Dissertations / Theses: '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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Cobby, Rebecca. "'Emperors of masculinity' : representing African American men in black visual art." Thesis, University of Nottingham, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555795.

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This thesis examines the ways in which black visual artists Roy DeCarava, Gordon Parks, Jean-Michel Basquiat and David Hammons visually represent African American men. By looking at their various representations of workers, enslaved men, sportsmen, musicians and politicians in relation to a legacy of negative and positive stereotypes of black masculinity in the United States, I argue that these artists resist limited, polarised notions of African American male identity in order to create new visions that are defined by complexity, ambiguity and creativity. Spanning a time period from the early 1950S to the mid-rocos this thesis is set against the background of a society in which black men are often split into groups of the famous and the anonymous, the celebrated and the demonised, and where the "ordinary everyday realities" of African American men are largely negated. I show how each of the artists discussed here negotiate splits in conceptions of African American male identity as they expose the tensions and contradictions faced by all black men who live their lives under the scrutiny of the public eye. By focusing particularly on the ways in which these artists deal with the complicated and often contradictory issues of visibility and invisibility in relation to African American male identities, I show how their work "re-envisions vision," challenging the ways black men are viewed in U.S. society and suggesting alternatives based in the importance of individualised black male subjectivities. Furthermore, this thesis shows how the relationship between these artists and the institutions within which they work sheds light on their interpretations of what it means and feels to be a black man living a life in public.

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Drew, Deborah Lynn. "Arts-based research, heuristic inquiry and art education self-study secondary studio motivation for African American students as a generalizable model /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1157591056.

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Ryder, Robin Leigh. "Free African-American Archeology: Interpreting an Antebellum Farmstead." W&M ScholarWorks, 1991. https://scholarworks.wm.edu/etd/1539625654.

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Bowles, John Parish. "Bodies of work autobiography and identity in Adrian Piper's conceptual and performance art /." [S.l. : s.n.], 2002. http://catalog.hathitrust.org/api/volumes/oclc/53916455.html.

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Thesis (Ph.D.)--University of California, Los Angeles, 2002.
Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 238-256).

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Graves, Valerie. "A CULTURAL LENS INTO THE STORY UNDERNEATH: A RESOURCE GUIDE OF AFRICAN AMERICAN ART, ARTISTS AND CULTURE FOR ART EDUCATION." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3595.

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The goal of this study is to create a qualitative resource guide of African American culture, art, and artists for an art education curriculum. This project encompasses four main themes to reflect an area of African American culture via a work of art created by an African American artist. These themes are, Family with the sub themes African American Male, Matriarch, and Children; Spirit with the sub themes Faith, Spirituality, and Inspiration; Identity with the sub themes Artist’s Voice, Triumph, and Hope and Vision; Community with the sub themes Ancestors, Social Issues, and Cultural Voice. These themes constitute a basis depictive of the African American culture at a deeper level as resounded by ethicist Peter J. Paris’s reflection of the culture’s foundational building blocks, God, community, family, and person (Paris, 2004). This thesis looks beyond the composition, artistic essentials, historical relevance, and biographical sketches of the artists, to create an accessible and effective way to approach African American culture thematically. The resource provides connecting elements into a culture that has contributed to the very essence of the larger American culture.

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Hayward, Mark 1975. "Harry Belafonte, race, and the politics of success." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33286.

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The goal of this thesis is to examine the relationship between race, masculinity, and the politics of success as they relate to the figure of Harry Belafonte. During the 1950s and 1960s he was, by all accounts, a wildly successful performer and, due to his celebrity, avoided many of indignities which plagued the daily lives of most African Americans. Although this was typically taken as a sign of race's declining importance in American culture, the varied reaction to his success show that even 'success stories' of integration during this period were far from clear cut.

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Sonbert, Nicole Michelle. "EVALUATING APPROPRIATE REPERTOIRE FOR DEVELOPING SINGERS: AN AFRICAN-AMERICAN ART SONG ANTHOLOGY." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/104.

