The Watts Writers Workshop was begun in September 1965. Founding members were: Ernest Mayhand, Leumas Sirrah, James Thomas Jackson, Birdell Chew Moore, Sonora McKeller, Jimmy Sherman, Johnie Scott, Guadelupe de Saavedra, Harley Mims, Eric Priestley, Alvin Saxon Jr. (Ojenke), Ryan Vallejo Kennedy, and Blossom Powe. On August 16, 1966, the Workshop was the subject of an hour-long
NBC TV documentary,
The Angry Voices of Watts, that drew press attention and support from prominent figures across the country, such as
James Baldwin,
John Steinbeck,
Richard Burton,
Steve Allen,
Abbey Lincoln,
Ira Gershwin, and Senator
Robert F. Kennedy. In 1967 two anthologies of writing from the group appeared, both edited by Schulberg:
From the Ashes: Voices of Watts, and the fall issue of
The Antioch Review entitled "The Watts Writers Workshop". In 1968,
Watts Poets - A Book of New Poetry & Essays was published, edited by Quincy Troupe. The
National Endowment for the Arts (NEA) awarded a grant of $25,000 awarded to enable the group to establish a meeting space for its writing programs as well as housing for some of the Workshop's members, and a year later gave a second grant of $25,000 in support of expanding the Workshop's programs. The workshop continued to expand. In 1972, television personality Sue Baker organized the teaching of a street dance called
Campbellocking within the workshop's theatrical department, forming one of the first street dance groups called "Creative Generation", which was composed of several of the local street dancers who became popular on the television dance show
Soul Train.
Harry Dolan, the director of the Watts Writers Workshop, was attempting to keep it going after the loss of federal funding by holding a fundraising dinner in April 1973, but within months the workshop building with its 350-seat theatre was burned down by FBI informant Darthard Perry (a.k.a. Ed Riggs), Perry stated in a 1980 interview with
WABC-TV's
Like It Is that "funding had been cut to the Workshop, it had been cut out, but it looked like there was a possibility of a grant being given back to the Workshop and if there was no theater there would be no grant." ==Footnotes==