Academic literature on the topic 'History - Surrealism'
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Journal articles on the topic "History - Surrealism"
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Parkinson, Gavin. "Surrealism and Quantum Mechanics: Dispersal and Fragmentation in Art, Life, and Physics." Science in Context 17, no. 4 (December 2004): 557–77. http://dx.doi.org/10.1017/s0269889704000262.
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ArgumentBy the time the members of the Surrealist group had fled Paris and dispersed at the beginning of World War II, they had taken account of quantum mechanics and were seeking various ways of assimilating its findings into Surrealist theory. This can be detected in writings issuing from the Surrealist milieu as early as the late 1920s. However, while writers and thinkers outside the field of physics swiftly expressed their awareness of the epistemological crisis brought about by quantum mechanics, Surrealism's artists began to conscript the concepts and imagery of modern physics into their work only at the end of the 1930s. Focusing on two “second generation” Surrealist painters, the Chilean Roberto Matta and the Viennese Wolfgang Paalen, this article discusses the peculiar difficulties faced by artists in finding a language for the “new reality” revealed by the physicists, and argues that the relocation of Surrealism in a discursive field which includes quantum physics discloses the rationale behind its artists' shift to a semi-abstract language.
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Hansen, Catherine. "Surrealism Is a Thing: Rubrics and Objectivation in the Surrealist Periodical, 1924–2015." ARTMargins 5, no. 3 (October 2016): 62–81. http://dx.doi.org/10.1162/artm_a_00158.
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What links the existing international surrealist movement—a network of groups who publish their essays and collective experiments in an array of print and online periodicals—to the 20th-century Surrealism of art history textbooks is, to a large extent, its periodical publishing practices. This article pays particular attention to the periodical rubric (defined as a heading or category under which a certain kind of text or image serially appears) and contextualizes its surrealist use within a broader poetics of “objectivation.” In Surrealism, objectivation is the creation of a “thing,” which is to say a form of doing or thinking that acquires a name and locus around which a social collectivity can coalesce. The article explores this process as it becomes manifest in the various rubrics used in surrealist periodicals past and present.
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Greenshields, Will. "Lacan contra the Surrealists." Nottingham French Studies 58, no. 1 (March 2019): 64–81. http://dx.doi.org/10.3366/nfs.2019.0236.
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Evidence of the Surrealists' influence on the work of Jacques Lacan is not in short supply. His Ecrits and seminars of the 1940s to mid-1960s teem with direct and indirect references to the Surrealists and the case for recognising the latter's influence has been persuasively made by a number of critics. It is not our aim to again review or ague against this link. We shall instead examine several hitherto overlooked statements made by Lacan in 1970s on the subject of Surrealism in which he emphatically disavowed the existence of intellectual sympathies. Why was the Lacan of the 1970s so wary of the conjunction between psychoanalysis and Surrealism? In answering this question we shall concentrate on Lacan's objections to the principles behind two of the Surrealists' most important literary concepts: automatic writing and amour fou.
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Martínez Bravo, Víctor Hugo. "A Contemporary Scientific Study of André Breton’s Automatic Writing." Barcelona Investigación Arte Creación 9, no. 2 (June 3, 2021): 161. http://dx.doi.org/10.17583/brac.2021.6341.
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This paper proposes a new scientific way to study the concept and technique of automatic writing in Surrealism. Based on the specialists of André Breton’s work and the experts of automatism, we expose here the literary, psychiatric, neurological and parapsychological influences that Breton had to create his own concept and writing technique. We suggest here that we have to add to all these influences, the spiritist one, specifically, that of Allan Kardec, whose doctrine and concepts, such as psychography, were a direct impact to the surrealist automatic writing, even when Breton wanted to dissociate his movement from Kardec’s doctrine. Automatic writing has been studied from many angles, specially from literary and art theory and criticism, but also from history of science, philosophy, neurology, psychology and psychiatry and even from occultism, hermeticism and esoterism. Nevertheless, we don’t know any contemporary scientific experiment on this surrealist practice, maybe because materialist principles that support traditional Neurosciences are unable to study automatic writing. For this reason, we propose to study automatic writing, not from regular Neuroscience principles that we disapprove here, but from a post-materialist Neuroscience viewpoint, which agrees with the values that Surrealism defended
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Perrott, Lisa. "Experimental animation and the neosurrealist remediation of popular music video." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 85–106. http://dx.doi.org/10.1386/ap3_00006_1.
