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Journal articles on the topic 'Black Arts Movement African American Arts Arts'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Sell, Mike. "Blackface and the Black Arts Movement." TDR/The Drama Review 57, no. 2 (2013): 143–62. http://dx.doi.org/10.1162/dram_a_00265.

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The 1960s witnessed among African Americans a wholesale rejection of white power, including the repertoire and iconography of blackface performance. And yet, surprisingly, one finds among some of the most revolutionary Afrocentric artists, critics, and activists of the time a complex, nuanced, even contradictory attitude towards “blacking up.”

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Cagulada, Elaine. "Persistence, Art and Survival." Canadian Journal of Disability Studies 9, no. 4 (2020): 50–70. http://dx.doi.org/10.15353/cjds.v9i4.668.

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   A world of possibility spills from the relation between disability studies and Black Studies. In particular, there are lessons to be gleaned from the Black Arts Movement and Black aesthetic about conjuring the desirable from the undesirable. Artists of the Black Arts Movement beautifully modeled how to disrupt essentialized notions of race, where they found “new inspiration in their African ancestral heritage and imbued their work with their experience as blacks in America” (Hassan, 2011, p. 4). Of these artists, African-American photographer Roy DeCarava was engaged in a

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3

Pyrova, Tatiana Leonidovna. "Philosophical-aesthetic foundations of African-American hip-hop music." Философия и культура, no. 12 (December 2020): 56–62. http://dx.doi.org/10.7256/2454-0757.2020.12.34717.

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This article is dedicated to the philosophical-aesthetic foundations of African-American hip-hop music of the late XX century. Developed by the African philosopher Leopold Senghor, the author of the theory of negritude, concept of Negro-African aesthetics laid the foundations for the formation of philosophical-political comprehension and development of the principles of African-American culture in the second half of the XX century in works of the founders of &ldquo;Black Arts&rdquo; movement. This research examines the main theses of the aesthetic theory of L. Senghor; traces his impac

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Baumgartner, Kabria. "“Be Your Own Man”: Student Activism and the Birth of Black Studies at Amherst College, 1965–1972." New England Quarterly 89, no. 2 (2016): 286–322. http://dx.doi.org/10.1162/tneq_a_00531.

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Historians have examined how social movements influenced African American student activism in mid-to-late twentieth century America. This essay extends the scholarship by telling the story of African American male student activists who led the fight for curricular reform at Amherst College, then an all-male liberal arts college in Massachusetts. This local story reveals that African American student activism was driven by social movements as well as the distinctive mission of the liberal arts college.

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Yakovenko, Iryna. "Women’s voices of protest: Sonia Sanchez and Nikki Giovanni’s poetry." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 23 (2020): 130–39. http://dx.doi.org/10.34079/2226-3055-2020-13-23-130-139.

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The paper explores contemporary African American women’s protest poetry in the light of the liberation movements of the mid-20th century – Black Power, Black Arts Movement, Second Wave Feminism. The research focuses on political, social, cultural and aesthetic aspects of the Black women’s resistance poetry, its spirited dialogue with the feminist struggle, and undertakes its critical interpretation using the methodological tools of Cultural Studies. The poetics and style of protest poetry by Sonia Sanchez and Nikki Giovanni, whose literary works have received little scholarly attention literar

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Wood, Augustus C. "The Crisis of the Black Worker, the U.S. Labor Movement, and Democracy for All." Labor Studies Journal 44, no. 4 (2019): 396–402. http://dx.doi.org/10.1177/0160449x19887253.

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This paper contextualizes the socioeconomic condition of the African-American working class in the American Labor Movement. As the union movement continues its steady decline, African-American social conditions are deteriorating at an alarming pace. Racial oppression disrupted historically powerful labor movements as African-Americans served in predominantly subproletariat labor positions. As a result, Black workers endured the racially oppressive U.S. structure on the periphery of the U.S. Labor Movement. I argue that Black working-class social conditions are dialectically related to their su

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Fleming, John E. "The Impact of Social Movements on the Development of African American Museums." Public Historian 40, no. 3 (2018): 44–73. http://dx.doi.org/10.1525/tph.2018.40.3.44.

