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Books by
Margaret
Burroughs
Did You Feed My Cow? Rhymes and
Games From City Streets and Country Lanes
Whip Me Whop Me Pudding and
Other Stories of Riley Rabbit and His
Fabulous Friends
For Malcolm
/
What Shall I Tell My Children Who Are
Black? /
Jasper, the Drummin’ Boy
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Margaret
Burroughs
DuSable Museum
(Co-Founder) at 93
Joins the Ancestors
Many Say Well Done, a Sad Farewell
"Michelle and I are
saddened by the passing of Dr. Margaret Burroughs, who
was widely admired for her contributions to American
culture as an esteemed artist, historian, educator and
mentor," Obama said in a statement. "Our thoughts and
prayers go out to Dr. Burroughs' family and loved ones.
Her legacy will live on in Chicago and around the
world." . . .
Mayor Richard Daley said: "Through her artistic
talent and wide breadth of knowledge, she gave us a
cultural gem, the DuSable Museum of African American
History. But she herself was a cultural institution."
Mrs. Burroughs immersed herself in art at a young age.
In her early 20s, she joined several others in starting
the South Side Community Art Center. Executive director
Faheem Majeed said Mrs. Burroughs, who lived across the
street from the Bronzeville center, remained active in
the organization and recently was campaigning to help
the center buy an adjacent vacant lot.
"Dr. Burroughs was a titan," Majeed said. "She had a
great influence as an institution builder and a role
model, but the amazing thing was how accessible she was.
She still rode the bus to go grocery shopping."
She taught art and poetry to prison
inmates, according to the Chicago Park District. For the
last 35 years, she and the
Rev. Jesse Jackson spent Christmas Day at the Cook
County Jail.
"Dr. Burroughs was a pillar of strength and character in
our community," Jackson said in a statement. "Dr.
Margaret Burroughs radiated hope."—ChicagoTribune
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Margaret
Taylor-Burroughs (born November 1, 1917
- November 21, 2010) was a prominent
African-American artist and writer. She was
in
Saint Rose,
Louisiana, United States. By the time
she was a teenager, the family had moved to
Chicago, where Margaret attended high
school. She graduated at
Chicago Teachers College and then earned
her Bachelor and Masters in Fine Arts at the
Art Institute of Chicago.
Taylor-Burroughs married Beard Goss in 1939.
They later divorced. She married Charles
Gordon Burroughs in 1949. . . .
Taylor-Burroughs taught at DuSable High
School for 23 years. From 1969 to 1979, she
taught humanities at Kennedy-King College, a
community college in Chicago. She and her
husband co-founded what is now called the
DuSable Museum of African-American Art
in Chicago in 1961. For the first ten years
of its existence, the museum operated out of
the Burroughs' home and Taylor-Burroughs
served as executive director. In 1989
Taylor-Burroughs won the
Paul Robeson Award.—Wikipedia |
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Her parents,
Alexander and Octavia Taylor, moved their family to
Chicago in search of a better life than the South had to
offer. Margaret Taylor graduated from Englewood High
School in 1933, and from Chicago Teacher’s College
(renamed Chicago State University) in 1937. She received
a Bachelor’s (1944) and a Master’s (1948) of Fine Arts
from the Art Institute of Chicago.
Taylor married
artist Bernard Goss in 1939, and later had a daughter,
Gayle. In the 1940s, while teaching art at an elementary
school, she constructed the egg tempera painting,
I’ve Been in Some Big Towns. Margaret Taylor Goss
and her husband later divorced. She then went to teach
at DuSable High School for twenty-three years. In 1947,
her first children’s book,
Jasper, the Drummin’ Boy,
was published. Taylor Goss remarried on December 23,
1949 to Charles Gordon Burroughs.
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Her
writing and artworks soared thereafter. Her
two additional children’s books published
were:
Did You Feed My Cow? Rhymes and
Games From City Streets and Country Lanes
(1955) and
Whip Me Whop Me Pudding and
Other Stories of Riley Rabbit and His
Fabulous Friends (1966). Her visual
artworks include a watercolor, Ribbon
Man, Mexico City Market, inspired by her
experience at the Institute of Printing and
Sculpture in New Mexico; an oil painting,
Insect (1963); a marble sculpture,
Head (1965); and two bronze sculptures,
Black Queen and Head (1963).