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Finding appropriate and unique repertoire for the developing singer is a daunting task and ongoing challenge in the teaching profession. There are limited resources to help guide teachers in selecting varied, yet suitable repertoire that falls outside of the standard Western European musical canon. The early years, ages 17–21, are crucial to establishing a healthy and well-rounded vocal approach to singing, while also introducing the student to a wide variety of music. African-American art song is a great option for developing singers. Repertoire should allow a student to grow musically, vocally, and artistically according to the singer’s specific stage of learning and interests. Selecting repertoire through established criteria that considers the student’s personal and cultural interests (in addition to pedagogical needs) allows for a good foundation to support a healthy vocal development. Consideration of numerous elements, such as historical, musical, physical, emotional, and vocal characteristics offers a framework for a comprehensive approach in the selection process. In Literature for Teaching: A Guide for Choosing Solo Vocal Repertoire from a Developmental Perspective, Christopher Arneson provides a wonderful base for further study, and application into repertoire selection. Through the utilization of Arneson’s suggestions, I have created a rubric that quantifies key criteria important to the evaluation of repertoire. Through this rubric, a clear evaluation and assigned difficulty level is provided for each song in the collection. This compilation of songs is only the beginning to a proposed anthology entitled: African-American Art Song for the Developing Singer. Each song offers a historical and pedagogical summary that includes the following: composer and poet biographies, text and translations, basic form, original key and other keys available, performance notes, range, tessitura, suggested voice type, tempo suggestions, difficulty level, and other available editions. This unique anthology of African-American art song offers teachers with a resource that evaluates appropriate repertoire for developing singers, between the ages of 17–21, that is clearly accessible.

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McKinney, Jane Dillon. "Anguilla and the art of resistance." W&M ScholarWorks, 2002. https://scholarworks.wm.edu/etd/1539623402.

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This study begins with two premises. The first is that American Studies needs to move beyond the borders of the United States to examine the ideological, cultural and economic effects our country has had on others. The United States has historically been deeply involved in Anguilla's economy, revolution and ideology. The second is that history is a commodity that is selectively deployed in the creation of personal and national cultural values in Anguilla. I use Sherry Ortner's concept of serious games and James Scott's theory of the arts of resistance to analyze how Anguilla's contemporary culture is a product of its history, environment, and a particular industry. Colonial institutional failure created a vacuum in which Anguillians were permitted, even encouraged, to conceptualize themselves as independent. The harsh environment prevented the formation of a plantocracy based on sugar production. The means and modes of the production of salt, Anguilla's only staple, resulted in a social structure that contrasts with those of the sugar islands in the Antilles. Today, independence remains Anguilla's serious game and sole art of resistance on a personal, cultural and national level.;The definition of self and nation as independent is based upon a radical excision of history that is articulated in an invention of tradition. Plato's idea of mythos and logos serve as methodological tools for unpacking how history has been strategically utilized and suppressed to support cultural concepts. The hypothesis of this dissertation is that, if history repeats, Anguilla is trapped in the box of dominant discourse. Anguillians' history does repeat; their version of history fails to benefit them because it elides their basic dependency.;The conclusion is that, in positioning independence as the contrariety of colonialism, Anguilla has created a false dichotomy that is symptomatic of an underlying social malaise. On a personal level, independence is the antithesis of community and nationalism. On a political level, independence works against regionalism. Dependence, the hidden narrative of the Anguillian public discourse of independence, undermines the mythos. Only by deconstructing the contrarieties of independence and colonialism into subcontrarieties, can Anguilla address its cultural dissonances and position itself in a global world.

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Johnston, Christopher F. "Performing Blackness at the Heart of Whiteness: The Life and Art of Jean-Michel Basquiat." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1208873492.

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Buchanan, Mariah Spann. "Educating black youth moral principles through black art." Click here to access dissertation, 2008. http://www.georgiasouthern.edu/etd/archive/spring2008/mariah_s_buchanan/buchanan_mariah_s_200801_edd.pdf.

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Thesis (Ed.D.)--Georgia Southern University, 2008.
"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." Under the direction of Ming Fang He. ETD. Electronic version approved: May 2008. Includes bibliographical references (p. 203-215) and appendices.

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Hargro, Brina. "Hair Matters: African American Women and the Natural Hair Aesthetic." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/95.