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The effort to preserve African American history is firmly grounded in the struggle for freedom and equality. Black people understood the relationship between heritage and the freedom struggle. Such struggles in the pre and post Civil War eras spurred the preservation of African and African American culture first in libraries and archives and later museums. The civil rights, Black Power, Black Arts and Black Studies movements helped advance social and political change, which in turn spurred the development of Black museums as formal institutions for preserving African American culture.

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Baker, Courtney R. "Framing Black Performance." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 2 (2020): 37–61. http://dx.doi.org/10.1215/02705346-8359506.

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Recent African American film scholarship has called for an attention to the structures of black representation on screen. This work echoes the calls made in the 1990s by black feminist film and cultural scholars to resist the allure of reading for racial realism and to develop more appropriate critical tools and terms to acknowledge black artistic innovations. This essay takes up and reiterates that call, drawing attention to the problems of film interpretation that attend to a version of historical analysis without an understanding of form and medium. Foregrounding film as a terrain of strugg

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Henderson, Laretta. "The Black Arts Movement and African American Young Adult Literature: An Evaluation of Narrative Style." Children's Literature in Education 36, no. 4 (2005): 299–323. http://dx.doi.org/10.1007/s10583-005-8314-4.

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Mooney, Barbara Burlison. "The Comfortable Tasty Framed Cottage: An African American Architectural Iconography." Journal of the Society of Architectural Historians 61, no. 1 (2002): 48–67. http://dx.doi.org/10.2307/991811.

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African American architectural history is not a secondhand version of the European American white experience; evidence of African American architectural agency can be discovered by tracing the evolution of the iconography of the "comfortable, tasty, framed cottage." Arising out of aspirations of assimilation before and after emancipation, the image of an idealized African American middle-class house was understood not only as a healthful and convenient shelter, but as the measure of racial progress and as a strategy for gaining acceptance into the dominant white culture. Three institutions wit

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Carson, Warren J. "Robert Hayden in Verse: New Histories of African American Poetry and the Black Arts Movement by Derik Smith." CLA Journal 63, no. 1 (2020): 121–22. http://dx.doi.org/10.1353/caj.2020.0017.

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12

Cutler-Bittner, Jody B. "Charles White." Nka Journal of Contemporary African Art 2019, no. 45 (2019): 140–49. http://dx.doi.org/10.1215/10757163-7917192.

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The recent exhibition Charles White: A Retrospective (Museum of Modern Art, New York, October 7, 2018–January 13, 2019) offered a chance to consider the technical and iconographic breadth of an oeuvre that has been exhibited mainly in sporadic doses for the past few decades and has expanded in scope through recent attention from a subsequent generation of African American artists, including several students as well as art scholars. White (1918–79) was vocally committed from the mid-1960s through his final decade to African American art subjects in tandem with social issues, climactic in poigna

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Crawford, M. N. "The Muse in Bronzeville: African American Creative Expression in Chicago, 1932-1950 / Visionary Women Writers of Chicago's Black Arts Movement." American Literature 86, no. 2 (2014): 412–14. http://dx.doi.org/10.1215/00029831-2646955.

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Peterson, Dale E. "Justifying the Margin: The Construction of “Soul” in Russian and African-American Texts." Slavic Review 51, no. 4 (1992): 749–57. http://dx.doi.org/10.2307/2500135.

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The scholarly world has little noted nor long remembered the interesting fact that the emancipation proclamation of a culturally separate African-American literature was accompanied by a generous acknowledgment of Russian precedent. In 1925 Alain Locke issued the first manifesto of the modern Black Arts movement, The New Negro. There could not have been a clearer call for the free expression of a suppressed native voice: “we have lately had an art that was stiltedly selfconscious, and racially rhetorical rather than racially expressive. Our poets have now stopped speaking for the Negro—they sp

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Ha, Quan Manh, and Conor Hogan. "The Violence of Duality in Adrienne Kennedy’s Funnyhouse of a Negro." Anglica. An International Journal of English Studies, no. 27/1 (September 17, 2018): 121–34. http://dx.doi.org/10.7311/0860-5734.27.1.09.

