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Black post-blackness : the Black Arts Movement and twenty-first-century aesthetics
A 2008 cover of The New Yorker featured a much-discussed Black Power parody of Michelle and Barack Obama. The image put a spotlight on how easy it is to flatten the Black Power movement as we imagine new types of blackness. Margo Natalie Crawford argues that we have misread the Black Arts Movement's call for blackness. We have failed to see the movement's anticipation of the \"new black\" and \"post-black.\" Black Post-Blackness compares the black avant-garde of the 1960s and 1970s Black Arts Movement with the most innovative spins of twenty-first century black aesthetics. Crawford zooms in on the 1970s second wave of the Black Arts Movement and shows the connections between this final wave of the Black Arts movement and the early years of twenty-first century black aesthetics. She uncovers the circle of black post-blackness that pivots on the power of anticipation, abstraction, mixed media, the global South, satire, public interiority, and the fantastic.
Book
Writing the Black Diasporic City in the Age of Globalization
Writing the Black Diasporic City in the Age of Globalization theorizes the city as a generative, “semicircular” social space, where the changes of globalization are most profoundly experienced. The fictive accounts analyzed here configure cities as spaces where movement is simultaneously restrictive and liberating, and where life prospects are at once promising and daunting. In their depictions of the urban experiences of peoples of African descent, writers and other creative artists offer a complex set of renditions of twentieth- and twenty-first-century Black urban citizens’ experience in European or Euro-dominated cities such as Boston, London, New York, and Toronto, as well as Global South cities such as Accra, Kingston, and Lagos—that emerged out of colonial domination, and which have emerged as hubs of current globalization. Writing the Black Diasporic City draws on critical tools of classical postcolonial studies as well as those of globalization studies to read works by Ama Ata Aidoo, Amma Darko, Marlon James, Cecil Foster, Zadie Smith, Michael Thomas, Chika Unigwe, and other contemporary writers. The book also engages the television series Call the Midwife , the Canada carnival celebration Caribana, and the film series Small Axe to show how cities are characterized as open, complicated spaces that are constantly shifting. Cities collapse boundaries, allowing for both haunting and healing, and they can sever the connection from kin and community, or create new connections.
eBook
A history of race in Muslim West Africa, 1600-1960
\"This book traces the development of African arguments about race over a period of more than 350 years in the Niger Bend in northern Mali\"-- Provided by publisher.
Book
Materialities of Ritual in the Black Atlantic
Focusing on everyday rituals, the essays in this volume look at spheres of social action and the places throughout the Atlantic world where African–descended communities have expressed their values, ideas, beliefs, and spirituality in material terms. The contributors trace the impact of encounters with the Atlantic world on African cultural formation, how entanglement with commerce, commodification, and enslavement and with colonialism, emancipation, and self-rule manifested itself in the shaping of ritual acts such as those associated with birth, death, healing, and protection. Taken as a whole, the book offers new perspectives on what the materials of rituals can tell us about the intimate processes of cultural transformation and the dynamics of the human condition.
eBook
The Archaeology of Everyday Life at Early Moundville
A fascinating examination of family life and social
relationships at this powerful prehistoric community, which at
its peak was the largest city north of Mexico
Complex Mississippian polities were neither developed nor
sustained in a vacuum. A broad range of small-scale social groups
played a variety of roles in the emergence of regionally
organized political hierarchies that governed large-scale
ceremonial centers. Recent research has revealed the extent to
which interactions among corporately organized clans led to the
development, success, and collapse of Moundville. These insights
into Moundville’s social complexity are based primarily on
the study of monumental architecture and mortuary ceremonialism.
Less is known about how everyday domestic practices produced and
were produced by broader networks of power and inequality in the
region. Wilson’s research addresses this gap in our
understanding by analyzing and interpreting large-scale
architectural and ceramic data sets from domestic contexts. This
study has revealed that the early Mississippian Moundville
community consisted of numerous spatially discrete
multi-household groups, similar to ethnohistorically described
kin groups from the southeastern United States. Hosting feasts,
dances, and other ceremonial events were important strategies by
which elite groups created social debts and legitimized their
positions of authority. Non-elite groups, on the other hand,
maintained considerable economic and ritual autonomy through
diversified production activities, risk sharing, and household
ceremonialism. Organizational changes in Moundville’s
residential occupation highlight the different ways kin groups
defined and redefined their corporate status and identities over
the long term.
eBook
Token Black girl : a memoir
\"Token Black Girl unpacks the adverse effects of insidious white supremacy in the media--both unconscious and strategic--to tell a personal story about recovery from damaging concepts of perfection, celebrating identity, and demolishing social conditioning\"--Book jacket flap.
Book
Back Cover Artist's Statement
My art is created from items and images that are at hand and previous drawings collected over time. The practice of collecting and rearranging material acts is an archival process that recovers the past, secures the present, and expects the future. Anchored in my spirituality, culture, and womanhood, I use songs, lyrics, and scripture as mechanisms to create my work largely on brown paper bags, which gives life to my pieces, in that they are recycled, alive. From that base, I build multi-dimensional, layered mediums while employing the use of bricolage. The fabric used is mostly comprising my mother's Wauhtuka Doll scraps. By using multiple disciplines, I create assemblages that explore form and color, unified by the spirit of Black life.
Journal Article
Identitätspolitiken : Konzepte und Kritiken in Geschichte und Gegenwart der Linken
\"Identity policy means defining yourself through your own identity as an African American, Jew, woman, lesbian or worker, for example - and at best also organizing and standing up for your own rights. But although this form of identity policy formed the basis of countless social movements, it was radically questioned by Queer and Postcolonial Theory at the latest and rejected as unifying and exclusive. But the reference to identical categories is not only challenged theoretically, but is now also criticized sharply within the left as an almost counter-revolutionary: Identity politics harms the class struggle, the argument goes. The struggles for recognition of cultural differences would only distract from the central and universal struggle against social inequality. But even in the early workers' movement, identification of the workers was fought for. And in feminism and the black liberation movements since the 1960s, the category plays an even bigger role. The many pitfalls of a positive reference to collective identity - the exclusions and standardizations - were criticized and discussed within the movement. From the theoretical roots of the term>identity
Book
Ghana's Cultural Records in Diaspora: Perspectives from Papers held at the Schomburg Center for Research in Black Culture, New York
This paper examines two manuscript collections housed at the Schomburg Center for Research in Black Culture in New York City which were created in Ghana by two African-Americans during the heady post-independence days there. These archival collections offer unparalleled views into the newly independent nation s strides to fulfil its socioeconomic agenda; sadly, these are perspectives generally unavailable to the research community within Ghana for a number of reasons. Thus, the paper considers some questions regarding access to cultural patrimony raised by these papers and, as such, seeks to contribute to the debate on the repatriation of cultural records, be they artifacts, artworks or archives, and to offer other paradigms through which we might analyse the issues involved. Using these collections, the paper shows how the interconnections between continental and diasporic Africans that played out in the independence era complicate the notions of cultural patrimony and rights of ownership that often arise during debates on repatriating cultural records. As such, the paper contends that for archives created in diaspora, often out of multiple locations and cultural contexts, the questions of ownership and patrimony are not easily answered.
Journal Article