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Once appearing to function primarily as a commercial tool for popular entertainment, the popular form of music video has recently been exposed by scholars as formally and functionally diverse, with a rich history stretching back decades before the advent of MTV. Animated music videos owe much to centuries old traditions spanning the visual, musical and performing arts, providing performative and material models that inspire contemporary video directors. Experimental animation, surrealism and music video form a matrix of historical and contemporary significance; however, few scholars have undertaken close examinations of the relations between them. John Richardson and Mathias Korsgaard show how music video directors have employed surrealist compositional strategies together with experimental animation methods, thus giving rise to challenging new forms that traverse disparate approaches to art and culture. Building upon their contributions, this article explores the continuity between experimental animation, surrealism and music video, with a view to discovering the subversive potential of this matrix. In order to probe this potential, the author examines how music video directors experiment with animation technique as a means of subversion and enrichment of popular music video. Through close analysis of music videos directed by Adam Jones, Stephen Johnson, Floria Sigismondi and Chris Hopewell, this article charts the continuity of surrealist strategy across culturally specific moments in history, thus provoking questions around the perceived functions of animated media and popular music video.
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Nenzén, Niklas. "The Epistemology of the “Great Invisibles”." Aries 20, no. 2 (July 1, 2020): 207–39. http://dx.doi.org/10.1163/15700593-02002002.
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Abstract The central collective myth of surrealism, Les grands transparents, was designed by André Breton in 1947 as a means for imagining a desirable society through effecting a vitalizing sense of the unknown and a “decentering of man”. As a contribution to the recent re-examination of surrealism in view of theoretical developments in the field of Western esotericism, this article argues that Breton utilizes his mythic narrative to articulate a transformative knowledge, a surreality, that in certain ways correspond to the concepts of gnosis and clairvoyance in esoteric discourse. To substantiate this, similar mythic narratives about great imperceptible entities in texts of Anthroposophy (Rudolf Steiner) and Rosicrucianism (Lectorium Rosicrucianum) are examined. A comparativist model for describing popular approaches (or mythemes) to ineffable experience is applied. An underlying “gnostic” approach of considering such experiences as incomplete and as being co-created is discerned, highlighting each actor’s endeavours to validate imaginative perception.
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Gorelov, Oleg. "HISTORY OF SURREALIST ANTI-MUSICALITY IN THE PRACTICES OF INNOVATIVE RUSSIAN POETRY." Ivanovo state university bulletin. Series «The Humanities», no. 3 (October 1, 2020): 20–29. http://dx.doi.org/10.46726/h.2020.3.3.
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The article provides an overview of key studies of surrealist musicality, highlights the problem of non-acceptance by surrealism of music media, focuses on a historical discussion of the semantics and reality of sound itself as a phenomenon. It also analyzes the basic principles for the implementation of the surrealist antimusicality in the newest Russian poetry. Anti-musicality is now recognized as the principle of working with sound, bypassing the composer, audial culture, based on ideas about harmony and composition. It is in this anti-musical meaning that the musical code is used in poetic practices of the late 20th century, which destroy the reference narrative and overcome the principles of the classic surrealistic collage. The innovative poetic practice conceptualizes not so much ordered repetitive fragments of a statement as a pause between them, a silence. Such a quantization of aesthetic matter returns reflection to the theoretical horizon of understanding the medium, reduced to its physical foundation in order to further overcome it
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Gorelov, Oleg. "The structure of revolutionary feminist surrealism in the poetic practice of Galina Rymbu." Litera, no. 5 (May 2021): 152–64. http://dx.doi.org/10.25136/2409-8698.2021.5.32797.