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Adrienne Kennedy’s psychodrama Funnyhouse of a Negro personifies in her protagonist, Sarah, the internalized racism and mental deterioration that a binary paradigm foments. Kennedy also develops the schizoid consciousness of Sarah to accentuate Sarah’s hybridized and traumatized identity as an African American woman. Kennedy’s play was controversial during the Black Arts Movement, as she refrained from endorsing black nationalist groups like Black Power, constructing instead a nightmare world in which race is the singular element in defining self-worth. In her dramatized indictment of both whi

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Barton, Melissa. "“Speaking a Mutual Language”: The Negro People's Theatre in Chicago." TDR/The Drama Review 54, no. 3 (2010): 54–70. http://dx.doi.org/10.1162/dram_a_00004.

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Putting black characters in their plays settled some formal debates for the Popular Front's new theatre, but it created entirely new questions about how the movement would involve actual African Americans. Fanny McConnell and Chicago's Negro People's Theatre (1938–1940) offered some answers.

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Clark, VèVè A. "DEVELOPING DIASPORA LITERACY AND MARASA CONSCIOUSNESS." Theatre Survey 50, no. 1 (2009): 9–18. http://dx.doi.org/10.1017/s0040557409000039.

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The New Negro, Indigenist, and Négritude movements of the 1920s and 1930s constitute the grounded base of contemporary Afro-American, Caribbean, and African literary scholarship. Critics return repeatedly to this textual field as if to embrace a heralded center, familiar and stable. Skepticism regarding presentations of the era as a coherent whole has inspired redefinitions of the period's demarcations, classic works as well as national and transnational intertextualities. Bearing in mind the discontinuities, one must acknowledge, however, that among other achievements, the new letters movemen

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DUCK, LEIGH ANNE. "Commercial Counterhistory: Remapping the Movement inLee Daniels’ The Butler." Journal of American Studies 52, no. 2 (2018): 418–46. http://dx.doi.org/10.1017/s0021875817001918.

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Lee Daniels’ The Butler(2013) might seem an unlikely candidate for intervening in Hollywood's civil rights genre, given both its nationalistic ending and its recuperation of iconic styles and images. This paper argues, however, that the film's pastiche interrogates past cinematic tropes for race and space; in this sense, it provescounterhistorical, a term indicating not a lack of accuracy but a commitment to illuminating the role of visual media in shaping contemporary understandings of history and to encouraging fresh perspectives on the past. Examining the many forms of constraint produced b

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Biondi, Martha. "Controversial Blackness: The Historical Development & Future Trajectory of African American Studies." Daedalus 140, no. 2 (2011): 226–37. http://dx.doi.org/10.1162/daed_a_00090.

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The forty-year history of African American studies has led some scholars to take stock of its roots and its future. This essay examines the field's unexpected origins in black colleges, as well as at predominantly white ones, and assesses the early debates and challenges along the road to academic incorporation. Biondi takes up such questions as: Did the field's origins in the Black Power movement jeopardize its claims to academic legitimacy? If black studies is a discipline, what is its methodology? As an outgrowth of black nationalism on campus, to what extent was black studies U.S.-centric?

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20

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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21

Morgan, Marcyliena, and Dionne Bennett. "Hip-Hop & the Global Imprint of a Black Cultural Form." Daedalus 140, no. 2 (2011): 176–96. http://dx.doi.org/10.1162/daed_a_00086.

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Hip-hop, created by black and Latino youth in the mid-1970s on the East Coast of the United States, is now represented throughout the world. The form's core elements – rapping, deejaying, breaking (dance), and graffiti art – now join an ever-growing and diversifying range of artistic, cultural, intellectual, political, and social practices, products, and performances. The artistic achievements of hip-hop represent a remarkable contribution to world culture; however, the “hip-hop nation” has created not just art and entertainment, but art with the vision and message of changing the world – loca

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22

CURTIS, JESSE. "“Will the Jungle Take Over?” National Review and the Defense of Western Civilization in the Era of Civil Rights and African Decolonization." Journal of American Studies 53, no. 4 (2018): 997–1023. http://dx.doi.org/10.1017/s0021875818000488.

