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Journal articles on the topic 'Black Arts movement'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Reed, Corey. "Signifying the Sound: Criteria for Black Art Movements." Journal of Aesthetic Education 57, no. 4 (December 1, 2023): 36–59. http://dx.doi.org/10.5406/15437809.57.4.03.

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Abstract “Black art” is often understood as being inherently political. In examining two major Black arts movements, the Harlem Renaissance and the Black Arts movement, many of the works attributed to those periods fit the description of “political art” but not all of them. Black art movements are not defined exclusively by similar styles or methodologies, like Expressionism or Surrealism, either. Instead, Black art movements are complex movements that blend social, political, and aesthetic criteria. In this article, I list seven conditions that I take to be jointly sufficient for a Black art movement to be signified as such. In this assertion, I also argue that this current era, paralleling the Black Lives Matter movement, is worthy of Black art movement signification, if we update the mediums by which the conditions are met in the Harlem Renaissance and the Black Arts movement.

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2

Hassan, S. M. "Remembering the Black Arts Movement." Nka Journal of Contemporary African Art 2011, no. 29 (September 1, 2011): 4–7. http://dx.doi.org/10.1215/10757163-1496309.

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3

Taylor, C. "After the Black Arts Movement." Nka Journal of Contemporary African Art 2011, no. 29 (September 1, 2011): 62–71. http://dx.doi.org/10.1215/10757163-1496345.

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4

Steele, Vincent. "Tom Feelings: A Black Arts Movement." African American Review 32, no. 1 (1998): 119. http://dx.doi.org/10.2307/3042274.

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5

Sell, Mike. "Blackface and the Black Arts Movement." TDR/The Drama Review 57, no. 2 (June 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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6

Bouallegue, Nadjiba. "Spirituality in the Black Arts Movement." Afrika Tanulmányok / Hungarian Journal of African Studies 17, no. 3 (June 15, 2024): 45–65. http://dx.doi.org/10.15170/at.2023.17.3.3.

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The article investigates the significance of spirituality in the works of the Black Arts Movement poets. By examining the poetry of Amiri Baraka and Maya Angelou, the study uncovers the various facets of spirituality that African Americans embrace, including “Africanized” Christianity, jazz poetry, and Islam. The article aims to show if spirituality is merely a way to celebrate cultural diversity or a vehicle for social change. It draws on Gilles Deleuze and Félix Guattari’s theory of minor literature to demonstrate that the Black Arts Movement is a minor literature, whereby cultural markers such as spirituality are politicized. Because spirituality endows the Black Arts Movement with a political value and a collective enunciation, this movement becomes a revolutionary force that aims to enact social change. This politicized spirituality is symptomatic of a desire to foster a strong, positive bond with Africa, which is an antidote to the strangeness of mainstream society. The remembrance of the African past through Afrocentric spirituality is a tool for defining and redefining one’s sense of belonging. It is also a quest for an essentially black aesthetic.

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7

RudeWalker, Sarah. "“a thunderin/lightenin poet-talkin / female / is a sign of things to come”." Langston Hughes Review 28, no. 1 (March 1, 2022): 25–48. http://dx.doi.org/10.5325/langhughrevi.28.1.0025.

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ABSTRACT Ntozake Shange had a notably complex relationship with her inheritance of the Black Arts project. While she was clearly influenced by the politics of Black nationalism and the aesthetic innovations of the movement in claiming Black language practices as powerful tools of poetic expression, she also struggled to feel accepted and represented within Black nationalist camps. However, this conflict in fact puts her in the company of women writers of the Black Arts Movement, who themselves had been working for years within the movement to move the needle on problematic conceptions of gender and sexuality. In her unpublished early poems written between 1970 and 1972, Shange’s use of Black linguistic and rhetorical resources aligns with the contemporaneous work of other Black Arts women poets and successfully demonstrates the most generative elements of the Black Arts project. But by the beginning of her public career in the mid-1970s, Shange importantly moves independently beyond the Black Arts project to insist on a necessary reckoning with the barriers, within and outside of the Black community, to Black women’s liberation. This article draws upon archival research to reveal the ways Shange’s early work demonstrates both her inheritance and her innovation of the rhetorical and poetic strategies that Black Arts women writers used to make their case that Black women should be central to and vocal within Black nationalist movements.

