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The black arts movement

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... 2014). Some scholars referred to this movement as the Second Renaissance (Nash, 2017) and the aesthetic and spiritual sister of Black Power (Neal, 1968). ...
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Unlike studies of Asian, Hispanic, Indian, and white panethnicity, systematic research on black panethnicity is lacking. To fill this lacuna, this study examines the origins of black panethnicity in colonial America and follows its evolution through U.S. historical periods. Comparative-historical methods are used to assess the creation and development of black panethnicity and to compare it with other types of panethnicity. The analysis focuses on two periods of black panethnicity. In the first stage, black panethnicity emerged from the racialization of black Africans during the Trans-Atlantic Slave Trade and the black slavery era. The second stage revealed how black panethnicity evolved during the historical periods of Reconstruction, Jim Crow, and Civil Rights. The similarities and differences between black panethnicity and panethnicities of other groups are also discussed.
... One of the tasks of the Black Arts Movement, according to the author of its 1968 manifesto, Larry Neal, is to create a new history, new myths, symbols and legends, i.e., find new ways of expressing what he terms new truths. Neal (1994) argues that black artists should tell the truths of the oppressed not of the oppressors and that black arts should combine ethics with aesthetics. This is an echo of DuBois' (1994) view expressed much earlier, in his 1926 essay "Criteria of Negro Art", in which he invited African American artists to use their art at the service of their political struggle. ...
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The paper offers a reading of Toni Morrison’s 2008 novel A Mercy as an alternative history of colonial North America focused on empowering the powerless and giving a voice to those silenced and overlooked in mainstream histories. The theoretical framework is based on Hayden White’s idea of history as inevitably imbued with fictionalized elements, Homi Bhabha’s interpretation and Morrison’s idea of ‘rememory’ and the black feminist idea of acquiring one’s own voice by becoming the speaking subject. The main thesis is that Morrison’s book offers an alternative version of early American history by giving voices to the representatives of various minority groups from the colonial period of North America: white immigrant, African American, mixed-race and Native American women and indentured servants. Using multiple narrators, Morrison not only manages to complement ‘official’ history books but also to use individual narrators as symbols of the collective experiences of their respective groups.
... 17 Gadamer's hermeneutical aesthetics, in other words, upholds the legitimacy of art's cognitive significance, which requires a reconfigured model for understanding "subjective response and what comes to expression within it." 18 In short, for Gadamer to follow the path of subjectivized aesthetics is to relegate art to its own autonomous realm, which effectually denies art's capacity to communicate truth. Art is then deprived of its "natural" place in the world and its intimate connection with human life and experience. ...
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This essay centers on Romare Bearden's art, methodology, and thinking about art, and likewise explores his attempt to harmonize personal aesthetic goals with soci-opolitical concerns. Following an investigation of Bearden's work and thought, we turn to Hans-Georg Gadamer's reflections on art and our experience (Erfahrung) of art. As the essay unfolds, we see how Bearden's approach to art and the artworks themselves resonate with Gadamer's critique of aesthetic consciousness and his contention that artworks address us. An important component of Gadamer's account is his emphasis on the spectator's active yet non-mastering role in the event of art's address-an event that implicates the spectator and has the potential to transform him or her. As we shall see, Gadamer's notion of aesthetic experience sharply contrasts with modern, subjectivizing aesthetics, as it requires not only active participatory engagement, but it also brings about a transformed "vision" and understanding of one's self, others, and the world. In closing, we return to Bearden in order to explore how his art unearths a crucial activity of our being-in-the-world. I call this activity "de-fabricating one's world" and discuss how it expands and enriches Gadamer's account.
... It was perhaps the vibrancy of the South African jazz, which accounted for a thriving nightclub life, and thus blurred the divide. Like in the U.S. where jazz became a crucial component of the social and civic movements such as the Larry Neal's Black Arts Movement (Neal 1972), South African jazz was also the soundtrack for the socio-political awareness of the time; hence, it became difficult to separate it from the antiapartheid struggle of the time. For all their trouble South African jazz musicians later went into exile. ...
