This episode segment (14 min.) investigates the story behind the American poster shown above from 1918 showing African American soldiers in World War 1.
World War 1--Literature
Page from War Poems by the Peters Sisters (1919). Text available from Hathi Trust.
The story and complete text of a book of poetry written by African American sisters Ada Tess Peters (age 18) and Ethel Pauline Peters (age 17). "Overcoming the persistent obstacles of the Jim Crow era in addition to gender, age, and geography, the women published this volume 'to show the need of unity of all men in the fight for democracy' and to comment boldly on the issues of racism in the context of war."
Chapter in: Living with Lynching. University of Illinois Press, 2011. About Alice Dubar-Nelson's play Mine Eyes Have Seen, a play that compares lynching to black military service in World War I. This one-act soon inspired Mary Burrill's similarly themed script, Aftermath, published in 1919.
World War 1--Music
Image from the sheet music for "Please let your light shine on me." Lyrics by Sergeant Allen Griggs and music by Lucie Eddie Campbell (1919). Library of Congress.
James Europe was a musical pioneer who took jazz to France as bandleader for the Harlem Hellfighters regiment as well as serving on the front lines of World War 1. He was a man of tremendous depths and ambitions, constantly aspiring to win recognition for black musicians and wider acceptance for their music.
See especially in Chapter 2 about the 404th WAC Band of African American women musicians. Today, few remember these all-female military bands. The novelty of these bands--initially employed by the U.S. military to support bond drives--drew enough spectators for the bands to be placed on tour, raising money for the war and boosting morale.
Shows how movies anticipated and helped form America's changing ideas about race. From the liberal rhetoric of the war years--marked as it was by the propaganda catchwords brotherhood and tolerance--came movies that defined a new African-American presence both in film and in American society at large.
The essays in this volume pay tribute to Gwendolyn Brooks's legacy, including her sustained dialectic with American historical events such as World War II and the Civil Rights movement.