The
Burroughs’ founded the Ebony Museum of
African-American History (renamed the
DuSable Museum of African-American History)
in their home in Chicago. Their aim was to
make art, history and literature on the
Black experience accessible to the
community. The museum was eventually moved
the Washington Park, with Margaret Burroughs
as the executive director. |
In 1967, she and
Dudley Randall of the Broadside Press edited an
anthology of poems by Black writers and leaders
entitled,
For Malcolm:
Poems on the Life and Death of Malcolm X. Margaret Burroughs published her own book
of poems,
What Shall I Tell My Children Who Are
Black? (1968), describing the effects of racism on
one’s mental state. Her poems, including, “Open Letter
to Black Youth of Alabama and Other Places,” often send
a message of Black pride. Some poems encompass familial
themes, such as, “Apology to My Daughter for Apparent
Neglect,” “Lines for My Mother,” and “Memorial for My
Father.” Her second volume of poetry, Africa, My
Africa, was published in 1970. The poems in this
volume explore the topics of slavery, African culture,
and African life.
Margaret Burroughs
taught humanities at Kennedy-King Community College
between the years of 1969 and 1979. During the 1980s,
she served on the Chicago District’s Board of Education.
She received . . . a Doctorate of Humane Letters from
Lewis University in Illinois, as well as honorary
degrees from the Art Institute of Chicago, where she
taught humanities in 1968, Chicago State, and Columbia
colleges. A day was named in her honor by Mayor Harold
Washington on February 1, 1986.—Dickinsg
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Burroughs has also had a commitment to
progressive politics, as exemplified by her
contributions to such publications as
Freedomways, founded by, among others,
W. E. B. Du Bois and Paul Robeson, both of
whom were special heroes to her. She has
felt a special affinity to the Mexican
muralists and both studied and collaborated
with artists in Mexico.
Burroughs began her writing career by doing
articles and reviews for the Associated
Negro Press, founded and directed by Claude
Barnett. Her work as an educator led her
into writing for children. Her works in this
category include
Jasper, the Drummin’ Boy
(1947) and the anthology
Did You Feed My Cow? (1956), both of which underwent
subsequent editions.
Burroughs has made a distinctive
contribution as a poet and as an editor of
poets. The bulk of her poems are published
in the volumes
What Shall I Tell My Children Who Are
Black? (1968) and
Africa, My Africa (1970). |
 |
Her most
notable work as an editor was her collaboration with
Dudley Randall in the production of the commemorative
volume
For Malcolm (1967). The forty-three poets
represented include established poets such as Gwendolyn
Brooks, Margaret Walker, and Robert Hayden; as well as a
younger group associated with the Black Arts movement,
such as Sonia Sanchez, Amiri Baraka, Larry Neal, and
Mari Evans. Burroughs's own poem on Malcolm X was also
included. In this poem, “Brother Freedom,” Burroughs
places Malcolm in a pantheon with Toussaint L'Ouverture,
Joseph Cinque, Nat Turner, and other heroes of black
consciousness.
 |
Burroughs also contributed to the
rediscovery of the poet Frank Marshall Davis
by editing Jazz Interlude (1987).
Burroughs's own poems exult in African and
African American culture, taking imagery
primarily from the urban milieu of Chicago
in which she has spent her life. Her
connection to Africa has been solidified by
annual trips to the continent beginning in
the late 1960s and continuing to the 1990s.
As an early and often lonely pioneer of
black consciousness, Burroughs welcomed in
her poetry the apparent explosion in the
ranks of those subscribing to her vision,
particularly among the young. Her welcome,
however, was tempered by a critical stance
informed by her own progressive politics.
In the
poem “Only in This Way”, for example, she
downplays “wayout hairdos” in favor of
blacks “knowing and accepting” themselves.
The influence of Margaret Burroughs has been
felt in a variety of organizations with
which she has been associated, as well as by
those who have participated in programs of
the DuSable Museum. As an essayist, poet,
and writer for children, her literary
endeavors have interfaced directly with
other aspects of her creative and social
agendas. |
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Margaret
Burroughs Biography—Although Burroughs has worked in
sculpture, painting and many other art forms throughout
her career, it is her exceptional skill as a printmaker
that has earned her a place within the history of art.