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This thesis addresses the negative cultural and social connotations of natural hair for African American women. This issue is examined throughout history from slavery to present day with a visual analysis of hair care advertisements. Presently, natural hair is gaining more positive implications; which can be affected by creating more positive images with natural hair. Using art as the vehicle for social change and using research to inform art has a positive impact on teaching and learning in the art classroom.

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Johnson, Christopher Marc. "All the way live: the rise of the black radio disc jockeys & the art of verbal performance." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407146034.

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Van, Arsdall Jason K. "Joe Minter and African Village in America." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1483451351038828.

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Worrell, Colleen Doyle. "'Post-Humously Hot': Bill Traylor's Life and Art." W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539625854.

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Clifton-James, Licia E. "Making the connection| J.B. Murray and the scripts and spirit forms of Africa." Thesis, University of Missouri - Kansas City, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10125193.

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This dissertation focuses on the artwork of J.B. Murray, an African American artist from Mitchell, Georgia. The goal of this dissertation is to explore J.B. Murray’s production of protective scripts and spirit figures. Murray created art works that served as the conduit for spiritual healing or protection between his God, his ancestral energies and the recipients or viewers of his work.

Protection through writing is both an Islamic and indigenous African tradition. Art Historians, after seeing Murray’s work, called it masterful art. It is my contention that Murray possessed knowledge that, unbeknownst to him or his ancestors, was passed along to him by his African ancestors. This knowledge is also seen in the work of other African and African American artists in this dissertation, which shows continuity across a wider group as opposed to just one artist.

Finally, a parallel is draw with African protector and healer, Serigne Bousso, from Touba, Senegal. Murray’s experience of visions and protective and healing work parallels the experience of Serigne Bousso within the last 30 years. This parallel is significant in making the connection between Murray, in Georgia, and the possible West African source for his knowledge of visions and protective signs.

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McGee, Paula L. "The Wal-Martization of African American Religion: T.D. Jakes and Woman Thou Art Loosed." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cgu_etd/70.

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This dissertation is an ideological critique of the New Black Church model of ministry, with T.D. Jakes and Woman Thou Art Loosed (WTAL) as a case study. T.D. Jakes is an African American televangelist who pastors The Potter’s House, a supermegachurch in Dallas, Texas. He is the quintessential example of a New Black Church pastor—a religious entrepreneur with several successful faith brands. WTAL is by far his most successful brand. Unashamed of his capitalist success, with an empire estimated to be worth $100 million dollars, Jakes says that it is occupational discrimination for him not to reap the benefits of the American dream. This dissertation identifies what has happened to the brand and Jakes’s ministry as “the Wal-Martization of African American Religion.” As a theoretical concept, Wal-Martization speaks to both the ideology and process that explains the generational differences between the New Black Church and the Black Church. It also is indicative of the branding and storytelling at every level of representation of the New Black Church. Jakes and New Black Church pastors are successful because they blur the lines between sacred and secular when they combine their vocations of pastor and entrepreneur. In this dissertation, I propose a cultural studies approach and a two-fold theological method for scholars to study these popular preachers. The method combines James McClendon’s Biography as Theology and Paul Tillich’s definitions of theology and theological norm from Systematic Theology. The method is a collaborative effort between the academic theologian and preacher. The scholar uses Biography as Theology to study the preacher (Jakes), and the second part of the method, Brand as Theology and Theological Norm, is where the scholar uses qualitative research methods to study the brand (WTAL). I define theologies of prosperity as contextual theologies of empire on a continuum that affirm it is God’s will and a believer’s right to obtain health and wealth by using Scripture and rituals like seed-faith giving and positive confession. Because these popular preachers offer adherents existential explanations for suffering (health and wealth), and prescriptions for liberation, I describe theologies of prosperity as theodicy and contemporary liberation theology. However, unlike traditional liberation theologies, these theologies do not have a preferential option for the poor. Instead, Jakes and other New Black Church pastors only offer adherents a pseudo-liberation. In essence, the stories of liberation that Bishop Jakes tells in his brands do not actually empower women, ideologically these stories only encourage women to stay loyal to his brand, become covenant ministry partners, and to buy more products. Jakes and New Black Church pastors are from the Second Gilded Age, they encourage women to pursue individual success within an oppressive system. Similar to Russell Conwell and other celebrity clerics from the First Gilded Age, Jakes and these pastors inadvertently blame the victims for their poverty and for not reaping the benefits of the American Dream, which according to prosperity preachers is available to all.

