Entertainment

Maine Man to Explore Final Resting Places of Poets in South

Published

11 years ago

June 1, 2015

In this Thursday, May 28, 2015 photo, an Edgar Allan Poe bobble-head rests on the dashboard of a utility van dubbed “Dedgar the Poemobile,” driven by its owner, Dead Poets Society of America founder Walter Skold, left, in Freeport, Maine. Skold will take the van on a 16-state, 10-week tour to document the final resting places of 90 poets in the Deep South. (AP Photo/David Sharp)

David Sharp, ASSOCIATED PRESS

FREEPORT, Maine (AP) — A former teacher who travels the country to document the final resting places of poets is looking forward to calling attention to African-American poets on a tour of the South and elsewhere.

Black poets have been writing about injustice and hardship since the days of slavery, and the theme rings true today, given the recent unrest surrounding police killings of black men, Walter Skold said.

“African-American poets have been going through the same turmoil. They’ve been right there. They’ve chronicled the great sorrows and successes that African-Americans have had,” he said.

Skold, who is the founder of the Dead Poets Society of America, intends to reach a milestone of the 500th grave during the 16-state, 10-week pilgrimage, which kicks off Saturday in Baltimore at the grave of Edgar Allan Poe before moving into the South. For the trip, he’s visiting 90 graves, including those of 47 state poets laureate across the region.

Fifteen African-American poets include Albery Whitman, who was born a slave, spoke out against the treatment of the Seminoles in Florida and was dubbed the “poet laureate of the Negro race.” He’s buried in Atlanta.

Others include Arna Bontemps, a Louisiana-born poet who was part of the Harlem Renaissance and is buried in Nashville, Tennessee; Robert Charles Benjamin, who’s buried in Lexington, Kentucky, where he was shot in 1900 while trying to get blacks to register to vote; and Melvin Tolson, Liberia’s poet laureate, buried in Guthrie, Oklahoma.

One of the more offbeat poets is Sun Ra, who’s better known as a musical composer and performer who espoused a “cosmic philosophy” and claimed to be from Saturn. He’s buried in his home state in Birmingham, Alabama.

Jericho Brown, who leads poetry workshops at Emory University in Atlanta, said there’s a diversity of viewpoints and experiences among black poets that defies any single narrative. But there are cultural influences, like Missouri-born Langston Hughes’ use of the rhythms of jazz and blues in his poetry, he said.

“Being black affords you the opportunity to see things that others might not be able to see, to give you experiences that others may not have,” Brown said.

Skold, 54, of Freeport, is a poet himself. He travels in a souped-up box van dubbed “Dedgar the Poemobile,” with a whimsical portrait of Poe on the side, solar panels on the roof and a single bed inside. When he’s done with this trip, he plans to finish a documentary, “Finding Frost: Poets and The Graves.”

He sometimes sleeps in graveyards to get the best light for photographs and video that he uses to document the graves. But he says he has never communed with the ghosts or spirits of bards.

“I feel a connection to the poets, but it’s a historical one,” he said. “The whole nature of my project has become celebratory. It’s not something that I see as morbid at all.”

His adventures were nearly cut short in 2010, when he suffered a heart attack in New Jersey after visiting Walt Whitman’s grave.

After a hospital stay in Princeton, he traveled to the nearby grave of Henry van Dyke, author of the poem that begins, “Joyful, joyful, we adore thee,” to play his harmonica and offer a prayer of thanks that he’s not yet a dead poet.

___

Follow David Sharp on Twitter at https://twitter.com/David_Sharp_AP

The story has been corrected to restore dropped word in a quote from Jericho Brown to say: “Being black affords you the opportunity to see things that others might not be able to see, to give you experiences that others may not have.”
Copyright 2015 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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Arts and Culture

IN MEMORIAM: Oakland Dance Legend Reginald Ray-Savage, 67

Savage lived his life as tribute to the teachers who had shared their wisdom on art and life with him. With a palpably genuine enthusiasm and desire to bring out the best in people, and pass the torch to the next generation, he poured into his students, as his teachers and mentors had into him. His infectious energy, love of life, and generosity of spirit inspired countless souls, both inside and outside the dance studio.

Published

1 week ago

June 24, 2026

Oakland Post

Reginald Ray-Savage brought the old-school teaching techniques he learned in the Katherine Dunham Dance Company to the youth at the Oakland School for the Arts in 2003. Courtesy photo.

Special to The Post

Reginald Ray-Savage – dancer, choreographer, and beloved teacher, mentor, and inspiration to many – passed away on May 17. The Oakland School for the Arts dance instructor was 67.

Born Reginald Ray, Jr. in St. Louis, Missouri, on Sept. 5, 1958, he formally adopted the name ‘Savage,’ to honor the great Archie Savage, his mentor at Katherine Dunham’s Performing Arts Training Center where his dance training journey began in East St. Louis, Illinois.

He soon started dancing professionally with Katherine Dunham Dance Company, making dance a way of life. His grit, tenacity, and notorious work ethic brought him scholarships to train at multiple prestigious dance institutions, including The Ailey School (NYC) and Ruth Page School of Dance (Chicago), under the direction of acclaimed ballet instructor Larry Long and Dolores Lipinski-Long.

