Negro Actors Guild of America

Negro Actors Guild of America (NAG) was formed in 1936 and began operation in 1937 to create better opportunities for black actors during a period in America where the country was at a crossroads regarding how its citizens of color would be depicted in film, television and the stage.

Formed in New York City, during the Great Depression and the height of the Harlem Renaissance, the NAG sought to eliminate stereotyping of African Americans in theatrical and cinematic performances. Organizations to benefit the black actor had been formed well previously, but the NAG brought itself to be the first such organization in the United States to receive state incorporation. The NAG stressed in its formal articles within the Certificate of Incorporation the need for more realistic roles for people of color, helped foster the skills of African American actors, and worked to generate more acting opportunities for the black community in the industry.

The founding members of NAG were Fredi Washington, W. C. Handy, Paul Robeson, and Ethel Waters. Bill "Bojangles" Robinson was named honorary president.[1] Noble Sissle was the first elected president, 1937-1957; followed by Leigh Whipper, 1957-1960; Frederick O'Neal, 1960-1964; Charles "Honi" Coles, 1964-ca. 1980; and James Randolph, 1980-1981.[2]

History

Fredi Washington was a black stage and film actress who moved to Harlem during the Great Migration. Though her light skin and green eyes helped her "pass" as a white woman, she reveled in her heritage and chose to go against the barriers of stereotypical roles in film for African Americans. Washington was a talented singer and dancer; she became a chorus girl, then an actress, where she traveled all through Europe for her stage productions. She eventually landed a major role in the film Imitation of Life, which ironically, was about a "passing" white woman. Her acting career ended soon after, due to the fact that she was constantly identified with the person she played in the film.[3] Washington dedicated much of her life to the organization, even sacrificing her acting career for the advancement and prosperity of the Guild.

Washington, whom was resentful of the limitations of African Americans in the film industry, brought together a talented, diverse group of artists from stage and screen. Members included Noble Sissle, an African-American jazz composer, lyricist, bandleader, singer and playwright.W.C. Handy, an African-American blues composer and musician widely known as the "Father of the Blues", vaudeville novelty act performer Alan Corelli, Leigh Whipper, the first African-American member of the Actors' Equity Association, and Dick Campbell, a key figure in theater and a tireless advocate for black actors in general.

Noble Sissle served as the organization’s first president, while Washington served as the Guild’s executive director and secretary. Leigh Whipper succeeded Sissle in 1957 as the Guild’s president. He later caused some controversy when he accused Otto Preminger, the director for the film Porgy and Bess, of discriminating against African Americans.

The Guild served as one of the primary financial and social resources for African American entertainers. It provided health care, arranged transportation and hotel accommodations, and financed funeral services for the black thespian community. Much of the funding for the Negro Actors Guild came from the Federal Theater Authority and internal fundraising. Bill “Bojangles” Robinson was instrumental in fundraising efforts, often performing in benefit concerts on Broadway for the Guild. Robinson later served as the Guild’s first honorary president

By the early 1940s, the Guild had more than seven hundred members. Among their famous members were Hattie McDaniel, Ethel Waters, Bert Williams, and Lena Horne.

By the 1970s, the organization slowly faded as the film and theater industries became increasingly integrated. It was dissolved in 1982.[2]

References
  1. Bracks, Lean'tin L.; Smith, Jessie Carney (2014). Black Women of the Harlem Renaissance Era. Rowman & Littlefield. p. 239. ISBN 978-0-8108-8543-1.
  2. Negro Actors Guild of America – records. The New York Public Library.
  3. Blakemore, Erin. "The Fair-Skinned Black Actress Who Refused to 'Pass' in 1930s Hollywood". HISTORY. Retrieved 2019-11-13.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.