For many years, she has worked with linoleum block
prints to create images evocative of African American
culture. Burroughs' work has been featured in exclusive
shows at the Corcoran Art Galleries in Washington, D.C.,
and at the Studio Museum in New York. She has served as
art director for the Negro Hall of Fame and has
illustrated many books, including
What Shall I Tell My Children Who Are
Black? . Burroughs has also
published several volumes of her own poems, illustrated
a number of children's books, and exhibited her own
artwork all over the world. In 1975 she received the
President's Humanitarian Award and in 1977 was named one
of Chicago's Most Influential Women by the Chicago
Defender. February 1, 1986, was proclaimed "Dr. Margaret
Burroughs Day" in Chicago by late Mayor Harold
Washington.—TheHistoryMakers
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Mrs. Burroughs
taught art for more than 20 years at DuSable High
School. She worked in sculpture and painting but it was
her skill as a printmaker that she became best known
for. Her linoleum block prints featured images relevant
to African-American culture. At Mrs. Burroughs request,
there will be no funeral service. A public memorial will
be held after the holidays.—SunTimes
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Margaret T. G.
Burroughs—Our
History her Legacy—Dr.
Burroughs rise to national prominence as a visual artist
and arts organizer puts her in a category all by
herself. She founded the South Side Community Art Center
Chicago, Ill the National Conference of Artist and is
the originator of the Lake Meadows Outdoor Art Fair. Her
greatest cultural influence in the community has been
that of Co- founder Director, of the DuSable Museum of
African American History, Chicago, IL 1961-1984.
The museum is the
only one of its kind, whose roots grew out of the
indigenous black community. Burroughs and her husband,
Charles, converted the ground floor of their South Side
home into a small museum to house and display artifacts.
This venture grew into what is now the DuSable Museum of
African American History, named after the first Chicago
settler, Jean Baptiste Pointe DuSable, a black fur
trader of African ancestry. The museum was moved to its
permanent location in Washington Park in 1973. . . .
Her attendance at
the American Forum of International Study program at the
University of Ghana, and subsequent trips to Africa
provided the inspiration for Africa my Africa, Burroughs
second volume of poetry. Burroughs has always considered
herself to be a print maker preferring to work in the
medium of linoleum block prints. She found the medium to
be perfect for her art work which communicates and
disseminates positive images of African Americans, their
history and culture. . . . Dr. Burroughs has received
many awards and honorable recognition including a
Doctorate of Humane Letters from Lewis University in
Illinois, as well as honorary degrees form the Art
Institute of Chicago. She is a role model that has set
an example for others to follow.
Burroughs, became
director emeritus of the DuSable museum in 1984, she was
appointed a commissioner for the Chicago Park District
in 1985. In a previous interview she was quoted as
saying in Ebony, “Every individual wants to leave
a legacy; to be remembered for something positive they
have done for their community. Long after I’m dead and
gone the DuSable museum will still be here.” She shared
her vision for a new an emerging cognoscenti of African
Americans who not only know of their heritage, but know
that they know and in knowing must also work to pass on
our legacy. Her latest poem “What will your Legacy be?"
was published in 2005.—HowardSalmon
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Margaret T.
Burroughs, Archivist of Black History, Dies at 95—By William
Grimes— November 27, 2010—Mrs. Burroughs, an artist and
high school teacher, shared with her husband, Charles, an
interest in history and a desire to celebrate the
achievements of black Americans. In 1961, using their own
collection of art and artifacts, Mr. and Mrs. Burroughs
established a small museum in three rooms on the first floor
of a large house they had recently bought on South Michigan
Avenue. Originally called the Ebony Museum of Negro History
and Art, it was renamed in 1968 to honor
Jean Baptiste Point du Sable, the black settler
considered the first permanent citizen of what would become
the city of Chicago.
In the early 1970s the
museum moved to its present location in a city-owned
building in Washington Park, just west of the
University of Chicago. Its holdings of artworks,
artifacts and documents include memorabilia of the poet
Langston Hughes
and the sociologist and historian
W.E.B. Du Bois,
the boxing gloves that
Joe Louis wore when he won the Golden Gloves competition
in 1934, and the jacket that
Paul Robeson wore when performing before black troops
during World War II. |
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“A lot of black museums have opened
up, but we’re the only one that grew out of the indigenous black
community,” Mrs. Burroughs told Black Enterprise magazine in 1980. “We
weren’t started by anybody downtown; we were started by ordinary folks.”