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8

Thomas, Lorenzo. ""Classical Jazz" and the Black Arts Movement." African American Review 29, no. 2 (1995): 237. http://dx.doi.org/10.2307/3042299.

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9

Gladney, Marvin J. "The Black Arts Movement and Hip-Hop." African American Review 29, no. 2 (1995): 291. http://dx.doi.org/10.2307/3042308.

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10

Smith, David Lionel. "The Black Arts Movement and Its Critics." American Literary History 3, no. 1 (1991): 93–110. http://dx.doi.org/10.1093/alh/3.1.93.

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11

Jarrett, Gene Andrew. "The Black Arts Movement and Its Scholars." American Quarterly 57, no. 4 (2005): 1243–51. http://dx.doi.org/10.1353/aq.2006.0010.

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12

Abdulrahman, Salih Abdullah. "The Cultural confrontation in Sonia Sanchez’s Rap Poetry." Journal of Tikrit University for Humanities 29, no. 3, 1 (March 25, 2022): 1–15. http://dx.doi.org/10.25130/jtuh.29.3.1.2022.22.

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This paper studies the rap poetry of Sonia Sanchez as an example of the literature of protest which prevailed throughout the 1960s and „70s of the twentieth century, especially the poetry of the Black Arts Movement. During the 1960s a group of Black poets started to compose poems that can best be described as anti-white poems which aimed at rejecting the hegemonic white culture and its oppressions over the Blacks. They rejected the American culture in favour of a Black one that would formulate a Black consciousness which would be the touchstone of the cultural resistance and would, the poets wished, initiate a revolution against the white Americans‟ violence and unfair practices towards the African-Americans.Sonia Sanchez was an active member of the Black Arts Movement which was established in the 1960s and called for a violent revolution against the white Americans, especially after the assassination of Malcolm X and Martin Luther King. This movement called for Black aesthetic which highlighted a literature that reflects and explores the Black culture and traditions and speaks to the Blacks‟ issues and concerns. Therefore, their poems were politically oriented as they addressed the lives and ambitions of the Black people and started using the Black speech in their poetry. Their poetry, then, is given a Black identity which is considered as the essence of the Black Aesthetic Movement

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13

Long, Khalid Y. "La Donna L. Forsgren, Sistuhs in the Struggle: An Oral History of Black Arts Movement Theater and Performance." Modern Drama 65, no. 1 (March 1, 2022): 122–25. http://dx.doi.org/10.3138/md-65-1-br2.

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La Donna Forsgren’s Sistuhs in the Struggle: An Oral History of Black Arts Movement Theater and Performance is a critical intervention in theatre studies, women’s studies, and Black studies, employing a narrative methodology to recover and centre the voices of Black women who built the Black Arts Movement.

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14

Cagulada, Elaine. "Persistence, Art and Survival." Canadian Journal of Disability Studies 9, no. 4 (November 10, 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 version of the Black aesthetic in the early 1960s, where his photography subverted the essentialized African-American subject. My paper explores DeCarava’s work in three ways, namely in how he, (a) approaches art as a site for encounter between the self and subjectivity, (b) engages with the Black aesthetic as survival and communication, and (c) subverts detrimental conceptions of race through embodied acts of listening and what I read as, ‘a persistent hereness.’ I interpret a persistent hereness in DeCarava’s commitment to presenting the unwavering presence of the non-essentialized African-American subject. The communities and moments he captures are here and persistently refuse, then, to disappear. Through my exploration of the Black Arts Movement in my engagement with DeCarava’s work, and specifically through his and Hughes’ (1967) book, The Sweet Flypaper of Life, we are invited to reimagine disability-as-a-problem condition (Titchkosky, 2007) and deafness as an ‘excludable type’ (Hindhede, 2011) differently. In other words, this journey hopes to reveal what the Black Arts Movement and Black aesthetic, through DeCarava, can teach Deaf and disability studies about moving with art as communication, survival, and a persistent hereness, such that different stories might be unleashed from the stories we are already written into.