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Ciobanu, Jennifer Odom. ""The Wider View": Engaging a New Generation of Singers through African-American Art Song." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31528/.

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Through studying the poetry and its context, the lives of the poets and composers, and the musical choices which emerged from these combined influences, students of the "Millennial" generation may experience a deeper connection to art song and its role in defining and reflecting national character. Not yet a part of the traditional canon of American art song, the songs of African-American composers are of particular value in this regard, offering teachers, students, and recitalists less frequently-performed repertoire to explore. Representing a broad spectrum of literary and cultural influences, these songs are just as diverse, multi-faceted, and full of variety as any other body of art song repertoire and richly contribute to the past and present life of the genre. Going beyond the music and the words can only reinforce the study of technique and enrich the studio experience, while at the same time providing a multicultural learning environment which more accurately reflects the America in which these same students will become the singers and voice teachers of tomorrow.

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Chapi, Aicha. "Towards a reading of Toni Morrison's fiction : African-American history, the arts and contemporary theory /." Thesis, Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19671441.

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Chevers, Ivy E. "A Study Of Rastafarian Culture In Columbus,Ohio: Notes From An African American Woman's Journey." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1221592719.

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Erwin, Douglas. "Fine Arts Coursework and Student Achievement Among African-American Students in a Midwest Setting." Thesis, Lindenwood University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10244375.

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The researcher designed this study to investigate a possible correlation between the number of years of fine arts coursework and achievement on the American College Test (ACT). The district studied was predominantly African American; therefore, similar schools may use the results to plan strategies to reduce the achievement gap. Results included a mild positive correlation between student ACT achievement and coursework in visual arts, and a moderate correlation between ACT achievement and performing arts. The more fine arts coursework a student received, the higher his or her ACT score. The researcher conducted a z-test for difference in means to compare the ACT scores of students with two or more years of fine arts to the district population?s average ACT score. The researcher found significant statistical difference in ACT scores. Finally, the researcher conducted a z-test for difference in means to see if number of years of fine arts coursework correlated to student achievement on each of the ACT sub tests: English, Math, Reading, and Science. The researcher found students with two or more years of arts coursework scored higher on each sub test than students who only took one required year of fine arts. The researcher noted this study could be important to curricular programming and increased student achievement in the future.

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Rodriguez, Linda Marie. "Artistic Production, Race, and History in Colonial Cuba, 1762-1840." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10467.

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This dissertation addresses the works of art of two free men of color, Vicente Escobar (1762-1834) and José Antonio Aponte (date of birth unknown-1812), who lived in late eighteenth and early nineteenth-century Havana. I offer the first consideration of these two artists together in order to illuminate the scope of visual artistic practice of free people of color prior to the foundation of the fine arts academy, the Academia de San Alejandro, in 1818. Creole and Spanish elites who supported the foundation of the school expressed concern that blacks had been “dominating” the arts and excluded them from studying there. I posit that both Escobar and Aponte worked as self-aware artists prior to the elite project of the fine arts academy, which followed an unclear path after its foundation. Escobar painted the portraits of colonial society’s Spanish and creole elites. The works span the dates from 1785 to 1829. Aponte’s only known work of art – a so-called libro de pinturas (book of paintings) found in 1812 – no longer exists. However, a textual description of the book survives in the court record that documents his trial for conspiring to plan slave rebellions across the island. Aponte collaged together an array of images to depict a “universal black history” that we are now forced to imagine as the original work of art has been lost. I argue that both artists, through their artistic practices, embodied a self-awareness as artists that they directed to transformative ends. These artistic practices – as advanced by the works themselves as well as how they were produced and received – involved the articulation of two axes. The first axis moved from the representation of the visible, in the case of Escobar’s portraits, to the representation of the invisible, in the case of Aponte’s book of paintings. The second axis measures how the works themselves could be “historically effective” – following T.J. Clark – and transform a colonial black identity, operating on the scale of the individual to that of a larger community. For Escobar, his artistic practice was personal; for Aponte, his artistic vision extended beyond himself.
History of Art and Architecture

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Clinton, Zerric. "What adolescent African American male adolescents say about music videos with implications for art education." Tallahassee, Florida : Florida State University, 2010. http://etd.lib.fsu.edu/theses/available/etd-05032010-184907.