Margaret Taylor was born on Nov. 1, 1915, in St. Rose, La., and moved
with her family to Chicago when she was a child.—NYTimes
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What
Shall I Tell My Children Who Are Black?
By Margaret Burroughs
What shall I tell my children who are black
Of what it means to be a captive in this
dark skin?
What shall I tell my dear one, fruit of my
womb,
of how beautiful they are when everywhere
they turn
they are faced with abhorrence of everything
that is black.
The night is black and so is the boogyman.
Villains are black with black hearts.
A black cow gives no milk. A black hen lays
no eggs.
Storm clouds, black, black is evil
and evil is black and devil's food is
black...
What shall I tell my dear ones raised in a
white world
A place where white has been made to
represent
all that is good and pure and fine and
decent,
where clouds are white and dolls, and heaven
surely is a white, white place with angels
robed in white, and cotton candy and ice
cream
and milk and ruffled Sunday dresses
and dream houses and long sleek cadillacs
and Angel's food is white... all, all...
white.
What can I say therefore, when my child
Comes home in tears because a playmate
Has called him black, big lipped, flatnosed
and nappy headed?
What will he think when I dry his tears and
whisper,
"Yes, that's true. But no less beautiful and
dear."
How shall I lift up his head, get him to
square
his shoulders, look his adversaries in the
eye,
confident in the knowledge of his worth.
Serene under his sable skin and proud of his
own beauty?
What can I do to give him strength
That he may come through life's adversities
As a whole human being unwarped and human in
a world
Of biased laws and inhuman practices, that
he might
Survive. And survive he must! For who knows?
Perhaps this black child here bears the
genius
To discover the cure for... cancer
Or to chart the course for exploration of
the universe.
So, he must survive for the the good of all
humanity.
He must and will survive.
I have drunk deeply of late from the
fountain
of my black culture, sat at the knee of and
learned
from mother Africa, discovered the truth of
my heritage.
The truth, so often obscured and omitted.
And I find I have much to say to my black
children.
I will lift up their heads in proud
blackness
with the story of their fathers and their
father's fathers.
And I shall take them into a way back time
of kings and queens who ruled the Nile,
and measured the stars and discovered the
laws of mathematics.
I will tell them of a black people upon
whose backs have been built the wealth of
three continents.
I will tell him this and more.
And knowledge of his heritage shall be his
weapon and his armor;
It will make him strong enough to win any
battle he may face.
And since this story is so often obscured,
I must sacrifice to find it for my children,
even as I sacrifice to feed, clothe and
shelter them.
So this I will do for them if I love them.
None will do it for me.
I must find the truth of heritage for myself
and pass it on to them.
In years to come, I believe because I have
armed them with the truth,
my children and their children's children
will venerate me.
For it is the truth that will make us free!
from
What Shall I Tell My Children Who Are
Black?
Source:
WestGA |
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Left:
The Birthday Party,
Linoleum Cut
Right:
Mother and Child
|
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What Will Your Legacy Be?
By Margaret Burroughs
Legacy? Legacy?
Do you know what the word “Legacy” means?
Well, if you don’t know, let me tell
you what the dictionary says it means.
Legacy: property or money left to someone by a will;
something handed down from those who have gone before; a
legacy of honor, our legacy, of freedom.
In this poem, I’m not referring to material things like
property or money, either of honor or of freedom.
I am referring to what a person has
done with this life that God has given to him or her.
Yes, I want to know what will your legacy be? This is a
question that I would like to put to each and every one of
you?
What will your legacy be?
When you have finally cast off these mortal coils?
When you have crossed the great divide?
What will your legacy be?
When you can no longer run life’s race.
When you no longer have a place; when you have at last
completed the circle round and when an escape is no longer
to be found.
What will your legacy be?
When you walk into the unknown all by yourself and alone,
What will your legacy be?
Stop for a moment and listen to me and answer this question
if you can.
What will your legacy be?
When you must cross that great divide into an area from
which none can hide. When you, alone, with no one by your
side with no friend to lead you or to hold your hand?
What will your legacy be?
What deeds have you done in your lifetime which will be left
for you to be remembered by?