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During the 1950s and 1960s, conservative intellectuals in the United States described African decolonization and the civil rights movement as symptoms of a global threat to white, Western civilization. In the most influential conservative journal of the period, National Review, writers such as William F. Buckley grouped these events together as dangerous contributors to civilizational decline. In the crucible of transnational black revolt, some conservative intellectuals embraced scientific racism in the 1960s. These often-ignored features of conservative intellectual thought provided space fo

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23

MacArthur, Marit J. "Monotony, the Churches of Poetry Reading, and Sound Studies." Publications of the Modern Language Association of America 131, no. 1 (2016): 38–63. http://dx.doi.org/10.1632/pmla.2016.131.1.38.

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Engaging with and amending the terms of debates about poetry performance, I locate the origins of the default, neutral style of contemporary academic poetry readings in secular performance and religious ritual, exploring the influence of the beat poets, the black arts movement, and the African American church. Line graphs of intonation patterns demonstrate what I call monotonous incantation, a version of the neutral style that is characterized by three qualities: (1) the repetition of a falling cadence within a narrow range of pitch; (2) a flattened affect that suppresses idiosyncratic express

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24

Pollock, Benjin. "Beyond the Burden of History in Indigenous Australian Cinema." Film Studies 20, no. 1 (2019): 36–53. http://dx.doi.org/10.7227/fs.20.0003.

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How Indigenous Australian history has been portrayed and who has been empowered to define it is a complex and controversial subject in contemporary Australian society. This article critically examines these issues through two Indigenous Australian films: Nice Coloured Girls (1987) and The Sapphires (2012). These two films contrast in style, theme and purpose, but each reclaims Indigenous history on its own terms. Nice Coloured Girls offers a highly fragmented and experimental history reclaiming Indigenous female agency through the appropriation of the colonial archive. The Sapphires eschews su

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25

Mollona, Massimiliano. "Seeing the Invisible: Maya Deren's Experiments in Cinematic Trance." October 149 (July 2014): 159–80. http://dx.doi.org/10.1162/octo_a_00188.

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In July 1791, the story goes, a small voodoo gathering in Santo Domingo sparked the Haitian Revolution, the first black anti-colonial revolution in history. The glorious history of the “Republic of the black Jacobins” was often celebrated by Surrealist artists in New York and Paris in their exposé of the decadent state of colonial powers in the aftermath of the Second World War. For instance, Haiti is central to André Breton's anti-colonial manifesto, Aimé Cesaire's idea of negritude, Rudy Burckhardt's lyric film symphonies, and Zora Neale Hurston's novels on creole culture. In New York, negri

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DURKIN, HANNAH. "Cinematic “Pas de Deux”: The Dialogue between Maya Deren's Experimental Filmmaking and Talley Beatty's Black Ballet Dancer in A Study in Choreography for Camera (1945)." Journal of American Studies 47, no. 2 (2013): 385–403. http://dx.doi.org/10.1017/s0021875813000121.

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A Study in Choreography for Camera (1945) is a collaborative enterprise between avant-garde filmmaker Maya Deren and African American ballet dancer Talley Beatty. Study is significant in experimental film history – it was one of three films by Deren that shaped the emergence of the postwar avant-garde cinema movement in the US. The film represents a pioneering cross-cultural and cross-disciplinary dialogue between Beatty's ballet dancing and Deren's experimental cinematic technique. The film explores complex emotional experiences through a cinematic re-creation of Deren's understanding of ritu

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Feldman, Robert H. L., Dorothy Damron, Jean Anliker, et al. "The Effect of the Maryland WIC 5-a-Day Promotion Program on Participants’ Stages of Change for Fruit and Vegetable Consumption." Health Education & Behavior 27, no. 5 (2000): 649–63. http://dx.doi.org/10.1177/109019810002700509.