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The object of this research is the surrealistic code of Russian contemporary poetry. The subject of this research is the authorial version of revolutionary surrealism and the techniques of its realization in the poetry of Galina Rymbu. The article examines such aspects of the topic as female optics, feminist writing, gender issues, as well as the interaction of aesthetic and political, imagery and empirical, subjective and objective. Special attention is given to the consequences of the divergence of surrealistic development trends – aesthetic and revolutionary surrealism in the poetic practice of G. Rymbu, as well as to the increase of anti-surrealistic tendencies in her poetry. The research methodology is based on the comparative approach, within the framework of which the philological analysis of the text is conducted with the use of narratological, motivic, phenomenological, and elements of hermeneutic methods. The scientific novelty of this work consists in interpretation of the contemporary left-wing poetry and namely feminist poetics of G. Rymbu through the prism of surrealistic code. The position of women in surrealist history and theory is deconstructed by the new realizations of revolutionary surrealism, associated with the feminist project and gender problematic. Emphasis is placed on the analysis of the concepts of transformation and childhood alongside the frequency narrative instance (surrealistic type woman – child) in the poetic texts of Galina Rymbu.
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Wohl, Robert, and Helena Lewis. "The Politics of Surrealism." American Historical Review 95, no. 5 (December 1990): 1557. http://dx.doi.org/10.2307/2162794.
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Greet, Michele. "Surrealism and the Spanish Civil War." Rethinking History 13, no. 3 (September 2009): 424–28. http://dx.doi.org/10.1080/13642520903091241.
Full textDissertations / Theses on the topic "History - Surrealism"
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Baker, Simon Richard. "Surrealism and the French Revolution." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252062.
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zur, Loye Tobias Percival 1985. "History of a Natural History: Max Ernst's Histoire Naturelle, Frottage, and Surrealist Automatism." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10700.
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x, 144 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.When André Breton released his Manifesto of Surrealism in 1924, he established the pursuit of psychic automatism as Surrealism's principle objective, and a debate concerning the legitimacy or possibility of Surrealist visual art ensued. In response to this skepticism, Max Ernst embraced automatism and developed a new technique, which he called frottage , in an attempt to satisfy Breton's call for automatic activity, and in 1926, a collection of thirty-four frottages was published under the title Histoire Naturelle. This thesis provides a comprehensive analysis of Histoire Naturelle by situating it in the theoretical context of Surrealist automatism and addresses the means by which Ernst incorporated found objects from the natural world into the semi-automatic production of his frottages. All previous scholarship on the subject is consolidated and critically examined, and the development of frottage is traced from its earliest manifestations to its long-lasting influences.
Committee in Charge: Dr. Sherwin Simmons, Chair; Dr. Joyce Cheng; Dr. Charles Lachman
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Dearmont, Diane. "Automatic writing : a history from Mesmer to Breton /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/8297.
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Virava, Thiago Gil de Oliveira. "Uma brecha para o surrealismo : percepções do movimento surrealista no Brasil entre as décadas de 1920 e 1940." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-14112012-223853/.
