Relevant bibliographies by topics / African American entertainers in art

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  2. Dissertations / Theses
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  4. Book chapters

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"

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KAYE, ANDREW M. "Colonel Roscoe Conkling Simmons and the Mechanics of Black Leadership." Journal of American Studies 37, no. 1 (April 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 who sought to touch ‘the hem of his garment.’” Throughout his career, the Colonel, as Simmons was often called, forged close links with black organizations. On regular speaking tours, he participated in the affairs of fraternities, churches, and educational institutions nationwide. Simmons was a social chameleon, on familiar terms with black America's most powerful businessmen and editors, entertainers and mobsters, but equally comfortable among the working men and women with whom he gossiped in barber shops and at church picnics. Senators, mayors, and aldermen admired his talent on the speaking platform and valued his connections to the black community. When white Republicans needed help in rallying northern black voters, Simmons was the fixer they summoned. He gladly obliged, out of loyalty to the Grand Old Party and in anticipation of reciprocal dispensations.
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Robertson, Eric. "African Art and African-American Identity." African Arts 27, no. 2 (April 1994): 1. http://dx.doi.org/10.2307/3337085.

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Deaville, James. "African-American Entertainers in Jahrhundertwende: Vienna Austrian Identity, Viennese Modernism and Black Success." Nineteenth-Century Music Review 3, no. 1 (June 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 participating in careers in the performing arts. As a result of the problems with the representation of blacks in texted music from the turn of the century, historians have tended to write vocal performance out of the pre-history of jazz, in favour of the purely instrumental ragtime. However, recent research reveals that African-American vocal entertainers did take agency over representations of themselves and over their careers, in a space unencumbered by the problematic history of race relationships in the USA. That space was Europe: beginning in the 1870s, and in increasing numbers until the ‘Great War’, troupes of African-American singers, dancers and comedians travelled to Europe, where they entertained large audiences to great acclaim and gained valuable experience as entrepreneurs, emerging as an important market force in the variety-theatre circuit. Above all, they performed the cakewalk, the late-nineteenth-century dance whose syncopated rhythms and simple form accompanied unnatural, exaggerated dance steps. By introducing Europe to the cakewalk, they prepared audiences for the jazz craze that would sweep through the continent after the war and enabled Europeans to experience the syncopated rhythms and irregular movements whether as dancers or as spectators.
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Silverman, Raymond, Warren M. Robbins, and Nancy Ingram Nooter. "African Art in American Collections." African Studies Review 35, no. 1 (April 1992): 138. http://dx.doi.org/10.2307/524452.

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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 (April 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 (January 1991): 78. http://dx.doi.org/10.2307/3336875.

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Cachia, Amanda, and Naima J. Keith. "Curating California: Expanding African American Art." Art Journal 76, no. 3-4 (October 2, 2017): 80–85. http://dx.doi.org/10.1080/00043249.2017.1418491.

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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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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 (March 2012): 88–123. http://dx.doi.org/10.1086/dia43492327.

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FRY, ANDY. "‘Du jazz hot à La Créole’: Josephine Baker sings Offenbach." Cambridge Opera Journal 16, no. 1 (March 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 dissenters paradoxically risked insisting on her difference in terms of an essentialised blackness. Recognising both personas as ‘performative’ relocates Baker’s agency. It helps move beyond fixed racial categories to dynamic cultural processes: ‘creolisation’.
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Dissertations / Theses on the topic "African American entertainers in art"

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Gibson, Ebony Z. "Art for whose Sake?: Defining African American Literature." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/aas_theses/17.

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This exploratory qualitative study describes the criteria that African American Literature professors use in defining what is African American Literature. Maulana Karenga’s black arts framework shaped the debates in the literature review and the interview protocol; furthermore, the presence or absence of the framework’s characteristics were discussed in the data analysis. The population sampled was African American Literature professors in the United States who have no less than five years experience. The primary source of data collection was in-depth interviewing. Data analysis involved open coding and axial coding. General conclusions include: (1) The core of the African American Literature definition is the black writer representing the black experience but the canon is expanding and becoming more inclusive. (2) While African American Literature is often a tool for empowerment, a wide scope is used in defining methods of empowerment. (3) Black writers should balance aesthetic and political concerns in a text.
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Hood, Yolanda. "African American quilt culture : an afrocentric feminist analysis of African American art quilts in the Midwest /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9974639.

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Moham, Carren D. "The contributions of four African-American women composers to American art song." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250881412.

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Moham, Carren Denise. "The contributions of four African-American women composers to American art song /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487945015618126.

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Claxton, Ronald Wayne. "The infusion of African American art from eighteen-eighty to the early nineteen-nineties for middle and high school art education." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1387379149.

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Shumake, James F. "The art of pastoral care in the African American church." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Brooks, Queen E. Schwartz Robert Fredrick. "The ties that bind : art of an African American artist /." Connect to resource, 1992. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1144433506.

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Brooks, Queen E. "The ties that bind : art of an African American artist." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1144433506.

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Shabazz, Rashid K. "Brother, Where Art Thou?: An Examination of the Underrepresentation of African American Male Educators." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1148318724.

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Thesis (Dr. of Education)--University of Cincinnati, 2006.
Title from electronic thesis title page (viewed Sept. 13, 2006). Includes abstract. Keywords: African American; African American males; Black Males; African American male teachers; African American male educators; African American teachers; African American educators; Black educators; male teachers; Critical Race Theory; Qualitative study; Black male teachers; Black male educators. Includes bibliographical references.
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Malloy, Erma Meadows. "African-American visual artists and the Harmon Foundation /." Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11041882.