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Thesis (Ph. D.)--Florida State University, 2010.
Advisor: Tom Anderson, Florida State University, College of Visual Arts, Theatre and Dance, Dept. of Art Education. Title and description from dissertation home page viewed on July 26, 2010. Document formatted into pages; contains vii, 247 pages. Includes bibliographical references.

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Adolph, Jessie Prahlad Anand. "Time-binding in African American verbal art as a salve for post-traumatic slave syndrome." Diss., Columbia, Mo. : University of Missouri-Columbia, 2009. http://hdl.handle.net/10355/6711.

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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 26, 2010) Thesis advisor: Dr. Anand Prahlad. Includes bibliographical references.

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Sanders, Sophie. "SPIRITED PATTERN AND DECORATION IN CONTEMPORARY BLACK ATLANTIC ART." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/238756.

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Art History
Ph.D.
This dissertation investigates aesthetics of African design and decoration in the work of major contemporary artists of African descent who address heritage, history, and life experience. My project focuses on the work of three representative contemporary artists, African American artists Kehinde Wiley and Nick Cave, and Ghanaian artist El Anatsui. Their work represents practices and tendencies among a much broader group of painters and sculptors who employ elaborate textures and designs to express drama and emotion throughout the Black Atlantic world. I argue that extensive patterning, embellishment, and ornamentation are employed by many contemporary artists of African descent as a strategy for reinterpreting the art historical canon and addressing critical social issues, such as war, devastation of the earth's environment, and lack of essential resources for survival in many parts of the world. Many artworks also present historical revisions that reflect the experience of Black peoples who were brought to the Americas through the transatlantic slave trade, lived under colonial rule, or witnessed aspects of post-colonial struggle. The disorderliness of intersecting designs could also symbolize gaps in memory and traumas that will not heal. They reflect the manner in which Black Atlantic peoples have pieced together ancestral histories from a patchwork of sources. Polyrhythmic decoration enables their work to act as vessels of experience, allowing viewers to bring together multiple histories and social references.
Temple University--Theses

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Winsett, Shea Aisha. "I'm Really Just an American: The Archaeological Importance of the Black Towns in the American West and Late-Nineteenth Century Constructions of Blackness." W&M ScholarWorks, 2012. https://scholarworks.wm.edu/etd/1539626687.

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Atkins, Stephen Charles. "An Archaeological Perspective on the African-American Slave Diet at Mount Vernon's House for Families." W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539625859.

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Flach, Katherine E. ""Eliot Elisofon: Bringing African Art to LIFE"." Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1427999641.

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McCurnin, Mary. "From the Old to the New World: The Transformation of Kongo Minkisi in African American Art." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/78.

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Minkisi (sing. nkisi) were sacred objects that housed ancestral spirits and were used for divination, healing and social justice by the Kongo people of Central Africa. When the Kongo were brought as slaves to the New World, they contributed significantly to the development of African American artistic and spiritual culture. In the Caribbean, aspects of minkisi have been retained in the creolized spiritual beliefs of Haitian Vodou, Cuban Palo Monte Mayombe and Brazilian Candomble. In North America, evidence of Kongo influence is apparent in examples of folk art and culture, including quilts, mojo hands, Afro-Carolinian face vessels, memory jugs and burial sites. In the twentieth and twenty-first centuries, artists appear to have recontextualized elements of minkisi within their work, among these James “Son Ford” Thomas, James Van Der Zee, Betye and Alison Saar, Willie Cole and Renee Stout, creating a link between the Kongo past and the American present.

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Gaines, Adam W. "Work of Art : the life and music of Art Farmer." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317924.

