“Off the Grid” tonight at the CALS Williams Library.

Tonight at 6pm Theo Witsell and Dr. Story Matkin-Rawn will present “Off the Grid: Nature, Black Power, & Freedom on the AR Frontier.”

The program will take place at the Sue Cowan Williams Library.

Through images, stories, and botanical specimens from the field, historian Story Matkin-Rawn and ecologist Theo Witsell will share their research on the challenges of frontier life and use of wild resources among newly freed African Americans in the Natural State following the Civil War.

Story Matkin-Rawn serves as vice-president of the Arkansas Historical Association and is an associate professor of history at the University of Central Arkansas, where she teaches courses on Arkansas, Southern, and Civil Rights history. She received her PhD in history from the University of Wisconsin in 2009. Her article “The Great Negro State of the Country: Arkansas’s Reconstruction and the Other Great Migration,” which appeared in the Arkansas Historical Quarterly in 2013, won the Violet B. Gingles Prize. This presentation on African American life on the Arkansas frontier is part of her current project, a book manuscript titled “A New Country: An African American History of the South’s Last Frontier, 1865–1940.”

Theo Witsell is the ecologist and chief of research for the Arkansas Natural Heritage Commission, a division of the Department of Arkansas Heritage. Prior to that, he served as a botanist for the agency for nineteen years, researching and protecting rare species and habitats across the state. His research interests include the historical ecology of Arkansas and the intersections of human history and our natural heritage.

For more information, please contact 320-5744

Learn about the visual art of the Mississippi River Delta in the newest exhibit at Clinton Center

The Clinton Presidential Center’s newest temporary exhibit, The Mighty Mississippi: HeART and Soul of the Southern Delta, presents elements of culture from the last 120 years with roots in Arkansas, Mississippi, and Louisiana and features a selection of visual art that brings visitors face-to-face with the privilege and poverty that defines life in the Southern Delta.  It is on display through March 22.

In the exhibit, visitors will experience the music of the region that combined the traditions of many into a regional sound that spread far and wide along with the largest outmigration in U.S. History.

This exhibit celebrates the true heart and soul of the Delta through dynamic visual art, music, and artifacts. The centerpiece of the exhibit is a walk-in juke joint where guests can enjoy the unique sounds of the Delta Blues – the musical genre that paved the way for modern Rock, country, R&B, and hip-hop.

This is a continuation of Clinton Center’s Fusion: Arts + Humanities Arkansas theme “The Mighty Mississippi” begun in 2019.

Fusion 2020 is made possible because of the generous support of Centennial Bank, Little Rock Port Authority, Pine Bluff Advertising and Promotion Commission, Union Pacific Foundation, and the Quapaw Tribe of Oklahoma.

HAIR shone in on Robinson Auditorium starting on January 18, 1972

Ad for the original production of HAIR in Little Rock. Note the ticket prices. And that they could be purchased at Moses Music Shops.

Forty-eight years ago today, on January 18, 1972, the musical Hair settled in for a week-long run at Robinson Auditorium.  The saga to bring the national tour to Little Rock had actually begun eleven months earlier.

In February 1971, a young Little Rock attorney named Phil Kaplan petitioned the Little Rock Board of Censors to see if it would allow a production of Hair to play in the city. He was asking on behalf of a client who was interested in bringing a national tour to Arkansas’ capital city. The show, which had opened on Broadway to great acclaim in April 1968 after an Off Broadway run in 1967, was known for containing a nude scene as well for a script which was fairly liberally sprinkled with four-letter words. The Censors stated they could not offer an opinion without having seen a production.

By July 1971, Kaplan and his client (who by then had been identified as Southwest Productions) were seeking permission for a January 1972 booking of Hair from the City’s Auditorium Commission which was charged with overseeing operations at Robinson Auditorium. At its July meeting, the Commissioners voted against allowing Hair because of its “brief nude scene” and “bawdy language.”

Kaplan decried the decision. He stated that the body couldn’t “sit in censorship of legitimate theatrical productions.” He noted courts had held that Hair  could be produced and that the Auditorium Commission, as an agent for the State, “clearly can’t exercise prior censorship.” He proffered that if the production was obscene it would be a matter for law enforcement not the Auditorium Commission.

The Commission countered that they had an opinion from City Attorney Joseph Kemp stating they had the authority. One of the Commissioners, Mrs. Grady Miller (sister-in-law of the building’s namesake the late Senator Robinson, she had served on the Commission since 1940), expressed her concern that allowing Hair would open the door to other productions such as Oh! Calcutta!

On July 26, 1971, Southwest Productions filed suit against the Auditorium Commission. Four days later there was a hearing before federal Judge G. Thomas Eisele. Judge Eisele offered a ruling on August 11 which compelled the Auditorium Commission to allow Hair to be performed. Prior to the ruling, some of the Auditorium Commissioners had publicly stated that if they had to allow Hair, they would close it after the first performance on the grounds of obscenity. To combat this, Judge Eisele stated that the Commission had to allow Hair to perform the entire six day engagement it sought.

Upon hearing of the Judge’s ruling, Commissioner Emily Miller offered a succinct, two word response. “Oh, Dear!”

In the end, the production of Hair at Robinson would not be the first performance of that musical in the state.  The tour came through Fayetteville for two performances in October 1971 at Barnhill Arena.

On January 18, 1972, Hair played the first of its 8 performances over 6 days at Robinson Auditorium.  In his review the next day, the Arkansas Gazette’s Bill Lewis noted that Hair “threw out all it had to offer” and that Little Rock had survived.

The ads promoting the production carried the tagline “Arkansas will never be the same.”  Tickets (from $2 all the way up to $8.50–the equivalent of $12.23 to $51.99 in 2020 dollars) could be purchased at Moses Melody Shops both downtown and in “The Mall” (meaning Park Plaza). That business is gone from downtown, but the scion of that family, Jimmy Moses, is actively involved in building downtown through countless projects. His sons are carrying on the family tradition too.

Little Rock was by no means unique in trying to stop productions of Hair.  St. Louis, Birmingham, Los Angeles, Tallahassee, Boston, Atlanta, Charlotte NC, West Palm Beach, Oklahoma City, Mobile and Chattanooga all tried unsuccessfully to stop performances in their public auditoriums.  Despite Judge Eisele’s ruling against the City of Little Rock, members of the Fort Smith City Council also tried to stop a production later in 1972 in that city. This was despite warnings from City staff that there was not legal standing.

Within a few years, the Board of Censors of the City of Little Rock would be dissolved (as similar bodies also were disappearing across the US). Likewise, the Auditorium Commission was discontinued before Hair even opened, with its duties being taken over by the Advertising and Promotion Commission and the Convention & Visitors Bureau staff.  This was not connected to the Hair decision; it was, instead, related to expanding convention facilities in Robinson and the new adjacent hotel.  Regardless of the reasons for their demise, both bygone bodies were vestiges of earlier and differently focused days in Little Rock.