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Thesis (Ed. D.)--Teachers College, Columbia University, 1991.
Typescript; issued also on microfilm. Dissertation Committee: Ellen Condliffe Lagemann, Labros Comitas. Includes bibliographical references (leaves 118-123).
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Books on the topic "African American entertainers in art"

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Reed, Bill. Hot from Harlem: Twelve African American entertainers, 1890-1960. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2010.

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Hot from Harlem: Twelve African American entertainers, 1890-1960. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2010.

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Reed, Bill. Hot from Harlem: Twelve African American entertainers, 1890-1960. Jefferson, N.C: McFarland & Co., 2010.

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Reed, Bill. Hot from Harlem: Twelve African American entertainers, 1890-1960. Jefferson, N.C: McFarland & Co., 2010.

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Paul, Colin. Josephine Baker and La Revue nègre: Paul Colin's lithographs of Le tumulte noir in Paris, 1927. New York: H.N. Abrams, 1998.

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Entertainment. New York, NY: AV2 by Weigl, an imprint of Weigl Publishers Inc., 2012.

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Hughes, Langston. Black magic: A pictorial history of the African-American in the performing arts. New York, N.Y: Da Capo Press, 1990.

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Hughes, Langston. Black magic: A pictorial history of the African-American in the performing arts. New York, N.Y: Da Capo Press, 1990.

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Mason, Herman. African-American entertainment in Atlanta. Charleston, SC: Arcadia, 1998.

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Corbin, Raymond M. 1,999 facts about Blacks: A sourcebook of African-American achievement. 2nd ed. Lanham, Md: Madison Books, 1997.

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Book chapters on the topic "African American entertainers in art"

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Lawson, Bill E. "Jazz and the African-American Experience: The Expressiveness of African-American Music." In Language, Mind, and Art, 131–42. Dordrecht: Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-015-8313-8_10.

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Shusterman, Richard. "Rap as Art and Philosophy." In A Companion to African-American Philosophy, 419–28. Malden, MA, USA: Blackwell Publishing, 2007. http://dx.doi.org/10.1002/9780470751640.ch29.

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Nambi, E. Kelley. "“Black Art Now”." In The Routledge Companion to African American Theatre and Performance, 1–2. New York, NY : Routledge, 2019. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315191225-1.

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Thompson, Mark Christian. "Aesthetic Hygiene: Marcus Garvey, W.E.B. Du Bois, and the Work of Art." In A Companion to African American Literature, 243–53. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444323474.ch16.

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Ezeluomba, Ndubuisi C. "The development of the exhibition of African art in American art museums." In Museum Innovation, 40–54. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003038184-4.

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Dieter, Katie E. "Visualizing African diaspora dance through the African American Dance Company and visual art." In Fire Under My Feet, 66–92. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003150343-3.

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Hrabowski, Freeman A., Kenneth I. Maton, Monica Greene, and Geoffrey L. Greif. "Successful African American Young Women and Their Families." In Overcoming the Odds. Oxford University Press, 2001. http://dx.doi.org/10.1093/oso/9780195126426.003.0004.

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When we read or hear about young African American women in our society, we usually find that the emphasis is on problems—from welfare and teenage pregnancy to violence and drugs. Rarely do the media focus on the success of young Black girls in school or of African American women in professional careers. For example, despite the fact that the nation’s teenage pregnancy rates have steadily declined since 1991, and that the majority of the nation’s pregnant teenagers are not Black, it is common nevertheless for the American public immediately to associate the expression, "babies having babies," with young Black girls. This association is largely created and reinforced by images presented in the media of young African American women in trouble, either as unwed mothers or, in more recent years, as gang members. Less well known are the significant accomplishments and value of African American women and the enormous role they can, and do, play in our nation. Consider the prose of Nobel Prize-winning writer Toni Morrison, and the courageous voice of one of America’s most eloquent child-advocates, Marian Wright Edelman. African American women are achieving at the highest of professional levels, from college presidencies to cabinet posts. Consider, for example, the appointments of Dr. Shirley Jackson, a physicist and the first African American female to earn a Ph.D. in any field at the Massachusetts Institute of Technology, as president of Rensselaer Polytechnic Institute, one of America’s major technological universities, or of Dr. Condoleezza Rice as the President’s National Security Advisor. Notwithstanding these positive accomplishments, most Americans— Black and White—still know very little about these high achievers. Increasingly, entertainers—both women and men—send mixed signals to young Black girls about who they should aspire to become as they move toward womanhood. Often, these images, which tend to be unflattering and even at times degrading, focus on a culture that is excessively influenced by glamour, sex, and violence. In Reviving Ophelia, Mary Pipher discusses the powerful influence of the media in shaping girls’ definitions of themselves through teen magazines, advertisements, music, television, and movies.
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"11. Authentic Black Cool?: Branding and Trademarks in Contemporary African American Culture." In Are You Entertained?, 175–90. Duke University Press, 2020. http://dx.doi.org/10.1515/9781478009009-012.

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Chambers, Eddie. "African American Art History." In The Routledge Companion to African American Art History, 460–68. Routledge, 2019. http://dx.doi.org/10.4324/9781351045193-41.

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Riis, Thomas L. "Defying Boundaries and Escaping Stereotypes." In Rethinking American Music, 200–220. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.003.0010.

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Riis takes up the complicated conventions and troubled history of late-nineteenth-century blackface minstrelsy as it was blended and interwoven into the activities among a largely unknown contingent of thousands of African American (and mostly midwestern) musicians and entertainers. He explores how nineteenth-century entertainers understood their business, including the moniker “minstrel” itself, and what for them constituted original, creative work. In this essay, the questions of identity have less to do with personal stories than the importance of the group and how its activities have been lost to history. Knowledge of these forgotten show people, and the sources where more information about them might be found, can help us combat the persistence of degrading stereotypes used to provide oversimplified explanations of black musical and theatrical activity.
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