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15

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

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16

Baraka, A. "The Black Arts Movement: Its Meaning and Potential." Nka Journal of Contemporary African Art 2011, no. 29 (September 1, 2011): 22–31. http://dx.doi.org/10.1215/10757163-1496300.

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17

Neal, Larry. "The Social Background of the Black Arts Movement." Black Scholar 18, no. 1 (January 1987): 11–22. http://dx.doi.org/10.1080/00064246.1987.11412735.

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18

Anderson, Reynaldo. "Contemporary Notes on the Black Speculative Arts Movement." CLA Journal 65, no. 1 (March 2022): 5–7. http://dx.doi.org/10.1353/caj.2022.0002.

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19

Thomas, Cheli. "Artists of the Black Arts Movement and Their Impact on Contemporary Arts." Black History Bulletin 86, no. 2 (September 2023): 21–22. http://dx.doi.org/10.1353/bhb.2023.a904146.

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20

Scotland, Julisa. "Artists of the Black Arts Movement and Their Impact on Contemporary Arts." Black History Bulletin 86, no. 2 (September 2023): 17–20. http://dx.doi.org/10.1353/bhb.2023.a904142.

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21

Smethurst, James. "Review Essay: The Black Arts Movement and the Aesthetic Framing of 21st Century Anthologies of African American Poetry." Journal of Foreign Languages and Cultures 4, no. 2 (December 28, 2020): 47–56. http://dx.doi.org/10.53397/hunnu.jflc.202002005.

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When considering anthologies of African American poetry in the 21st century, it is noteworthy how much the legacy of the Black Arts Movement of the 1960s and 1970s both positively and negatively shapes their aesthetic politics, framing, and reception. This essay considers how these anthologies use the Black Arts Movement to frame their version of Black poetry and the way they come at questions of literary and cultural lineage, the relationship of Black poetry to African American experience, and formal tradition and innovation.

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22

Frere, Lamia Mahmoud Nabil Helmy. "Amiri Baraka from Black Arts Movement to Anti-Americanism." مجلة وادی النیل للدراسات والبحوث الإنسانیة والاجتماعیة والتربویه 32, no. 32 (October 1, 2021): 265–84. http://dx.doi.org/10.21608/jwadi.2021.205795.

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23

Derik Smith. "Quarreling in the Movement: Robert Hayden's Black Arts Era." Callaloo 33, no. 2 (2010): 449–66. http://dx.doi.org/10.1353/cal.0.0646.

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24

Punday, Daniel. "The Black Arts Movement and the Genealogy of Multimedia." New Literary History 37, no. 4 (2006): 777–94. http://dx.doi.org/10.1353/nlh.2007.0011.

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25

Broom, Bobby. "Clarion call: Toward Jazz and the Black Arts Movement." Black History Bulletin 86, no. 2 (September 2023): 8–16. http://dx.doi.org/10.1353/bhb.2023.a904143.

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26

Alanazi, Meshari S. "Challenging social standards." Linguistics and Culture Review 5, S2 (June 30, 2021): 1594–604. http://dx.doi.org/10.21744/lingcure.v5ns2.2229.

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Prior to the evolution of the Black Arts Movement, the concept of “beauty” in the United States relied on specific standards, among which were being white and having blue eyes. However, this narrow definition changed over time as sociopolitical factors affected such concepts. Therefore, it is not surprising that the Black Arts Movement affected and changed the concept of beauty among Black Americans. African Americans stood not against white individuals but against everything that was unjust toward them in white American society. As a result, the literary works created by Black writers had to be built on either a political or an aesthetic framework. This paper examines the standards of beauty in The Bluest Eye and discusses the novel’s ideological tone and its references to the Blues, Black aesthetics and Black feminism. The novel was published in the middle of the Black Arts Movement era, and it satisfies the Black Art Movement’s major concern, which is how the work of art can help African Americans live a better life. Morrison’s novel highlights the concept of beauty at the time and how to change it among Black Americans.