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Nolting, Jonathan R. "The Julius Rosenwald Fellowship Program for African American Visual Artists, 1929-1948." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1342104160.

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Arabindan-Kesson, Anna Evangeline. "Threads of empire| The visual economy of the cotton trade in the Atlantic ocean world, 1840-1900." Thesis, Yale University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3580726.

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This dissertation examines the art and material culture of the Anglo-American cotton trade in the nineteenth century to consider how these transnational processes influenced different modes of production: artistic, industrial and textile. The Anglo-American cotton trade's importance in the nineteenth century rested on the Atlantic slave trade and its aftereffects. Therefore this study foregrounds the centrality of African American history and culture to the trade's structures of exchange, encounter and transmission as they inflected nineteenth-century British and American artistic production and industrial expansion. In four chapters beginning in 1840 and ending at the beginning of the twentieth century, I juxtapose the work of contemporary artists with historical case studies. I argue that these contemporary artists – Leonardo Drew, Lubaina Himid and Yinka Shonibare – offer new interpretive frameworks for approaching the transactional and transnational contexts of nineteenth-century British, American and African American art and material culture.

Chapter one focuses on the relationship between plantations in the American South and New England, using prints, paintings and textiles that reveal the plantation and factory to be connected landscape. I trace how cotton's movement shaped constructions around place, and materialized connections between communities of labor in antebellum America. Chapter two opens with Lubaina Himid's Cotton.com (2002) and expands the historical relationship of plantation and factory out across the Atlantic. Centralizing Eyre Crowe's Slaves Waiting for Sale, Richmond, Virginia (1861) and the export of printed cotton from Manchester, it examines the convergence of the trade in cotton with the trade in slaves. It considers how these market relations shaped the commodification of the enslaved body, British experiences of factory labor, and Manchester production of printed cloth for consumers across the globe. Chapter three begins with Leonardo Drew's Number 25 to consider the tensions between materiality and abstraction in the production and commodification of cotton and art objects. I then examine paintings by Edgar Degas, A Cotton Office in New Orleans (1873), and Winslow Homer, The Cotton Pickers, (1876) to explore how these artists negotiated the status of cotton as a global commodity and grappled with the changing networks, of labor, production and commerce in postbellum America. Eyre Crowe's painting of factory workers in Lancashire, The Dinner Hour, Wigan (1874) concludes this section, which examines how the international market for cotton was influencing the representation and experience of industry in north west England. My final chapter, commencing with an installation by Yinka Shonibare MBE Scramble for Africa (2003), focuses on the commercial logic and visual rhetoric of three Southern international exhibitions. I examine how these exhibitions constructed the South – through visions of cotton plantations and black cotton pickers – as a space for domestic colonial expansion. Alongside this I look at the ways Africa was being constructed as a new cotton market – both as a site of cultivation and a site of consumption. In both sections I underscore how the language of commerce, colonialism and cotton shaped particular constructions of space and meanings around the African, and African American body. I conclude with the work of Meta Warrick Fuller to briefly examine how black Americans dismantled these tropes of exclusion, signified by cotton, to project claims for equality.

The project argues that the art works under examination here draw on an economic language to visualize particular ideas and constructions around labor, production and race in three ways. It traces the contours of a market-driven aesthetic in the ways cotton was used to illustrate or materialize connections to a circulating economy of goods. It describes how cotton's movement shaped the construction of imagined geographies around sites of labor and spaces of consumption. And it sketches out the speculative vision that emerged throughout the nineteenth century in the material and metaphorical associations of cotton, commerce and African American identity. In revealing the representational possibilities of cotton in this way, this dissertation looks at understudied objects to consider the nuanced ways that local cultural forms have, historically, intersected with global processes in the Atlantic world. It centralizes the experience of African Americans, within an Anglo-American culture of exchange and its relationship to a global network of trade and transmission. In doing so it seeks to reframe the ways we might approach historical processes of visuality and perception in the long nineteenth century in order to create a more global, or at least transnational, perspective on the art of this period.

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Johnson, Pearlie Mae Wahlman Maude. "African American quilts an examination of feminism, identity, and empowerment in the fabric arts of Kansas City quilters /." Diss., UMK access, 2008.

