In 1913, Du Bois wrote and presented The Star Of Ethiopia, a historical pageant chronicling the history of black civilization and its contribution to world history at the fiftieth anniversary of the Emancipation Proclamation in New York City. In many ways, the play is an early enactment of the story he so painstakingly documents in the idiom of social science in his 1946 monograph, The World and Africa. Foregrounding African-American drama’s connection to African dramatic and spiritual traditions as well as its historical distinctions, his chief purpose in imagining it was to create a complete work of art, one capable of educating and uplifting the masses. As he put it, “The great fact has been demonstrated that pageantry among colored people is not only possible, but in many ways of un surpassed beauty and can be made a means of uplift and education and the beginning of a folk drama.”
Towards the fulfillment of this mission, The Star of Ethiopia progresses in six movements that detail the origins of humanity in Africa, the contributions of African civilizations to the ancient world, and the struggle of the black worker for freedom from American slavery and imperialism in the modern period. Originally imagined for an ensemble of three hundred to a thousand performance artists, the play premiered in Washington, D.C. in 1915 and made its Philadelphia debut in 1916 (see below for pictures of cast and the playbill). It was revived in a 1925 performance at the Hollywood Bowl.
“Hear ye, hear ye! All them that sing before the Lord and forget not the Vision of the Eldest and Strongest of the Races of Men whose faces be Black. Hear ye, hear ye! And remember forever and one day the Star of Ethiopia, All-Mother of Men, who gave the world the Iron Gift and Gift of Faith, the Pain of Humility and Sorrow Song of Pain, and Freedom, Eternal Freedom, underneath the Star. Arise and go, Children of Philadelphia—the Play is done—the Play is done.”