He danced with several companies including Joel Hall Dance Company, Ruth Page Ballet Chicago, Lyric Opera, Chicago City Ballet, American Festival Ballet, and touring productions of “Music Man” and “A Chorus Line”.

In 1989, Savage moved to Oakland where he started teaching seven days a week, amassing a devoted following that was attracted to his no-nonsense, impassioned, and effective old-school teaching style.

In 1992, at the insistence of his committed core of students, he founded Savage Jazz Dance Company (SJDC). Over a span of 30 years, Savage produced more than 100 original works, and tour SJDC nationally and internationally, performing at Casa del Jazz in Rome to a packed house and rave reviews—the first dance company to receive such an invitation.

Savage built SJDC into one of the Bay Area’s most respected dance companies, creating a signature style known for its combination of disciplined training, blended with rich artistic musical expression, and raw energy.

In 2003, Savage joined the Oakland School for the Arts as chair of the School of Dance. Over the next two decades, he created, built, and maintained a strong dance program, recognized, and respected by other dance institutions for forging well-trained and resilient dancers and human beings.

The depth of Savage’s tough love and care, and the skill of his teaching and mentoring are reflected in the careers of his students who have gone on to dance with the San Francisco Ballet, Martha Graham Dance Company, Mark Morris Dance Group, Janet Jackson, Ariana Grande, and companies across the globe.

Mark Kitaoka, a photographer hired by Savage in 2016, posted a living eulogy on the dance instructor.

“When I see the self-pride he builds in his students I am constantly impressed that people like Savage still exist in our ‘meme’ society,” Kitaoka wrote. “The kids he mentors are fiercely loyal to one another and I’m certain his methods teach each of those kids to put aside social status, race and gender and is replaced by solid loyalty for other souls.

“What Savage contributes to our world cannot be completely summed up in a few meager paragraphs but can be seen in the countless lives of those he has touched. Because of him, our world, and the world of the future is both a richer and better place.

Reginald Ray-Savage will forever be missed, remembered, and lovingly quoted. He is survived by his beloved wife, Alison Hurley, his sister, Sonia, and his brothers, Pierre, and Andre. May his inextinguishable spirit and impact live on in all the lives he touched.

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Oakland Post: Week of June 17 – 23, 2026

The printed Weekly Edition of the Oakland Post: Week of June 17 – 23, 2026

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June 20, 2026

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Books

Book Review: Something We Said: Richard Pryor, A Notorious Word, and Me

Though sticks and stones and words are weapons, as in the new memoir, “Something We Said” by Elizabeth Stordeur Pryor, they can also hold people together.

Published

2 weeks ago

June 17, 2026

bpusa-syndication

By Terri Schlichenmeyer

Author: Elizabeth Stordeur Pryor, Copyright: c.2026, Publisher: Simon & Schuster, SRP: $29.00, Page Count: 304 pages

Sticks and stones may break my bones.

You know the rest of that childhood rhyme, and you know it’s not true: words have meaning, and they can cut like a knife. And yet, though sticks and stones and words are weapons, as in the new memoir, “Something We Said” by Elizabeth Stordeur Pryor, they can also hold people together.

The college lecture was supposed to have been about the 1850 Fugitive Slave Act.

It was supposed to be a lively discussion, but unintentionally it quickly veered off course. When a White student quoted a movie line featuring the “n-word,” the room went quiet, and Professor Elizabeth Stordeur Pryor panicked.

She’d grown up hearing that word, and seeing it, and she’d experienced the painful feelings attached to it. She knew who wrote that movie line. It was her father, Richard Pryor.

In her first few years, Pryor spent most of her time in a White world, hearing her mother’s tales of her larger-than-life father, and trying to grasp meaning in her father’s albums, peppered as they were with a word that was off-limits to her.

When she was six, she met her father for the first time. She began to visit him regularly.

It was fun at her Dad’s house; though he was sometimes moody, he taught her to fish and play dominoes. She became close with her siblings, fearful of her great-grandmother, and confused about a word that her father’s uncles threw around like a beach ball. It was a forbidden word at her mother’s house, but her father used it. Differently. Often.

The word hurt. She knew first-hand that it did.

“The word became a degrading slur that shackled all Black people together into a single, inescapable tribe,” she says.

So why was it okay for certain people to say it?

Knowing that, in the years since Richard Pryor’s accident and his death from multiple sclerosis, he’s become somewhat of a legend. It is a very satisfying thing, isn’t it? So is reading about him, especially from the viewpoint of one of his seven children. But his is not the only story you get inside “Something We Said.”

Wrapped around the life of Richard Pryor is the life of a word that straddles a line between danger and provocation, a word that author Elizabeth Stordeur Pryor refuses to say or even print. As she tells readers about her father and her loving-but-difficult relationship with him, she warily circles that word, as if it might bite. You may cringe, but she weighs it carefully, helping readers see it as a chameleon before always bringing us back to her father, his work, and his life before and after her and that word.

It’s a push-pull balance that holds readers fast, and keeps them there. It’s perfect for fans of this genre, or Richard Pryor, or of language – and it’s going to make you think. If you want a good memoir this week, one that may send you to your old album collection, “Something We Said” is rock-solid.