Will it be just a gray decaying tombstone standing alone in
a cemetery or will it be, as it should be some act, some
service or some deed that will insure that you will be
remembered on and into the eternity of life’s game?
I ask you. What will your legacy be?
Will it be the fact that you helped somebody along the way,
during the time while you were here on earth?
What will your legacy be?
Will it be similar to the legacies left to our generation by
people like Harriet Tubman, Sojourner Truth, Frederick
Douglass, John Brown, Ida B. Wells, Mary Bethune and so many
others who made of their lives a bridge for us to cross over
on and whose lives were an inspiration for us of today to
make of our lives bridges for future generations to cross
over on?
What will your legacy be?
Legacy! Legacy!
Let us stop for a moment and recall some of our people who
left their lives as legacies to us, and who always will be
honored and remembered. They were people like:
Harriet Tubman: her legacy was the work that she did on the
underground railroad in which she brought hundreds of our
ancestors out of the bonds of slavery; and,
Frederick Douglass: his legacy was the work that he did to
help abolish slavery; and, fought against the evil of black
men being lynched in this country; and,
Mary McLeod Bethune: her legacy was
that she worked for the education of our youth by starting
on faith, a small school which grew to be a great
university; and
Dr. Martin Luther King’s Jr.: his
legacy was that he devoted his life to fighting for full
equality for our people; and,
Sojourner Truth: her legacy was her
fight for the liberation of and full equality for all women
in our country; and,
John Brown: his legacy was that he sacrificed his life for
an end to slavery and for freedom of our people; and,
Bessie Coleman: her legacy was that she
became the first woman in America, black or white, to
acquire a pilot’s license; and,
Paul Robeson: his legacy was that he
was a renaissance man. He was a concert and folk singer, an
athlete and a linguist and that he fought for the liberation
of all oppressed people all over in the world; and poets,
Langston Hughes and Margaret Walker: their legacies were the
many inspirational poems that they wrote which expressed the
soul of our people; and
Dr. W.E.B. Du Bois: his legacy was his
life long struggle for the liberation of our people in his
actions, his speeches and his writings; and,
Dr. Carter G. Woodson: his legacy was
the fact that he early brought to the attention of the world
the numerous and significant contributions of people of
Africa and African descent to the attention of the world;
and,
Booker T. Washington: his legacy was the fact that he worked
for the education of our people when he founded and opened
Tuskegee Institute in Alabama; and,
George Washington Carver: his legacy was his significant and
important accomplishments in the field of science; and,
Jean Baptiste Point DuSable: his legacy was the fact he, a
black man, was the first person to settle in the area that
became Chicago and grew into a great trading center from the
little post that DuSable of African blood started over 100
years ago; and, last but not least,
Charles Gordon Burroughs: his legacy was the first black
history museum in the world which he as co-founder started
in his living room at 3806 South Michigan Avenue in Chicago.
This act inspired many who were interested in the
recognition and preservation of black history to the point
that today there are over 100 black history museums in our
country.
These are just a few as you well know.
There are many, many others who like these, left, though
their contributions in their lifetime, their legacies as
bridges for us to cross over on. So, I ask you, what will
you leave as your legacy, as a bridge for those now and
those coming on to cross over on. What will your legacy be?
I ask you, what will your legacy be? Do you know? How you
thought about it? Do you have an answer? What will you leave
as your legacy? If you have no answer, if at this point, you
cannot say: Hearken! Listen to me! This is the moment. This
is the prime moment for you to think and to get to work and
identify what you will leave as your legacy for you to be
remembered by. You are here. You are still here, alive and
quick and you have time. You have time on your side. You
have time to begin even now so get busy and do something to
help somebody. To improve the conditions of life for people
now and for those who come after. To build institutions to
educate and broaden the minds for people now and for those
who came after and to make your life a contribution that
will be your legacy. Do this and your name will be
remembered from now on and into eternity.
What will your legacy be? Hopefully, it will not be just a
gray and decaying tombstone.
Think now! Act now! To insure that your legacy will be a
positive contribution to humanity and you will be
remembered, yes you will be remembered, on and on and in
eternity as God wills it.