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O objetivo deste trabalho é avaliar os diversos modos pelos quais o movimento surrealista foi percebido por artistas e escritores modernistas, entre as décadas de 1920 e 1940. Parte-se inicialmente da apresentação e discussão de documentos e bibliografia a respeito do discurso surrealista sobre arte e sua importância no contexto do movimento. Em seguida, com base em uma seleção de obras de artistas nacionais (Tarsila do Amaral, Cícero Dias, Ismael Nery, Jorge de Lima e Flávio de Carvalho), assim como de um conjunto de documentos (artigos, cartas, manifestos) produzidos no Brasil no período abordado, são analisadas as aproximações e distanciamentos entre os movimentos brasileiro e francês. Procurando evitar tanto um cotejamento mecânico, quanto a rotulação das obras analisadas como \"surrealistas\", empreende-se essa análise sem deixar de se discutir a inserção de cada artista no contexto dos debates artísticos e intelectuais nacionais do período. A partir dessa perspectiva metodológica, é possível observar como o eventual interesse de cada um pelo surrealismo surge mediado por outros, ligados àqueles debates. Desse modo, busca-se salientar a singularidade desse interesse e da forma objetiva que assumiu na produção de cada artista.This work intends to survey the different ways by which the surrealist movement was perceived by Brazilian modernist artists and writers, between the 1920s and 1940s. It starts with a presentation and discussion of documents and bibliography about the surrealist discourse on art and its relevance in the context of the movement. Afterwards, based on a selection of works by five Brazilian artists (Tarsila do Amaral, Cícero Dias, Ismael Nery, Jorge de Lima and Flávio de Carvalho) together with a set of documents (articles, letters, manifestoes) produced in Brazil during the period studied, it analyses the approaches and detachments between the Brazilian and French movements. In order to avoid either a simplistic confrontation or labeling the works discussed \"surrealists\", the analysis is made without putting aside a discussion about the insertion of each artist in the context of artistic and intellectual local debates in the period. From this methodological perspective, it is possible to observe how the potential interest in the surrealism expressed by each artist appears mediated by other interests, affined to those debates. Thereby it underlines the singularity of that interest and the objective form it has assumed in the production of each artist
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Phillips, Alice Miller. "The invisible labor: nineteenth-century art, the unconscious, and the origins of surrealism." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/4720.
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Rebellion against traditional aesthetics to express personal symbols and dreamlike visions connects the nineteenth-century Symbolists with the twentieth-century Surrealists. Yet the techniques of automatic writing and drawing to pursue self-discovery and the unconscious mind's inherent creativity remain primarily associated with Surrealism, and the extent to which this later movement's irrational content was inspired by Symbolist predecessors such as Gustave Moreau and Paul Gauguin remains uncertain. This dissertation explores the nineteenth-century psychological theories and occult beliefs behind automatism and the unconscious from the late Romantic to the Surrealist movements.
The first chapter addresses how Romantic revolutions in art and psychology respond to theories such as mesmerism, spiritism, and the "discovery" of the unconscious, and the later impact of these developments on Symbolism. The second chapter analyzes Victor Hugo's séances and "spirit" drawings in the 1850s as early examples of automatism that influenced Symbolism and Surrealism. The following chapter expands this research to include the impact of psychology and spiritism on the Symbolist movement's esoteric subjects and increasingly abstract style. Sickened by their materialistic society and with Naturalism's attention to the physical world, the Symbolists may have attempted to release conscious control over their designs to pursue a higher reality and express the inner states and emotions that emerge during dreams and hypnosis.
Although current art historical scholarship acknowledges basic connections between the Symbolists' visionary compositions and Surrealist concepts of the unconscious, the psychological and supernatural aspects of how Symbolist art transitions from dreamlike yet representative imagery towards pure abstraction and automatism merit further investigation, which I address in the final chapter. This research offers new perspectives on how the psychology of dreams and the unconscious evolved from an interest of Romantic and Symbolist artists to the ultimate revelation of individual creativity and expression in Surrealist automatism.
The primary visual sources include nineteenth-century and early twentieth-century paintings; artistic, "spirit," and some scientific photographs, and artist's prints, collages, and drawings. Both consciously-created and allegedly automatic artistic productions, such as Gustave Moreau's abstract oil paintings and watercolors, reveal the development of surreal and automatic techniques and allow insight into the artists' intentions. This study divulges previously overlooked influences of painters, printmakers, photographers, critics, writers, and poets on their own era's cultural and intellectual milieu and on the aesthetic movements that followed. The conclusion offers suggestions for further research beyond the project's current scope, such as analyzing how automatism and mythology in early modern art culminated in the calligraphic, shamanistic imagery of Abstract Expressionism.
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Pahl, Brenton. "From Ancient Greece to Surrealism: The Changing Faces of the Minotaur." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1511613466777073.
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Pucci, Alicia Meredith. "Consuming Surrealism in Modern Mexican Advertising: Remedios Varo's Pharmaceutical Illustrations for Casa Bayer, S.A." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/516897.