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The Maryland Women, Infants and Children (WIC) 5-A-Day Promotion Program examined the effect of a multifaceted nutrition intervention on changing the fruit and vegetable consumption of low-income women in the WIC program in Maryland. The sample consisted of 3,122 participants (1,443 intervention and 1,679 control) with a mean age of 27.2. Fifty-six percent were Black/African American. This article focuses on the effect of the intervention on the stages of change of the participants. Intervention participants showed significantly greater positive movement through the stages than control partici

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28

Bussel, Bob. "Book Review: Black and Blue: African Americans, the Labor Movement, and the Decline of the Democratic Party. By Paul Frymer. Princeton, NJ: Princeton University Press, 2008. 202 pp. $24.95 paper." Labor Studies Journal 34, no. 1 (2009): 130–31. http://dx.doi.org/10.1177/0160449x09331413.

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29

Ako, Edward O. "The African Inspiration of the Black Arts Movement." Diogenes 34, no. 135 (1986): 93–104. http://dx.doi.org/10.1177/039219218603413507.

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30

Krasner, David, Lisa M. Anderson, Nadine George-Graves, et al. "African American Theatre." Theatre Survey 47, no. 2 (2006): 191–97. http://dx.doi.org/10.1017/s0040557406000159.

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David Krasner: In surveying contemporary London theatre, New York Times critic Ben Brantley reported that the Tricycle Theatre hadinaugurated a season of African-American plays with the commandingly titled but obscure Walk Hard, Talk Loud, a play by Abram Hill from the early1940's. Abram who? The name meant nothing to me, but Abram Hill (1910–1986) was a founder and director of the American Negro Theater in New York (1940–1951) and a playwright, it seems, of considerable verve.3That Abram Hill and the American Negro Theatre—the most important black theatre company during the mid-twentieth cent

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31

Leonard, Keith D. "Love in the Black Arts Movement: The Other American Exceptionalism." Callaloo 36, no. 3 (2013): 618–24. http://dx.doi.org/10.1353/cal.2013.0178.

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32

Campbell, Mary Schmidt. "African American Art in a Post-Black Era." Women & Performance: a journal of feminist theory 17, no. 3 (2007): 317–30. http://dx.doi.org/10.1080/07407700701621541.

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33

Peariso, Craig. "The Black Arts Movement and the Black Panther Party in American Visual Culture." Journal of American History 108, no. 1 (2021): 214–15. http://dx.doi.org/10.1093/jahist/jaab054.

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34

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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36

Reid, Mark A. "Black Magic: White Hollywood and African American Culture, by Krin Gabbard." Film Quarterly 61, no. 1 (2007): 75–76. http://dx.doi.org/10.1525/fq.2007.61.1.75.

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Steele, Catherine Knight. "Black Bloggers and Their Varied Publics: The Everyday Politics of Black Discourse Online." Television & New Media 19, no. 2 (2017): 112–27. http://dx.doi.org/10.1177/1527476417709535.

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This article analyzes African American–oriented blogs for their potential to foster varying kinds of alternate publics while engaging in discourse that is outside what is commonly considered political communication. Bloggers and their communities use satellite and enclave spaces to explore black representation in art and media, black feminism, and class consciousness. I use critical technocultural discourse analysis to explore the affordances and constraints of blogs in creating alternate publics for African Americans online. Capitalizing on African American oral culture, black bloggers can us

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38

Holdbrook-Smith, Kobna. "What is Black Theatre? The African-American Season at the Tricycle Theatre." New Theatre Quarterly 23, no. 3 (2007): 241–52. http://dx.doi.org/10.1017/s0266464x07000140.

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Kobna Holdbrook-Smith was a member of the repertory company formed by artistic director Nicolas Kent for the 2005–2006 African-American season at the Tricycle Theatre in north London. That company also included Jenny Jules, Joseph Marcell, Lucian Msamati, Carmen Munroe, and Nathan Osgood. In Walk Hard – Talk Loud by Abram Hill, a play originally produced in 1944 and set in New York in the late 1930s, Holdbrook-Smith played a young boxer who faces racism. In Lynn Nottage's contemporary satire Fabulation, he took on dual roles – the heroine's husband who absconds with her wealth, and the gentle

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Francis, Terri. "Cosmologies of Black Cultural Production: A Conversation with Afrosurrealist Filmmaker Christopher Harris." Film Quarterly 69, no. 4 (2016): 47–56. http://dx.doi.org/10.1525/fq.2016.69.4.47.