Source:
PeoplesWorld |
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For Malcolm
Poems
on the Life and Death of Malcolm X
Edited by Dudley Randall and Margaret
Burroughs (1967)
Forty-three poets [are] represented
including established poets such as
Gwendolyn Brooks, Margaret Walker, and
Robert Hayden; as well as a younger group
associated with the Black Arts movement,
such as Sonia Sanchez, Amiri Baraka, Larry Neal, and
Mari Evans. Burroughs's own poem on Malcolm X was also
included. In this poem, “Brother Freedom,” Burroughs
places Malcolm in a pantheon with Toussaint L'Ouverture,
Joseph Cinque, Nat Turner, and other heroes
of black consciousness. |
 |
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Life
with Margaret: The Autobiography of Dr. Margaret
Burroughs
By
Sterling Stuckey (2003)
The Forerunners: Black Poets in America
Edited by Woodie Jr. King,
Addison Gale, and Dudley Randall
(This volume contains the poem
"Everybody But Me" by Margaret Goss Burroughs)
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Gallery D'Estee presents Dr. Margaret Burroughs
Dr. Margaret Burroughs speaks at Central
BAG: Point
from which creation begins
The Black
Artists' Group of St. Louis
The Black
Arts Movement
By
James Edward Smethurst
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Blacks in Hispanic Literature: Critical Essays
Edited by
Miriam DeCosta-Willis
Blacks in Hispanic Literature is a
collection of fourteen essays by scholars and
creative writers from Africa and the Americas.
Called one of two significant critical works on
Afro-Hispanic literature to appear in the late
1970s, it includes the pioneering studies of
Carter G. Woodson and
Valaurez B. Spratlin, published in the 1930s, as
well as the essays of scholars whose interpretations
were shaped by the Black aesthetic. The early
essays, primarily of the Black-as-subject in Spanish
medieval and Golden Age literature, provide an
historical context for understanding 20th-century
creative works by African-descended, Hispanophone
writers, such as Cuban
Nicolás Guillén and Ecuadorean poet, novelist,
and scholar
Adalberto Ortiz, whose essay analyzes the
significance of Negritude in Latin America. This
collaborative text set the tone for later
conferences in which writers and scholars worked
together to promote, disseminate, and critique the
literature of Spanish-speaking people of African
descent. . . .
Cited by a
literary critic in 2004 as "the seminal study in the
field of Afro-Hispanic Literature . . . on which
most scholars in the field 'cut their teeth'."
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Sister Citizen: Shame, Stereotypes, and Black Women in
America
By Melissa V.
Harris-Perry
According to the
author, this society has historically exerted
considerable pressure on black females to fit into one
of a handful of stereotypes, primarily, the Mammy, the
Matriarch or the Jezebel. The selfless
Mammy’s behavior is marked by a slavish devotion to
white folks’ domestic concerns, often at the expense of
those of her own family’s needs. By contrast, the
relatively-hedonistic Jezebel is a sexually-insatiable
temptress. And the Matriarch is generally thought of as
an emasculating figure who denigrates black men, ala the
characters Sapphire and Aunt Esther on the television
shows Amos and Andy and Sanford and Son, respectively.
Professor Perry
points out how the propagation of these harmful myths
have served the mainstream culture well. For instance,
the Mammy suggests that it is almost second nature for
black females to feel a maternal instinct towards
Caucasian babies.
As for the source
of the Jezebel, black women had no control over their
own bodies during slavery given that they were being
auctioned off and bred to maximize profits. Nonetheless,
it was in the interest of plantation owners to propagate
the lie that sisters were sluts inclined to mate
indiscriminately.
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* * * * *
The White Masters of the
World
From
The World and Africa, 1965
By W. E. B. Du Bois
W. E. B. Du Bois’
Arraignment and Indictment of White Civilization
(Fletcher)
* *
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Ancient African Nations
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If you like this page consider making a donation
* * * * *
Negro Digest /
Black World
Browse all issues
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Enjoy!
* * * * *
The Death of Emmett Till by Bob Dylan
/
The Lonesome Death of Hattie Carroll
/
Only a Pawn in Their Game
Rev. Jesse Lee Peterson Thanks America for
Slavery /
George Jackson /
Hurricane Carter
* *
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The Journal of Negro History issues at Project Gutenberg
The
Haitian Declaration of Independence 1804
/
January 1, 1804 -- The Founding of
Haiti
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posted 23 November 2010
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