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Art HistoryM.A.
My thesis investigates an interdisciplinary narrative of the transatlantic migration of Surrealism to Mexico during the 1940s. I focus on the ways exiled European Surrealists approached notions of Mexican material culture in a hybrid society where local traditions coexisted with a global modernity. Looking to popular and print culture outlets, I concentrate on how Mexican material culture was perceived, promoted, and marketed through a Surrealist lens. Specifically, I consider the collaboration of the German pharmaceutical company Casa Bayer, S.A. and exiled Spanish-born Surrealist Remedios Varo, who produced a series of medical advertisements during her first decade in Mexico City from 1943 to 1949. Through an examination of Varo’s work, my thesis explores the changing boundaries of fine and commercial art that resulted from the efforts of artists who participated in modern mass culture and consumerism. I investigate the significance of her Surrealist advertisements for Casa Bayer as a material culture bound on one side with fine art and the other side with the development of Mexican advertising. This case study supports my argument that Surrealism, as a transnational aesthetic, was one alternative way of demonstrating the new cultural meanings of advertising in an ambiguous, modern Mexican society. Examining Varo’s illustrations in light of the movement of western Europeans to Mexico and the country’s commitment to modern progress explains why the artist negotiated her past avant-garde sensibilities with her Mexican present.
Temple University--Theses
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Marner, Anders. "Burkkänslan : surrealism i Christer Strömholms fotografi : en undersökning med semiotisk metod." Doctoral thesis, Umeå universitet, Institutionen för estetiska ämnen, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-236.
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This dissertation is mainly concerned with the photography of Christer Strömholm. In studying his work semiotics is used as a method in analysing the rhetoric of his photographs and their relations to the photographic world, the artworld and the lifeworld. Especially the phenomenologically based visual and cultural semiotics of Göran Sonesson is adopted. The work of Strömholm is first understood in the context of surrealism; especially in the ”dark” surrealism of Georges Bataille´s. In relation to the I - here and nowposition of the lifeworld the surrealism of Bataille can be seen as a downwardgoing rhetoric on the Great Chain of Being, the hierarchy of the lifeworld, from stone, via object, plant and man, to society or God. Bataille´s highlighting of the material and animal nature of man is an opposition to the upwardgoing spiritualising rhetoric of André Breton´s. The main rhetorical device in Strömholm’s photography is a downwardgoing isolation of the object from the lifeworld, according to Jan-Gunnar Sjölin surrealism’s first maneuvre. However, Bataille´s rhetoric and Strömholm´s photography may also be seen as a modern variant of the ancient grotesque degradation that according to Michail Bakhtin once took place in popular carnivals and marketplaces. The degradation of Bakhtin, George Lakoff and Mark Turner’s notion of conceptual metaphor suggests a rhetoric of the lifeworld itself, which may allow us to understand pictorial rhetoric without the help of the theories of the artworld, such as surrealism’s theories. Strömholm´s work is studied in relation to Roman Jakobsons functions in the process of communication. The dominant function in the photographs is the metasemiotic, since pictures and other signs are depicted and commented on. Also the photographs of transsexuals depict and comment signs, men that are signs of women. His photographs of transsexuals has been interpreted as a social realistic documentary, but is better understood as a surrealist union of two terms as unlike as possible, femininity and masculinity. Another important function in his photographs is the interpersonal function suggesting a conjunction of emotive and conative functions. Along with isolation concealment of the object is used, which makes the object difficult to identify. We are not allowed to complete the act of perception, we see only the point of view. In Strömholm’s photography, the point of view of the invisible ”picture-self” with its unique perspective replaces the customary photographic referential image supposed to show “reality.” The notion of ”picture-self” suggests a differentiation between photographer and ”picture-self”, a ready-prepared position for a subject, that the photographer or viewer can place him/herself in. In being placed in this position an existential particualrization occurs, which is termed ”la condition humaine”. Walter Benjamin´s idea of ”the outmoded” and ”the ruins of the bourgeoisie”, Susan Sontag´s idea of the role of ugliness in modern photography, is seen in relation to Strömholms photography and the downwardgoing surrealist rhetoric. In Benjamin´s ”age of reproduction” there is in the photographic work of Strömholm, a tension between ”centripetality” and ”centrifugality”; of remaining in or departing from the artworld. His work is also discussed in relation to postvisualization as an opposition to the well known photographic notion of previsualization. In order to explain different rhetorical maneuvres semiotically in relation to the spatial lifeworld, the notion of familiarization is used as an opposition to Victor Shklovskys well known notion of estrangement. In the model of “the Great Cross”, with its origo as the familiarity of the I-here-nowposition of the core of the lifeworld, a vertical axis is the Great Chain of Being, ending on both ends with what is considered strange. Also ending with what is strange is a horizontal axis with rhetorical relations on the same level. A similar cross is used to explain rhetorical temporal movements between past and present and present and future with the present I - here and nowsituation of the origo. A conclusion is that visual and cultural semiotics is an enlightening tool for practical analyses even of an œuvre that is as enigmatic as that of Strömholm´s.