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27

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

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28

Katz, Stanley N., and Leah Reisman. "Impact of the 2020 crises on the arts and culture in the United States: The effect of COVID-19 and the Black Lives Matter movement in historical context." International Journal of Cultural Property 27, no. 4 (November 2020): 449–65. http://dx.doi.org/10.1017/s0940739120000326.

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AbstractThis article discusses the impact of the COVID-19 pandemic and the Black Lives Matter movement on the arts and cultural sector in the United States, placing the 2020 crises in the context of the United States’s historically decentralized approach to supporting the arts and culture. After providing an overview of the United States’s private, locally focused history of arts funding, we use this historical lens to analyze the combined effects of the pandemic and Black Lives Matter movement on a single metropolitan area – Philadelphia, Pennsylvania. We trace a timeline of key events in the national and local pandemic response and the reaction of the arts community to the Black Lives Matter movement, arguing that the nature of these intersecting responses, and their fallout for the arts and cultural sector, stem directly from weaknesses in the United States’s historical approach to administering the arts. We suggest that, in the context of widespread organizational vulnerability caused by the pandemic, the United States’s decentralized approach to funding culture also undermines cultural organizations’ abilities to respond to issues of public relevance and demonstrate their civic value, threatening these organizations’ legitimacy.

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29

Osumare, Halifu. "Choreographing Social Change: Reflections on Dancing in Blackness." Dance Research Journal 53, no. 2 (August 2021): 130–42. http://dx.doi.org/10.1017/s0149767721000218.

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AbstractThis autoethnography explores a dance scholar's previous choreographic trajectory, positioning the author's career within the sixties and seventies Black Arts Movement for social change. I explore several iterations of my dance lecture-demonstration in particular, which was produced over two decades and three continents, demonstrating how temporal and spatial shifts affect the content and context of a choreographic work. Additionally, I explore my shift into arts producing through my national dance initiative that helped define the work of eighties Black choreographers in the postmodern dance movement. The result is a consideration of how being Black, female, and a dancer provides a particular sociohistorical lens.

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30

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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31

Austin, Sara. "Two Separate Hearts: Virginia Hamilton and the Black Arts Movement." Lion and the Unicorn 40, no. 3 (2016): 262–79. http://dx.doi.org/10.1353/uni.2016.0024.

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32

Jones-Henderson, N. "Remembering AfriCOBRA and the Black Arts Movement in 1960s Chicago." Nka Journal of Contemporary African Art 2012, no. 30 (March 1, 2012): 98–103. http://dx.doi.org/10.1215/10757163-1496516.

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33

Kotin, Joshua. "Funding the Black Arts Repertory Theatre/School." American Literary History 34, no. 4 (November 18, 2022): 1358–88. http://dx.doi.org/10.1093/alh/ajac152.

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Abstract The Black Arts Repertory Theatre/School (BARTS) opened in Harlem in May 1965 and closed less than a year later. During that year, it became a center for arts and activism, a target of government surveillance and infiltration, and a symbol in a national controversy about government spending and accountability, and Black nationalism and civil disobedience. Today, BARTS is recognized as the inspiration for the Black Arts Movement. This article presents a history of BARTS by detailing how it was funded. The article also intervenes in debates about government sponsorship of the arts, and complicity and cooption.Did federal funding lead to the destruction of BARTS? If so, was there any alternative?

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34

Crawford, Margo Natalie. "The “Atmos-Feeling” of Resurrection: Feeling Black (Not Slave) in Black Arts Movement Drama." Modern Drama 62, no. 4 (November 2019): 483–501. http://dx.doi.org/10.3138/md.s1023r.