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FQ Contributing Editor Terri Francis interviews filmmaker Christopher Harris, situating Afrosurrealist filmmaking within a constellation of African American artists and writers that includes the painter Kerry James Marshall, novelist Toni Morrison, poet Elizabeth Alexander, and composer Roscoe Mitchell. The discussion revolves around the experimental poetics of African American literature that provide Harris with flares of revelation that light the path for his diverse projects. Harris's oeuvre is in dialogue with the nature of the film medium and with what it means to work, observe, and think

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Elam, Harry. "A History of African American Theatre. By Errol G. Hill and James V. Hatch. Cambridge Studies in American Theatre and Drama. Cambridge: Cambridge University Press, 2003; pp. 608. $130 cloth." Theatre Survey 46, no. 1 (2005): 127–29. http://dx.doi.org/10.1017/s0040557405220094.

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Over the more than twenty years since the publication of two profoundly influential collections—Errol Hill's two-volume anthology of critical essays The Theatre of Black Americans (1980) and James V. Hatch's first edition of the play anthology Black Theatre USA (1974)—there has been considerable activity in African American theatre scholarship. Yet even as scholars have produced new collections of historical and critical essays that cover a wide range of African American theatre history, book-length studies that document particular moments in the historical continuum such as the Harlem Renaiss

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King, Lovalerie, and Paula J. Massood. "Black City Cinema: African American Urban Experiences in Film." African American Review 37, no. 2/3 (2003): 445. http://dx.doi.org/10.2307/1512333.

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Huff, Stephen. "The Impresarios of Beale Street: African American and Italian American Theatre Managers in Memphis, 1900–1915." Theatre Survey 55, no. 1 (2013): 22–47. http://dx.doi.org/10.1017/s0040557413000525.

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Music scholars Lynn Abbott and Doug Seroff have researched what they call “a deep African American vaudeville theater tradition” in Memphis during the first decade of the twentieth century that helped lead the way to the commercialization of the blues. Their body of work provides a very useful and fascinating historical overview of the black vaudeville scene of the time on the national level. This article seeks to broaden that overview, using a much more focused, microhistorical perspective on the history of theatre management on one particular street in one particular, midsized southern city.

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Luckett, Josslyn. "The Black Film Ambassador." Film Quarterly 75, no. 1 (2021): 62–69. http://dx.doi.org/10.1525/fq.2021.75.1.62.

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In celebration of the Pacific Film Archive at 50, Josslyn Luckett, a former student of PFA programmer and UCBerkeley professor Albert Johnson reflects on the global reach of his career and legacy. One of the founding “co-conspirators” of Film Quarterly, Johnson presented African, Asian, and Latin American cinema at the PFA for three decades, while programming U.S. directors from Vincente Minnelli to Melvin Van Peebles across the globe. While Johnson became known for his iconic “Craft of Cinema” profile series at the San Francisco International Film Festival (SFIFF), this article highlights und

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DEFRANTZ, THOMAS F. "Intermediality and Queer African American Improvisation: Dianne McIntyre, Sounds in Motion." Theatre Research International 46, no. 2 (2021): 115–27. http://dx.doi.org/10.1017/s0307883321000055.

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This article explores the work of choreographer Dianne McIntyre as an improvisational artist entangled in questions of intermedial relations among sounds and motions. It discusses the terms of performance in relation to emergent paradigms of Afro-pessimism, and argues for a black regard as a method of engaging with experimental performances by artists of African descent. The article explores theoretical terms of witness and encounter with black performance in relation to queer alterities, and non-normative modes of physical expression. The article suggests further need for research into the wo

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Derby, Lauren. "Sorcery in the Black Atlantic: The Occult Arts in Comparative Perspective." Journal of Interdisciplinary History 44, no. 2 (2013): 235–44. http://dx.doi.org/10.1162/jinh_a_00538.