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Asplan, Michael Jay. "PAINTING THE DRAMA OF HIS COUNTRY: RACIAL ISSUES IN THE WORK OF WIFREDO LAM IN CUBA, 1941-1952." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin973709584.
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Donkin, Hazel. "Surrealism, photography and the periodical press : an investigation into the use of photography in surrealist publications (1924-1969) with specific reference to themes of sexuality and their interaction with commercial photographic images of the period." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/2584/.
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This thesis examines the use of photographs in surrealist publications in Paris between 1924 and 1969, analysing how images functioned both in relation to surrealism and a wider cultural, social and political context. The thesis contends that developments in the illustrated press had a substantial impact on surrealist publications and that commercial photographic practices were both exploited and subverted by the group. I defend this assertion by demonstrating how photographers associated with the surrealist movement in its formative years, were closely involved in the process by which the photographic image became a major means of communication. I argue that the surrealists were conscious that photography was central to the circulation of ideas and developed a radical notion of the illustration of text. The thesis examines how photographs used in surrealist publications were integrated into the complex surrealist project and how due to the currency in images in society, the medium offered opportunities for disruption. In each of the five chapters I examine the surrealist deployment of photographic images to articulate cultural and political radicalism. The thesis argues that the photographs published by the surrealists made an important contribution to contemporary discourse on sexuality This thesis makes an original contribution to knowledge as it expands the understanding of photographs published by the surrealist group by exploring their relationship to contemporary commercial images circulating in the press. It analyses works that have been marginalised, many of the images in the first two journals in the inter war period, the images in the illustrated books 1929, Banalité, Le septième face du dé and the images in the post war journals have been neglected as subjects of study.
Books on the topic "History - Surrealism"
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Chénieux-Gendron, Jacqueline. Surrealism. New York: Columbia University Press, 1990.
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Chénieux-Gendron, Jacqueline. Surrealism. New York: Columbia University Press, 1990.
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The history of surrealism. Cambridge, Mass: The Belknap Press of Harvard University Press, 1989.
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Lusty, Natalya. Surrealism, feminism, psychoanalysis. Burlington, VT: Ashgate, 2007.
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David, Gascoyne. A Short Survey of Surrealism. London, USA: Enitharmon Press, 2000.
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1900-1955, Tanguy Yves, Davidson Susan 1958-, Staatsgalerie Stuttgart, and Menil Collection (Houston, Tex.), eds. Yves Tanguy and surrealism. Ostfildern-Ruit, Germany: Hatje Cantz, 2001.
Find full textBook chapters on the topic "History - Surrealism"
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Roberts, Donna. "Surrealism and Natural History." In A Companion to Dada and Surrealism, 287–303. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118476215.ch17.
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"Disabling Surrealism: reconstituting Surrealist tropes in contemporary art." In Disability and Art History, 150–72. New York : Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315440002-16.