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35

Oetting, Blake. "Lighting in General: Tom Lloyd’s Electronic Refractions." Criticism 65, no. 1 (January 2023): 1–27. http://dx.doi.org/10.1353/crt.2023.a932804.

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Abstract: This paper describes Tom Lloyd’s light sculptures, specifically those shown in his 1968 exhibition at the Studio Museum in Harlem, Electronic Refractions II , in relation to the Black Arts Movement and minimalist phenomenology. Even while his work’s industrial-style light fixtures and geometric metal structures bear a resemblance to minimal sculpture, they act as foils to the likes of Dan Flavin and his peers’ habitual references to gallery interiors. Moving beyond the white cube, his work harnesses the disorienting effects of lights on the city street. Approaching Lloyd’s relationship to and extension of the phenomenological thrust of artwork in the minimalist field, this essay describes an extra-aesthetic emphasis in Lloyd’s work that rhymes with the artist’s activism as part of the Black Arts Movement and as executive director of the Store Front Museum / Paul Robeson Theater in Jamaica, New York. By proposing a through line between his sculpture, activism, and work with the Black Arts Movement—rather than describe these as contradictory aspects of the artist’s life—it is argued here that the artist offered an innovative translation of Black radical politics into a nonobjective format.

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36

Wood, Augustus C. "The Crisis of the Black Worker, the U.S. Labor Movement, and Democracy for All." Labor Studies Journal 44, no. 4 (December 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 subjugated position in the modern-day union movement. Therefore, for Black social conditions and working-class conditions to improve overall, the union movement must centralize the conditions of the Black workers.

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37

Porco, Alessandro. "The Life and Art of Mary Parks Washington (Fall 2018)." New Americanist 2, no. 2 (November 2023): 167–204. http://dx.doi.org/10.3366/tna.2023.0015.

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This essay presents a critical biography of African American visual artist Mary Parks Washington, with an emphasis on her creative development from 1942 to 1979. Washington's extant art is discussed in the context of her educational background, social network, and political affiliations, as well as the history of activist curation in the wake of the Black Arts and Black Power movements. As an undergraduate at Spelman College in the 1940s, Washington was mentored by muralist Hale Woodruff, who encouraged her to continue her studies at the Art Students League of New York, Black Mountain College, and the Universidad Nacional de México. These experiences introduced Washington to key figures of the international and American avant-gardes, including Josef Albers, Diego Rivera, and Jacob Lawrence. In 1958, Washington settled down with her family in the Bay Area, where she met poet Sarah Webster Fabio, a leading figure in the Black Arts Movement on the West Coast. Washington and Fabio's collaborative friendship over two decades culminated in 1979's Offshoots of Roots Unknown, a series of “poem-paintings” that elegize Washington's family in early twentieth century Atlanta and, formally, deal with the technical (and ethical) problem of remembering and representing history. Drawing extensively on archival materials from the Auburn Avenue Research Library on African American Culture and History, this essay recognizes Washington's contribution to post-WWII African American art and documents her unique artistic trajectory, traversing aesthetic, social, and political formations from pre-Civil Rights Atlanta to the post-Black Arts Movement Bay Area.

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38

Forsgren, La Donna L. "Hands Up, Don’t Shoot: “Suicide,” Black Gun Ownership, and Restoring Black Masculinity on Black Arts Movement Stages." Theatre Journal 73, no. 4 (2021): 467–88. http://dx.doi.org/10.1353/tj.2021.0105.

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39

brooks, mayfield. "The Artist Is Not Present." TDR: The Drama Review 66, no. 1 (March 2022): 2. http://dx.doi.org/10.1017/s1054204321000733.