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This paper dwells, in the main, on jazz appreciation societies in urbanised South Africa; particularly their origin, role and meaning. On the continent of Africa, South Africa stands out as the country that has a globally recognised jazz tradition and that the tradition is linked to the origins of jazz in the United States of America, which dates back to the early 1900. Yet South Africa jazz has seen different styles come and go, creating a strong tradition of listening to jazz by fashionable audiences who gather on weekends, traditionally Sundays, to listen to their beloved jazz recordings. This ritual is accompanied by specific dress codes, intriguing city language and improvised dance styles. Mostly, not musicians themselves, these people have kindled the j azz tradition throughout times when commercialism has threatened, and continues to threaten the very existence of the art. Drawing from jazz interviews with appreciation society members and jazz radio programme anchors in Gauteng area of South Africa, the study documents the jazz appreciation society phenomenon.
... It was perhaps the vibrancy of the South African jazz, which accounted for a thriving nightclub life, and thus blurred the divide. Like in the U.S. where jazz became a crucial component of the social and civic movements such as the Larry Neal's Black Arts Movement (Neal 1972), South African jazz was also the soundtrack for the socio-political awareness of the time; hence, it became difficult to separate it from the antiapartheid struggle of the time. For all their trouble South African jazz musicians later went into exile. ...
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Full-text available
This paper dwells, in the main, on jazz appreciation societies in urbanised South Africa; particularly their origin, role and meaning. On the continent of Africa, South Africa stands out as the country that has a globally recognised jazz tradition and that the tradition is linked to the origins of jazz in the United States of America, which dates back to the early 1900. Yet South Africa jazz has seen different styles come and go, creating a strong tradition of listening to jazz by fashionable audiences who gather on weekends, traditionally Sundays, to list en to their beloved jazz recordings. This ritual is accompanied by specific dress codes, intriguing city language and improvised dance styles. Mostly, not musicians themselves, these people have kindled the jazz tradition throughout times when commercialism has threatened, and continues to threaten the very existence of the art. Drawing from jazz interviews with appreciation society members and jazz radio programme anchors in Gauteng area of South Africa, the study documents the jazz appreciation society phenomenon.
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The advent of North East Indian writing in English has become proficient since the last couple of decades, leading to an immense interest in the literature published by the authors of this region. This region is rich in diversity with different tribes and their oral traditions. However, the economic backwardness, poverty, insurgency, freedom struggle, identity crisis, and army atrocities have added to the feeling of isolation and cultural segregation among the inhabitants. The 21st century writers of the northeast , through their literature, have expressed the emotions and strife's faced by the previous generations. There is no single definition or term that can be used which can encompass the literature written by the authors belonging to the North East region of India. This paper is an attempt to identify the distinctiveness of the northeast Indian literature, primarily written in English, by encompassing it in the term 'NEOLiterature', to celebrate their uniqueness. The methodology followed in achieving this objective is the application of the cultural race theories, and the Black Aesthetic Movement of the United States, in identifying elements through the select works of NorthEast Indian writers such as, Dhruba Hazarika, Mamang Dae, Aruni Kashyap, Easterine Kire, Janice Pariat, Janhavi Baruha, Temsung Ao and Moushumi Kandali. The term NEO Literature represents the 'North East Origin' Literature. The term encompasses the dominant trends observed in the 21st century writers who are originally from the states of north east of India and have primarily written in English.