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Thesis (Ph. D.)--Dept. of Art and Art History and Dept. of Sociology. University of Missouri--Kansas City, 2008.
"A dissertation in art history and sociology." Advisor: Maude Southwell Wahlman. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 6, 2009. Includes bibliographical references (leaves 202-247). Online version of the print edition.

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Chieffo-Reidway, Toby Maria. "Nathaniel Jocelyn: in the service of art and abolition." W&M ScholarWorks, 2005. https://scholarworks.wm.edu/etd/1539623473.

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Through my dissertation, I embark on a biographical, cultural and historical study of artist and abolitionist Nathaniel Jocelyn (1796-1881), primarily known as a nineteenth-century portrait painter and engraver in New Haven, Connecticut. Although Jocelyn received little formal training, he sought to become a preeminent portrait painter. Together with his younger brother, Simeon Smith Jocelyn (1799-1879), he established a successful engraving firm designing banknotes, maps, atlases, and book illustrations.;Jocelyn lived in an age of evangelical revivalism commonly called the Second Great Awakening. He was a devout Congregationalist and saw the various aspects of his life embedded in his religious convictions. Jocelyn's diary chronicles his beliefs, social views, hopes, fears, daily struggles, and his plans to develop and attain artistic acclaim and economic success.;My dissertation reveals an artist not unlike other enterprising men of the New Republic or most portrait painters of his era who struggled to earn a living. Yet Jocelyn was extraordinary because he created the most important portrait of an African in the nineteenth-century, Cinque (c.1813-1879), leader of the Amistad rebellion of 1839. This portrait challenged Jacksonian-era concepts of portraiture and became one of the most significant icons for the abolitionist movement. For Jocelyn the portrayal of Cinque was the galvanizing event of his life as an artist, abolitionist, and Christian.;Jocelyn not only challenged the concept of conventional portraiture, but also nineteenth-century racial stereotypes by depicting a black man as a man of dignity. Jocelyn used Cinque's portrait to dissociate black skin and African-ness from traditional depictions of black men that linked them with slavery. Jocelyn was not afraid to show an African as a man of power, independence, and intelligence---traits portraitists generally associated with white people.;His depiction of Cinque as an idealized hero was intentional, and it aided the abolitionist cause. Nathaniel Jocelyn created a visual abolitionist language in his portrayal of Cinque by crossing the boundaries of race and imbuing the portrait with an iconography rich with abolitionist and Christian symbolism.;Jocelyn led a multifaceted life as a Christian, abolitionist, portrait painter, inventor, engraver, and esteemed teacher. He had the confidence, admiration, and respect of his peers and the New Haven notables as he maintained intimate ties with the world of art and abolition.

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Briggs, Jerryl. "The lost art of pledging within NPHC fraternities: The continuing presence of hazing during the membership intake process." W&M ScholarWorks, 2010. https://scholarworks.wm.edu/etd/1539791812.