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After participating in the Black Lives Matter protests in 2020, I felt hopeless because I wanted the capitalist death machine to collapse, but the protests eventually died out. I then learned about 400 pilot whales who died off the coast of Tasmania after being stranded there, and connected whale death to Black death and thought about how the whale bodies feed the ocean when they die.mayfield brooks improvises while black and is based in Brooklyn, New York, on Lenapehoking, the homeland of the Lenape people. brooks is a movement-based performance artist, vocalist, urban farmer, writer, and wanderer. They are on the faculty at Movement Research NYC, Editor-in-Chief of Movement Research Performance Journal, and the 2021 recipient of the biennial Merce Cunningham Award from the Foundation for Contemporary Arts. brooks teaches and performs practices that arise from their life/art/movement work, Improvising While Black. www.improvisingwhileblack.com

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40

Watts, J. "The Black Arts Movement: Literary Nationalism in the 1960s and 1970s." Journal of American History 93, no. 1 (June 1, 2006): 288–89. http://dx.doi.org/10.2307/4486205.

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41

Edmonds, B. "Visionary Women Writers of Chicago's Black Arts Movement. Carmen L. Phelps." MELUS: Multi-Ethnic Literature of the United States 40, no. 1 (January 31, 2015): 218–20. http://dx.doi.org/10.1093/melus/mlu058.

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42

Fredriksson, Daniel. "Från djävulsmusik till konstnärligt uttryck." Puls - musik- och dansetnologisk tidskrift 9 (May 22, 2024): 44–60. http://dx.doi.org/10.62779/puls.9.2024.23737.

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From Devil's Music to Artistic Expression. The Korpela Movement, Black Metal, and Cultural PolicyThis text explores Korpelarörelsen, a Black Metal band that presents an audiovisual performance depicting a religious movement in Tornedalen during the early 20th century. In 2020 they received prolific funding from the Swedish Arts Grants Committee to conceive, rehearse and tour with the band. The article describes the band's unique portrayal of local history through the use of black metal music, while also discussing the boundaries between art and music, its implications for arts funding and the Black Metal genre's position in cultural hierarchies. The study draws on interviews, concert observations, and analysis of applications and documents outlining the funding decision from the Swedish Arts Grants Committee. The historic religious Korpela movement has been described as a doomsday cult, which believed that practicing music and dance, extrovert “childlike behavior” and even nudity and free sex, was the path to salvation. The band Korpelarörelsen depicts this through raw Black Metal, atmospheric elements, spoken word passages, and peculiar onstage-rituals. Visual aesthetics, including black robes, corpse paint, and blood-like smears, contributed to the atmosphere of mystique, darkness, and death. Korpelarörelsen’s application for cultural funding strategically positioned the project as a collaboration between various art forms and emphasized the interaction between Black Metal aesthetics and music industry methods. Korpelarörelsen's innovative approach and funding success might offer possibilities for extreme music within culturally funded systems. This case study demonstrates how a Black Metal band from Tornedalen could potentially have cultural and political impact and pave the way for other extreme music groups seeking recognition and support.

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43

RudeWalker, Sarah. "Black Post-Blackness: The Black Arts Movement and Twenty-First-Century Aesthetics. Margo Natalie Crawford." MELUS 44, no. 1 (December 6, 2018): 197–99. http://dx.doi.org/10.1093/melus/mly053.

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44

Becker, Jonathan. "The Global Liberal Arts Challenge." Ethics & International Affairs 36, no. 3 (2022): 283–301. http://dx.doi.org/10.1017/s0892679422000314.

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AbstractThe democratic backsliding that has accelerated across the globe over the past decade has included a rollback of liberal arts and sciences (LAS) as a system of university education. This essay explores the origins and goals of the global LAS education reform movement. I argue that while the movement is under threat largely due to its principled value of educating democratic citizens, it still has powerful potential and global impact; in part because LAS education is primarily an indigenous phenomenon adapting to local circumstances. I also argue that U.S. universities could contribute more constructively to the movement if they conceived of their role as global civic actors that conduct themselves in the spirit of mutuality and reciprocity, not as multinational corporations that channel neoliberal tendencies to maximize revenue. U.S. critics of the global LAS movement should also pay heed to the United States’ own history. Specifically, they can learn from historically Black colleges and universities how, operating under the extreme authoritarianism of the Jim Crow era, they managed to produce leaders who shaped a more democratic country. Liberal arts education produces short term benefits for students and alumni, but in the democratic context it is a long-term wager.