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Three recent volumes—Parés and Sansi (eds.), Sorcery in the Black Atlantic; Paton and Forde (eds.), Obeah and Other Powers; and Sweet, Domingos Álvares, African Healing, and the Intellectual History of the Atlantic World—set a new bar for scholarship about Caribbean and Latin American sorcery, stressing its contingency as well as its transnational and cosmopolitan aspects. Their richly contextualized case studies of African-derived practices related to illness and health, as well as the quotidian experience of slaves outside the plantation, challenge the most entrenched assumptions about sorce

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Acham, Christine. "Black-ish: Kenya Barris on Representing Blackness in the Age of Black Lives Matter." Film Quarterly 71, no. 3 (2018): 48–57. http://dx.doi.org/10.1525/fq.2018.71.3.48.

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African American studies and television scholar Christine Acham interviews Kenya Barris the creator of the top-rated primetime network show Black-ish (ABC, 2014—). Acham tuned in during the 2014 political climate of #BlackLivesMatter to find a show that veered so far from television's traditionally monolithic or culturally void versions of blackness. Her conversation with Kenya Barris took place on June 23, 2017, in Burbank, California. They discussed Black-ish in detail, and also engaged questions of politics, the specificity of black storytelling, the contemporary “Black Television Renaissan

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Thompson, Lisa B. "A Beautiful Pageant: African American Theatre, Drama, and Performance in the Harlem Renaissance, 1910–1927. By David Krasner. New York: Palgrave Macmillan, 2002; pp. 370. $35 cloth; Stories of Freedom in Black New York. By Shane White. Cambridge, MA: Harvard University Press, 2002; pp. 260. $27.95 cloth." Theatre Survey 45, no. 1 (2004): 123–25. http://dx.doi.org/10.1017/s004055740424008x.

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In “Writing the Absent Potential: Drama, Performance, and the Canon of African-American Literature,” Sandra Richards argues that scholars largely ignore the African-American contribution to theatre and performance. She suspects that most critics regard “drama as a disreputable member of the family of literature” (65). Even African Americanists neglect dramatic literature; indeed, the Norton Anthology of African American Literature includes only a scant number of plays. Both David Krasner and Shane White effectively redress this oversight and shift the focus from African-American literature to

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DE SIMONE, MARIA. "Sophie Tucker, Racial Hybridity and Interracial Relations in American Vaudeville." Theatre Research International 44, no. 2 (2019): 153–70. http://dx.doi.org/10.1017/s0307883319000038.

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This article discusses Sophie Tucker's racialized performance in the context of early twentieth-century American vaudeville and black–Jewish interracial relations. Tucker's vaudeville musical acts involved mixed racial referents: ‘black-style’ music and dance, Jewish themes, Yiddish language and the collaboration of both African American and Jewish artists. I show how these racial combinations were a studied tactic to succeed in white vaudeville, a corporate entertainment industry that capitalized on racialized images and fast changes in characters. From historical records it is clear that Tuc

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Overpeck, Deron. "From Hell." Film Quarterly 55, no. 4 (2002): 41–45. http://dx.doi.org/10.1525/fq.2002.55.4.41.

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The Hughes brothers first gained critical attention for their intelligent investigations of the African-American experience in films like Menace II Society (1993) and American Pimp (2000). In From Hell (2001)——based on the graphic novel of the same name——the brothers attempt to examine the Jack the Ripper murders within a similar framework, but also with the goal of maki" different from their "black movies."Unfortunately, in doing so, they lost the social critique of both the source material and their previous films. The brothers' ideas about black movies and about themselves as filmmakers and

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Qureshi, Bilal. "Elsewhere." Film Quarterly 70, no. 3 (2017): 63–68. http://dx.doi.org/10.1525/fq.2017.70.3.63.

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Ava DuVernay's Queen Sugar arrives at a defining moment in American cultural life, as politics and art converge in an unprecedented moment for black creativity. The unapologetic emergence of full-fledged black subjectivity onscreen runs parallel to a new chapter in the civil rights movement. Black Lives Matter has propelled long-overdue conversations about policing, the prison-industrial complex, inequality, and structural barriers into the mainstream. The ongoing renaissance in television enabled by streaming platforms and new revenue models has opened doors for artists to explore these issue

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