Denyce Graves, who reprised Anderson's Easter Sunday concert in 2009. Singing at the Lincoln Memorial seventy years later, Graves wore a <a title="Satin gown worn by Marian Anderson and Denyce Graves" href="https://nmaahc.si.edu/object/nmaahc_2012.49.1" target="_blank" rel="noopener" data-mce-href="https://nmaahc.si.edu/object/nmaahc_2012.49.1">satin gown</a> that Anderson gave to her.</p><p>Both Evanti and Anderson sang at the White House, starting in the 1930s. Anderson’s additional appearances in the District feature singing at the Capitol for the inaugurations of Presidents Eisenhower (1957) and Kennedy (1961). She returned to the Lincoln Memorial to sing at the&nbsp;<a href="https://youtu.be/y7-rK9i89dA" data-mce-href="https://youtu.be/y7-rK9i89dA"><span style="color: blue;" data-mce-style="color: blue;">March on Washington for Jobs and Freedom in 1963</span></a>. (Evanti was also there, marching with artist Alma Thomas, though she did not perform.) More than a decade later, Anderson became one of the first Kennedy Center Honorees, performing at the Center's first annual <a href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144" data-mce-href="https://womenshistory.si.edu/object/kennedy-center-honors-december-3-1978:nmah_1404144"><span style="color: blue;" data-mce-style="color: blue;">Honors ceremony in 1978</span></a>. Her relationships with the city and its citizens continue to reverberate in—and beyond—the nation’s capital.</p><h5>Resources</h5><p>Anderson, Marian.&nbsp;<a title="My Lord, What a Morning: An Autobiography" href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande" target="_blank" rel="noopener" data-mce-href="https://openlibrary.org/works/OL4320158W/My_Lord_what_a_morning?edition=ia:mylordwhatmornin00ande"><em><span style="color: windowtext; text-decoration: none; text-underline: none;" data-mce-style="color: windowtext; text-decoration: none; text-underline: none;">My Lord, What a Morning: An Autobiography</span></em></a>. New York: Viking Press, 1956.</p><p>Black, Allida M.&nbsp;<a title="“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”" href="http://www.jstor.org/stable/20700156" target="_blank" rel="noopener" data-mce-href="http://www.jstor.org/stable/20700156"><span style="color: blue;" data-mce-style="color: blue;">“Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”</span></a>Presidential Studies Quarterly&nbsp;20, no. 4 (1990): 719–36.</p><p>"Concert Will Begin Gala Classic Week for Negro Groups," <em>The Washington Post</em>. 21 Nov. 1926. M15.</p><p>Feman, Seth. <a title="“Marian Anderson’s Presence.”" href="https://doi.org/10.1086/676630" target="_blank" rel="noopener" data-mce-href="https://doi.org/10.1086/676630">“Marian Anderson’s Presence.”</a>&nbsp;<em>American Art,</em> Vol. 28, No. 1 (2014): 104–17.</p><p>Stamberg, Susan. <a title="&quot;Denied a Stage, She Sang for a Nation.&quot;" href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation" target="_blank" rel="noopener" data-mce-href="https://news.wjct.org/arts-culture/2014-04-09/denied-a-stage-she-sang-for-a-nation">"Denied a Stage, She Sang for a Nation."</a> National Public Radio. April 9, 2014.</p>"
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Capital Connections | Anacostia Community Museum

Capital Connections

Above: Attorney Charles Hamilton Houston argues before the District of Columbia Board of Education for Marian Anderson’s use of the auditorium at Central High School, March 1939. Scurlock Studio Records, Archives Center, National Museum of American History, Smithsonian Institution.

Marian Anderson’s musical connections in Washington, DC not only began long before her Easter Sunday concert in 1939, but led to it. In her autobiography, My Lord, What a Morning, Anderson frames her journey to sing at the Lincoln Memorial by explaining that her manager, Solomon Hurok, "sought appearances for me in all the places where the best performers were expected and taken for granted. The nation’s capital was such a place. I had sung in Washington years before—in schools and churches. It was time to appear on the city’s foremost concert platform—Constitution Hall" (184).

One of those churches was the Metropolitan African Methodist Episcopal Church, whose large sanctuary often hosted concerts. In 1926, for example, Anderson was among three internationally known singers engaged for a particularly notable Howard University Homecoming. (This "Classic Week" attracted 16,000 people and culminated in the Howard-Lincoln football game held in the newly christened Howard Stadium, renamed Greene Stadium in 1986.)  Her Metropolitan AME recital benefitted Lincoln Temple Congregational Church, which would dedicate its new building in 1928. 