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Background/Context Though Black Americans have long suffered under racial tyranny, they have made valiant efforts to subvert policies and practices that encroach on their humanity. Nevertheless, systemic racism has been virtually unyielding—creating both racial hierarchies and disparities in access to resources and wellness. Programs designed to address the condition of Black people, particularly Black youth, often employ deficit or dysfunctional logic, thereby ignoring the sociohistorical context in which Black youth navigate. Furthermore, not enough attention is given to the ways that culturally centered approaches ignite critical consciousness among Black youth in ways that are aligned with the tradition of the Black American abolitionist mindset. Purpose We build on the discourse on community-based youth programs and critical consciousness development by using frameworks that elevate race and culture in analyzing how Black youth make sense of their racialized experiences. Additionally, our explication challenges the overriding deficit focus of Black youth experiences within and outside school contexts by providing a nuanced view of Black youth agency. Research Design With critical race theory as the epistemic foundation, this study sought to foreground counternarratives among youth participants of a culturally centered, community-based program. Thus, we used semistructured interviews as our primary data source. Using a three-stage analytical process, we sought to understand if and how critical consciousness manifests within this youth community. Conclusions/Recommendations The study demonstrates the value of foregrounding African American culture and history to fortify the values of collectivism, self-determination, purpose, responsibility, empowerment, creativity, and faith among Black youth. The authors propose that educators collaborate with community-based Black culture and youth development experts to support dialogical, student-centered spaces that impart culturally centered knowledge about Black Americans. Furthermore, the authors advocate for professional development in asset-based pedagogies as a means to enhance belongingness among Black students.
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This paper aims to discuss shadism from a perspective of intersectionality and how people with a darker skin tone suffered particular forms of discrimination due to the issues of shadism and its interaction with the class, gender, age, ability, and race. Shadism has infused the black society for many centuries, hence outlined during slavery. Shadism is the discrimination against a person with a darker skin tone, typically among individuals of the same racial group. In The Bluest Eye, Toni Morrison describes how African American women and girls like Pecola are considered ugly by her family and the community due to her darker skin tone. in this research paper we are going to explore shadism and examine intersectionality theory like race, gender, sexuality and class, and their influence on dark-skinned black women, through the main character Pecola Breedlove. Using intersectionality theory to understand shadism helps to know that there are different ways a person could face oppression and domination. This paper gives a new vision of shadism which have been studied as amatter of racism, but throughout the intersectionality of the the identity component. The analysis shows that shadism is influenced by race and other aspects of intersectionality such as gender, race, age and ability, and other aspects of identity.
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Imamu Amiri Baraka is an artist, activist, and also an African-American leader who was born in Newark, New Jersey. Throughout his prolific career in American literature, he was able to generate some important political issues in defending the Black Power which was a perpetuating challenge for African-American intellectuals in the 1960s-1970s.This research is written under American Studies discipline, which takes politics to gain an African-American politics’ point of view, sociology to explore the theory of race and social conflict in the United States, and cultural studies to understand the struggle of African-Americans towards white Americans.The findings of this research show Baraka’s adeptness in his dual role as artist and politician through his political thoughts which has a never-ending development of his political consciousness. Baraka’s intellectual and political thought formation has moved through verydistinct stages and they are: Black Cultural Nationalism, Black Solidarity and Black Marxism. His final political stage has a broader consciousness that reveals capitalism in the Western world and this revelation of capitalism declared its theme of death and despair, moral and social corruption with its concomitant decrying Western values and ethics, the struggle against selfhatred, and a growing ethnic awareness.Keywords: Amiri Baraka, black power, political thought, African-American politics, andconflict
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The idea of jazz as “America's classical music” has become a powerful way of defining the music, asserting its national and artistic value, and shaping its scholarly study. The present article provides a history of this idea through a close analysis of its primary theorist and most visible spokesperson, Dr. Billy Taylor. It argues that the idea was not a neoclassical and conservative product of the 1980s, but had important roots in the Black Arts imperatives of the later 1960s and early 1970s. It suggests that Taylor initially made the idea work inventively and productively in a variety of contexts, especially through his community arts project Jazzmobile, but that these contexts diverged as his public profile was stretched thin across and beyond the United States. The idea's disintegration into clichéd ubiquity in the mid-1980s then provides a critical perspective on the idea of the “jazz renaissance,” and an opportunity to consider the role of the jazz ambassador in the context of debates about African American intellectuals.
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