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As one participant of my study said, "Yes, I was hazed, and following my induction, I hazed others. That's the way it is and that's the way it will always be." This is how he justified his involvement with hazing within his fraternity.;"For over seven hundred years in higher education, and over two hundred years in American higher education, some form of hazing has existed, a systematic means of indoctrinating new members of the university community through a rite of passage. It is within this culture that fraternities were started" (Kimbrough, 2003, p. 39), including African American organizations. From their beginning, "African American fraternities were created in an effort to provide Black students with the interpersonal, social, educational, and professional support denied to them in many American social and political structures; however, they did not autonomously create the process of violent initiation" (Ross, 2000, p. 6). Even still, hazing has become such a significant problem for African American fraternities that these destructive practices are raising questions regarding the continued existence of these Greek organizations. Individual students, their parents, local chapters, national organizations, legislatures and courts are all affected by the devastating results of hazing and the unwillingness amongst African American fraternity members to eliminate it from their practices.;Through an investigation of the membership intake process for African American fraternities, this research provides a better understanding of the meanings behind hazing activities that occur within that process or even after membership (post-pledging). The problem of this qualitative study was to explore the reasons that African American fraternity members engaged in or allowed themselves to be hazed during their initiation process. I wanted to create a better understanding of the role hazing continues to play within African American fraternities. to accomplish this, my study focused on members of one of the NPHC fraternities, dividing them into three distinct cohorts based from the year they became a member of their fraternity (1990-1995; 1996-2000; and 2001-2006).;Based on my analysis, distinct characteristics define each cohort in a general sense with each cohort having their own individual reasoning for hazing activities within their fraternity. Many similarities were apparent among all the men involved in the study; however, equally, extreme differences emerged as to why they allowed themselves to be hazed. Each cohort, although comprised of five individuals, shared some commonalities unique only to their cohort.;Within this dissertation, I discuss eight distinct areas discovered in my analysis, giving pertinent information relating to each cohort and the overall group as well. The eight areas are: (1) the significance of masculinity and manhood in the induction process; (2) the escalation of violence within hazing activities; (3) intra and inter-fraternity relationships; (4) the relevance of the shift from pledging to the membership intake program; (5) hegemonic versus Afro-centric interests in deciding to join the fraternity; (6) pledging versus hazing; (7) definitions of respect; and (8) attitudes toward hazing.

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Smith, Bethany Jo. "Song to the dark virgin race and gender in five art songs of Florence B. Price /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1186770755.

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Thesis (Master of Music)--University of Cincinnati, 2007.
Advisor: Melinda Boyd. Title from electronic thesis title page (viewed Feb. 5, 2008) Includes abstract. Keywords: Florence Price, black art song, African-American art song, women composers, African-American composers, Negro Renaissance. Includes bibliographical references.

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Mahoney, Shannon Sheila. "Pay for Labor: Socioeconomic Transitions of freedpeople and the Archaeology of African American Life, 1863-1930." W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539626447.

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Sunami, April J. "Transforming "blackness" "post-black" and contemporary hip-hop in visual culture /." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1219161375.

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Edwards-Ingram, Ywone. "Medicating slavery: Motherhood, health care, and cultural practices in the African diaspora." W&M ScholarWorks, 2005. https://scholarworks.wm.edu/etd/1539623482.

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A sophisticated exploration of the intricacies of motherhood and health care practices of people of African descent, especially the enslaved population of Virginia, can shed light on their notions of a well-lived life and the factors preventing or contributing to these principles. I situate my dissertation within this ideal as I examine how the health and well-being of enslaved people were linked to broader issues of economic exploitation, domination, resistance, accommodation, and cultural interactions. Historical and archaeological studies have shown that the living and working conditions of enslaved people were detrimental to their health. Building on these findings, I explore how aware were blacks of these impediments to their well-being and the pursuit of a wholesome life, and what means these populations employed to change the negative tangibles and intangibles of slave societies. These questions are best studied from a multi-disciplinary perspective and by using a variety of evidence.;Therefore, I collate and wed diverse selections of documentary evidence---a complex assortment of texts covering history, oral tradition, and narratives---with material cultural evidence, mainly from archaeological excavations and historic landscapes, to show the complex web of objects, beliefs, and practices that constituted this arena of well-being and autonomy. I discuss how issues of well-being intertwined with gender and race relations and how these were played out in many acts of motherhood and child care, struggles over foods and health care, other verbal and physical fights, and how the landscape and objects were implicated in social relations. I focus on Virginia but use examples from other slave societies for comparative purposes.;Blacks juxtaposed their cultural ways with those of whites and, at times, found the latter below black standards for a wholesome life. Therefore, while being open-minded toward some practices and beliefs from whites, blacks continued to maintain separate activities. This dissertation presents and interprets the ideals and practices of enslaved blacks and their descendants and shows how they created and reinforced their identity as a people capable of caring not only for themselves, but for whites as well.

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Chappell, Brenda Joyce. "The consciousness of African American women artists: rage, activism and spiritualism (1860-1930), interdisciplinary implications for art education /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487843314694311.

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Timmons, Thomas David. "Underrepresented Populations in Educational Makerspaces: The Voice of African American Female Students." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1586349847069158.

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Dissertations / Theses on the topic 'African American entertainers in art'

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