In 1936, Anderson began singing annually for Howard's popular University concert series, which benefitted its School of Music. Not long after awarding Anderson an honorary doctorate in June 1938, Howard sought a larger venue for her fourth appearance, having outgrown Armstrong High School and the Rialto Theatre, both African American-controlled venues. It gradually became clear that the DAR would deny Howard's request to reserve Constitution Hall, which seats almost 4,000, due to its segregationist policies.

In protest, the interracial Marian Anderson Citizens Committee (MACC) formed, electing as its chair Charles Hamilton Houston, the Howard University law professor who helped to dismantle “separate, but equal” policies, and mentored Thurgood Marshall. Houston spoke at MACC's meeting on March 26, 1939, along with leaders like Mary McLeod Bethune, a member of President Franklin D. Roosevelt's “Black Cabinet.” MACC added to its agenda the DC School Board after it rejected Howard's request to use the all-white Central High School auditorium. Bethune’s friend, First Lady Eleanor Roosevelt, joined MACC's protest, resigning from the DAR and helping to secure the Lincoln Memorial for the now-famous recital.

Marian Anderson and Mary McLeod Bethune

Marian Anderson stands to the left of Mary McLeod Bethune at the launching of the SS Booker T. Washington with unidentified workers who helped construct the first Liberty ship named for an African American, California Shipbuilding Corporation's yards, Wilmington, CA, September 29, 1942. Photo by Alfred T. Palmer. Courtesy of the Library of Congress.

On April 9, 1939, an estimated 75,000 people gathered on the National Mall, and millions tuned into a national radio broadcast. Anderson's program pointedly began with My Country ‘Tis of Thee and continued with a mixture of classical music and African American spirituals. The image of Anderson singing on the steps of the Lincoln Memorial became iconic, representing a turning point in the Civil Rights Movement as well as an artistic achievement.

The Anacostia Community Museum’s collection includes renderings of the concert by Howard University art professor James Amos Porter and also items belonging to his spouse, renowned Howard University librarian Dorothy Burnett Porter, who served on the concert committee, according to their daughter, Constance Porter Uzelac. Another Howard University graduate, Lillian Evanti, and legendary tenor Roland Hayes were the other two featured concert artists for Howard’s Homecoming in 1926. When Anderson became the first African American to sing at the Metropolitan Opera in 1955, she credited Evanti's pioneering career in grand opera as contributing to her own pathbreaking career. With increased financial means, Anderson supported Evanti's endeavors, including the National Negro Opera Company, which Evanti helped to found.

Program listing leadership and supporters of National Negro Opera Foundation and National Negro Opera Company Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution.

This program lists Marian Anderson as the Honorary Chair of the National Negro Opera Company. Her portrait is adjacent to that of Dorothy Boulding Ferebee, a physician who taught at Howard University's School of Medicine and founded Southeast Neighborhood House, to which the Anacostia Community Museum traces its roots. Howard University librarian Dorothy Burnett Porter, who organized and expanded the Moorland-Spingarn Research Center, was also a member of the Washington, DC opera guild.
Evans-Tibbs Collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of the Estate of Thurlow E. Tibbs, Jr.

Anderson inspired another Washingtonian's opera career, mezzo-soprano Denyce Graves, who reprised Anderson's Easter Sunday concert in 2009. Singing at the Lincoln Memorial seventy years later, Graves wore a satin gown that Anderson gave to her.

Both Evanti and Anderson sang at the White House, starting in the 1930s. Anderson’s additional appearances in the District feature singing at the Capitol for the inaugurations of Presidents Eisenhower (1957) and Kennedy (1961). She returned to the Lincoln Memorial to sing at the March on Washington for Jobs and Freedom in 1963. (Evanti was also there, marching with artist Alma Thomas, though she did not perform.) More than a decade later, Anderson became one of the first Kennedy Center Honorees, performing at the Center's first annual Honors ceremony in 1978. Her relationships with the city and its citizens continue to reverberate in—and beyond—the nation’s capital.

Resources

Anderson, Marian. My Lord, What a Morning: An Autobiography. New York: Viking Press, 1956.

Black, Allida M. “Championing a Champion: Eleanor Roosevelt and the Marian Anderson ‘Freedom Concert.’”Presidential Studies Quarterly 20, no. 4 (1990): 719–36.

"Concert Will Begin Gala Classic Week for Negro Groups," The Washington Post. 21 Nov. 1926. M15.

Feman, Seth. “Marian Anderson’s Presence.” American Art, Vol. 28, No. 1 (2014): 104–17.

Stamberg, Susan. "Denied a Stage, She Sang for a Nation." National Public Radio. April 9, 2014.

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