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Relevant bibliographies by topics / African American entertainers in art

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Journal articles

Academic literature on the topic 'African American entertainers in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "African American entertainers in art"

1

KAYE, ANDREW M. "Colonel Roscoe Conkling Simmons and the Mechanics of Black Leadership." Journal of American Studies 37, no. 1 (2003): 79–98. http://dx.doi.org/10.1017/s0021875803007011.

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I want you to have power because I will have power.Roscoe Conkling Simmons (1881–1951) was an African American journalist and lifelong Republican, frequently acclaimed as the greatest orator of his day. He wrote for the Chicago Defender, the nation's largest black paper, and was later a columnist for the Chicago Tribune. A sometime advisor on black affairs to Republican administrations during the 1920s, Simmons seconded the re-nomination of Herbert Hoover for president in 1932, where “His exit from the platform was blocked by senators, committeemen, governors and others high in the public life

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2

Robertson, Eric. "African Art and African-American Identity." African Arts 27, no. 2 (1994): 1. http://dx.doi.org/10.2307/3337085.

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3

Deaville, James. "African-American Entertainers in Jahrhundertwende: Vienna Austrian Identity, Viennese Modernism and Black Success." Nineteenth-Century Music Review 3, no. 1 (2006): 89–112. http://dx.doi.org/10.1017/s1479409800000367.

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According to jazz scholar Howard Rye, when considering public representations of African-American music and those who made it at the turn of the last century, ‘the average jazz aficionado, and not a few others, conjures up images of white folks in black face capering about’. We could extend this to include white minstrels singing so-called ‘coon songs’, which feature reprehensible racist lyrics set to syncopated rhythms. Traditional representations assign the blacks no role in the public performance of these scurrilous ‘identities’, which essentially banished them from the literature as partic

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4

Silverman, Raymond, Warren M. Robbins, and Nancy Ingram Nooter. "African Art in American Collections." African Studies Review 35, no. 1 (1992): 138. http://dx.doi.org/10.2307/524452.

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5

Tesfagiorgis, Freida High W., Robert V. Rozelle, Alvia J. Wardlaw, and Maureen A. McKenna. "Black Art: Ancestral Legacy: The African Impulse in African-American Art." African Arts 25, no. 2 (1992): 28. http://dx.doi.org/10.2307/3337057.

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Robinson, Jontyle Theresa. "Black Art: Ancestral Legacy: The African Impulse in African American Art." African Arts 24, no. 1 (1991): 78. http://dx.doi.org/10.2307/3336875.

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7

Cachia, Amanda, and Naima J. Keith. "Curating California: Expanding African American Art." Art Journal 76, no. 3-4 (2017): 80–85. http://dx.doi.org/10.1080/00043249.2017.1418491.

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8

Cutler, Jody B., Richard J. Powell, Jock Reynolds, Juanita M. Holland, and Adrienne L. Childs. "African Americans and American Art History." Art Journal 59, no. 1 (2000): 101. http://dx.doi.org/10.2307/778087.

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9

Mercer, Valerie J., Mora J. Beauchamp-Byrd, MaryAnn Wilkinson, Stephanie James, Nancy Sojka, and Courtney J. Martin. "Diversity of Contemporary African American Art." Bulletin of the Detroit Institute of Arts 86, no. 1-4 (2012): 88–123. http://dx.doi.org/10.1086/dia43492327.

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10

FRY, ANDY. "‘Du jazz hot à La Créole’: Josephine Baker sings Offenbach." Cambridge Opera Journal 16, no. 1 (2004): 43–75. http://dx.doi.org/10.1017/s095458670400179x.

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When African-American entertainer Josephine Baker first arrived in Paris in 1925, her dancing to the ‘jazz hot’ of La Revue nègre was, famously, perceived as ‘primitive’. But her 1934 performances in Offenbach’s La Créole completed the construction – and tested the limits – of a complex redefinition of Baker as French. Substantially revised, the operetta in effect staged her own assimilation, a new black character serving as a foil for the ‘creole’ Josephine and marking her as ‘in-between’. If most observers saw Baker’s transformation as an affirmation of France’s civilising mission, the few d

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