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Nicholls, Peter. "Surrealism in England." In The Cambridge History of Twentieth-Century English Literature, 396–416. Cambridge University Press, 2005. http://dx.doi.org/10.1017/chol9780521820776.024.
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Njoroge, Njoroge. "Conclusion." In Chocolate Surrealism. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806895.003.0006.
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What is funky is history, what comes goes. —Amiri Baraka The popular musics of the circum-Caribbean present us with a rich mosaic of the expressions and experiences of the people of the African diaspora. The music articulates history, memory, myth, and contemporary reality; its feelingfulness derives from its ability to simultaneously re-present the past and the present, and through rootwork and polyrhythm, the continuous innovation of the tradition. The music remembers Africa in diaspora, and listening to black music informs us of the dialectics of history and cultural memory, as well as the interpenetrations of sound, sentiment, movement, and pleasure: the politics of participation. “Because participation models style, reinforces the feel of the groove, strengthens the naturalness of it, keeps it from the realm of abstraction and keeps it in practice” (...
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Njoroge, Njoroge. "Introduction1." In Chocolate Surrealism. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806895.003.0001.
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In those days it was either live with music or die with noise, and we chose rather desperately to live. —Ralph Ellison Black music has always been a tremendous source of information and inspiration for musicians, dancers, and music lovers. Listening to the music opens new worlds and windows onto the rich history of black music, society, and struggle in the circum-Caribbean, and provides a rich archive of the creative musical genius of the African diaspora. Music always expresses the interrelationships of movement, memory, and history, but this is preeminently true of the music of the African diaspora. This book uses music as both optic and focus, to examine and rethink both the modes of black cultural production and social formations in the African diaspora. The music has always been both an expression of “black” life and part of the philosophy that developed and emerged with that life, “as history and as art” (...
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Njoroge, Njoroge. "“Cuba Libre”." In Chocolate Surrealism. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806895.003.0003.
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This chapter explores musical and political evolution of Cuba in the early 20th century. Cuba provides an interesting condensation of the history of the Caribbean region where sugar and slavery were the dominating and defining features of society. Musical developments in Cuba demonstrate this history on a cultural plane, and by examining the music of the Rumba and the Son in the pre-revolutionary Cuban context and their confluence and cross-fertilization in the 20th century, we can glimpse dynamics of national and regional consciousness, ethnic and cultural identification, class formations and power, slave culture, experience and expression, the transitions of emancipation and urbanization, and the different rhythms of industrial production and modern labor-discipline. The Cuban counterpoint of the Rumba/Son complex reveals the complex interrelations between modes of production and musical formations and the polyrhythmic tensions of race, class, and nation.
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"Surrealism in Denmark – Vilhelm Bjerke-Petersen’s Book Surrealismen, 1934." In A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950, 208–24. Brill | Rodopi, 2019. http://dx.doi.org/10.1163/9789004388291_011.
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Njoroge, Njoroge. "“Cosa Nuestra”." In Chocolate Surrealism. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806895.003.0005.
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This chapter explores the history of Salsa in New York City. In the late 1960’s Salsa became the vehicle for the cultural expressions of community, aesthetics, and identity for the Puerto Ricans, Nuyoricans, and other Latinos. Salsa was a musical celebration and valorization of Nuyorican identity and became the voice of the alienated and disenfranchised barrio youth in New York City and beyond. Though in the main, its practitioners heralded from the Puerto Rican diaspora: from its very inception “salsa” has been a pan-Caribbean creation. With the Cuban Revolution, the subsequent recording ban of 1961 and the embargo of 1962, New York City displaced Havana as the center of Latin music. After the brief but rich Boogaloo explosion of the mid-Sixties, salsa took over the airwaves and dance-floors. If Boogaloo can be seen as an anticipation of and response to the Civil Rights movement, salsa was “Black Power.”
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"Artists and the dream in nineteenth-century Paris: Towards a prehistory of surrealism STEFANIE HERAEUS (transl. Deborah Laurie Cohen)." In Dreams and History, 149–70. Routledge, 2004. http://dx.doi.org/10.4324/9780203646977-12.
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