100 Years of Du Bois: “Principles of a Real Negro Theatre” and “Criteria of Negro Art,” a special issue of JADT for Spring 2026

The trailblazing African American intellectual, activist, and artist W.E.B. Du Bois was a towering advocate for the development of African American theatre and drama. Unlike several of his contemporaries, including Alain Locke and Thomas Montgomery Gregory, Du Bois held a more radical Black philosophy, recognizing the potential of theatre and drama as a means to reframe the perception of Black people in America. In his essay, “The Drama Among Black Folk,” published in The Crisis magazine in 1916, Du Bois wrote, 

It seemed to me that it might be possible with such a demonstration to get people interested in this development of Negro drama to teach, on the one hand the colored people themselves the meaning of their history and their rich, emotional life through a new theatre, and on the other, to reveal the Negro to the white world as a human, feeling thing.

Ten years later, in 1926, Du Bois solidified his perspective on African American theatre and drama when he outlined his “four fundamental principles” of a “real Negro Theater” in his often-cited essay, “Krigwa Players Little Negro Theatre: The Story of a Little Theatre Movement,” published in The Crisis magazine:

The plays of a Negro theatre must be: 1. About us. That is, they must have plots which reveal Negro life as it is. 2. By us. That is, they must be written by Negro authors who understand from birth and continued association just what it means to be a Negro today. 3. For us. That is, the theatre must cater primarily to Negro audiences and be supported and sustained by their entertainment and approval. 4. Near us. The theatre must be in a Negro neighborhood near the mass of ordinary Negro people.

According to Tejumola Olaniyan, Du Bois’ manifesto “challenged the reigning fashion of ‘Negro Theater’ written and packaged by whites, and also the idea of audience and related theatrical success defined merely commercially, within the asphyxiating parameters of Broadway” (Scars of Conquest/Masks of Resistance 21). That same year, Du Bois delivered a speech, “Criteria of Negro Art,” (later published inThe Crisis) to the National Association for the Advancement of Colored People, contending that “all Art [i.e., true art] is propaganda and ever must be, despite the wailing of the purists … I do not care a damn for any art that is not used for propaganda.” Establishing himself as a progenitor in theorizing a Black aesthetic, especially during the height of the New Negro period, Du Bois would inspire theatre scholars, critics, educators, and playwrights to think about the role and function of theater in the decades that followed. 

This special issue commemorates the 100th anniversary of Du Bois’ cultural criticism by inviting submissions to examine his impact and continued relevance in theatre today. Submissions may build on, extend, or revise the theories presented in one or both of his essays. We also welcome submissions that place Du Bois in comparative context with other theorists and cultural pioneers (i.e., Alice Childress, Amiri Baraka, August Wilson). Submissions may also consider artists, activists, and practices that either follow or oppose Du Bois’ advocacy for an ethnocentrically based theatre. 

This issue will follow the format inspired by the 2021 “Milestones in Black Theatre” JADT special issue edited by Nicole Hodges Persley and Heather Nathans. We welcome short submissions in a variety of formats, rather than standard-length articles, to include more voices and challenge the typical academic journal template. Authors may submit interviews, manifestos, dramaturgs’ notes, and short essays ranging from 800-3000 words as well as roundtables up to 5000 words in length. Manuscripts should conform to the Chicago Manual of Style, use endnotes, and be submitted as an attachment in Microsoft Word format.

Authors do not need to be members of the American Theatre and Drama Society, but submissions from members are especially encouraged. For more information about ATDS and to join the Society, see www.atds.org.

Please direct submissions and questions to guest editors Khalid Y. Long at Khalid.Long@howard.eduand Le’Mil Eiland at lleila2@ilstu.edu. 

The deadline for submissions is November 3, 2025.