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45

Gittens, Angela Fatou. "Black Dance and the Fight for Flight." Journal of Black Studies 43, no. 1 (December 27, 2011): 49–71. http://dx.doi.org/10.1177/0021934711423262.

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The arts have fulfilled a major historical role as mediums of expressivity for people of African descent during the 1960s. It is during this important decade that a number of political and artistic movements came to rise—like a pot waiting to boil over—as a result of decades of sociopolitical precedents that came to a head, sparking revolutionary responses by grassroots communities worldwide. This body of writing is an excerpt of a larger study the author conducted on the role of West African dance as performed by Black women dancers in New York City–based dance companies. Because of the techniques of djembe and sabar dance within traditional West African contexts for both dancers and drummers alike, the author closely examines these styles as leading examples of the types of physical movement within political movements of the 1960s era—movements that empowered and liberated oppressed peoples during moments of high tension.

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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 “Black Arts” movement. This research examines the main theses of the aesthetic theory of L. Senghor; traces his impact upon cultural-political movement “Black Art”; reveals which position of his aesthetic theory and cultural-political movement “Black Arts” affected hip-hop music. The author refers to the concept of “vibe” for understanding the influence of Negro-African aesthetics upon the development of hip-hop music. The impact of aesthetic theory of Leopold Senghor upon the theoretical positions of cultural-political movement “Black Arts” is demonstrated. The author also compares the characteristics of the Negro-African aesthetics and the concepts used to describe hip-hop music, and determines correlation between them. The conclusion is made that the research assessment of hip-hop music and comparative analysis of African-American hip-hop with the examples of global hip-hop should pay attention to the philosophical-aesthetic foundations of African-American hip-hop and their relation to Negro-African aesthetics, which differs fundamentally from the European aesthetic tradition.

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Bolden, Tony. "The Power of Gospel in the Black Arts Movement: A Conversation with Claudrena N. Harold." Langston Hughes Review 29, no. 2 (December 2023): 201–16. http://dx.doi.org/10.5325/langhughrevi.29.2.0201.

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ABSTRACT This interview focuses on gospel music, which is a foundational element of soul music. Combining insights, at times, from her family background, but mostly from research in her book When Sunday Comes: Gospel Music in the Soul and Hip Hop Eras (2020), which borrows its title from Donald Lawrence and the Tri-City Singers hit recording “When Sunday Comes” (1995), Claudrena N. Harold offers an historian’s perspective on gospel music in the late 1960s. Harold discusses gospel artists who appear in Ahmir “Questlove” Thompson’s film Summer of Soul, contextualizes gospel artists in Questlove’s film within the history of gospel music itself, and draws connections between sacred and secular forms of Black music, that is, gospel, soul, and funk. Of particular significance, Harold argues that gospel music was part of the Black Arts Movement. Harold therefore offers a unique perspective on gospel, Summer of Soul, and the Black Arts Movement.

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Marable, Manning. "The Black Radical Congress: Revitalizing the Black Freedom Movement." Black Scholar 28, no. 1 (March 1998): 54–70. http://dx.doi.org/10.1080/00064246.1998.11430902.

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Joseph, Peniel E. "Black Liberation Without Apology: Reconceptualizing the Black Power Movement." Black Scholar 31, no. 3-4 (September 2001): 2–19. http://dx.doi.org/10.1080/00064246.2001.11431152.

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Joo, Ha Young. "A Critique of British Black Arts Movement and Black Feminism in the Work of Lubaina Himid." Journal of Art Theory & Practice 32 (December 30, 2021): 5–36. http://dx.doi.org/10.15597/jksmi.25083538.2021.32.5.

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