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Articoli di riviste sul tema "African American aesthetics"

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Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 4 marzo 2023

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1

Pyrova, Tatiana Leonidovna. "Philosophical-aesthetic foundations of African-American hip-hop music". Философия и культура, n. 12 (dicembre 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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McGowan, Grace. "“I Know I Can’t Change the Future, But I Can Change the Past”: Toni Morrison, Robin Coste Lewis, and the Classical Tradition". Contemporary Women's Writing 13, n. 3 (novembre 2019): 339–56. http://dx.doi.org/10.1093/cww/vpaa001.

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Abstract “A central figure in transnational intellectual history” (Roynon, 2013), Toni Morrison’s oeuvre has helped deconstruct the triangulated relationship between a European Graeco-Roman classical tradition, Africa, and America. Morrison’s deconstruction of the classical past and its aesthetics have laid the foundation for the reconstructive work of a new generation of writers, including Robin Coste Lewis. Both writers renegotiate and reclaim a classical aesthetic by recovering its African roots and situating it in an African American context. In addition, the article (1) examines the role of a classical aesthetic in beauty discourse and Robin Coste Lewis’s re-vision of the black female body and (2) addresses what this means for canonicity, linking Lewis’s ambivalence about reclaiming a classical aesthetic to Morrison’s ambivalence in “Unspeakable Things Unspoken” (1987).

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Kumar, Fayaz Ahmad, e Colette Morrow. "Theorizing Black Power Movement in African American Literature: An Analysis of Morrison's Fiction". Global Language Review V, n. IV (30 dicembre 2020): 45–53. http://dx.doi.org/10.31703/glr.2020(v-iv).06.

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This paper analyzes the influence of the Black Power movement on the AfricanAmerican literary productions; especially in the fictional works of Toni Morrison. As an African-American author, Toni Morrison presents the idea of 'Africanness' in her novels. Morrison's fiction comments on the fluid bond amongst the African-American community, the Black Power and Black Aesthetics. The works of Morrison focus on various critical points in the history of African-Americans, her fiction recalls not only the memory of Africa but also contemplates the contemporary issues. Morrison situates the power politics within the framework of literature by presenting the history of the African-American cultures.

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DeFrantz, Thomas F. "African American Dance - Philosophy, Aesthetics, and ‘Beauty’". Topoi 24, n. 1 (gennaio 2005): 93–102. http://dx.doi.org/10.1007/s11245-004-4165-7.

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DjeDje, Jacqueline Cogdell. "APPALACHIAN BLACK FIDDLING: HISTORY AND CREATIVITY". African Music: Journal of the International Library of African Music 11, n. 2 (1 dicembre 2020): 77–101. http://dx.doi.org/10.21504/amj.v11i2.2315.

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Discussions on Appalachian music in the United States most often evoke images of instruments such as the fiddle and banjo, and a musical heritage identified primarily with Europe and European Americans, as originators or creators, when in reality, many Europeans were influenced or taught by African-American fiddlers. Not only is Appalachian fiddling a confluence of features that are both African- and European-derived, but black fiddlers have created a distinct performance style using musical aesthetics identified with African and African-American culture. In addition to a history of black fiddling and African Americans in Appalachia, this article includes a discussion of the musicking of select Appalachian black fiddlers.

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Schur, Richard. "Post-Soul Aesthetics in Contemporary African American Art". African American Review 41, n. 4 (1 dicembre 2007): 641. http://dx.doi.org/10.2307/25426982.

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Sherrard-Johnson, C. "Revolutionary Potential: African-American Aesthetics in the Depression Era". American Literary History 27, n. 2 (23 febbraio 2015): 351–62. http://dx.doi.org/10.1093/alh/ajv005.

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Jenkins, Chris. "Assimilation and Integration in Classical Music Education". Action, Criticism, and Theory for Music Education 21, n. 2 (settembre 2022): 156–81. http://dx.doi.org/10.22176/act21.2.156.

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Conservatories and orchestras based in the US have attempted to become more diverse by increasing their recruitment of students of color. This approach, however, fails to acknowledge that the aesthetic environments of these institutions, having been designed by and for a White majority, require these students to assimilate into environments that may be aesthetically foreign. This article argues that culturally situated aesthetic differences are key to understanding the lack of diversity within classical music. Because the aesthetics of western classical music do not broadly appeal to communities of color, the demographic diversification of classical music would be greatly aided by a corresponding diversification of performance aesthetics. I provide a contrast between African American and European musical aesthetics to specify racially delimited aspects of classical music performance and to suggest possible solutions.

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Moore, Jeania Ree V. "African American Quilting and the Art of Being Human: Theological Aesthetics and Womanist Theological Anthropology". Anglican Theological Review 98, n. 3 (giugno 2016): 457–78. http://dx.doi.org/10.1177/000332861609800302.

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In her collection In Search of Our Mothers’ Gardens: Womanist Prose (1983), Alice Walker explores how African American women preserved and passed down a heritage of creativity and beauty in spite of brutality. I argue in this essay that African American quilting forms a revelatory subject for the womanist project taken up by theologians. As both symbol for and implementation of the creative practice Walker heralds, quilting unearths aesthetics as vital to being human. Theologically rendered, quilting unfolds theological aesthetics for and with womanist theological anthropology. Theologically engaging historical, literary, and personal narrative, I show how womanism and quilting enrich theological conceptions of aesthetics and personhood.

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Crawford, Margo Natalie. "What Time Is It When You’re Black?" South Atlantic Quarterly 121, n. 1 (1 gennaio 2022): 153–72. http://dx.doi.org/10.1215/00382876-9561601.

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This essay explores the temporal differences between the lived experience of black flesh and the black body. The author uncovers an aesthetics of the open body that differs greatly from the ongoing naturalizing of the always already marked black body. There is an emerging focus in twenty-first century African American literature on the anticipation of a second skin and an open body that has the feeling of “finna” (the African American vernacular that captures the feeling of what is almost already here). The author unveils the aesthetics of “finna” in art created by Toni Morrison, Claudia Rankine, Nate Marshall, and Kara Walker.

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Castronovo, Russ. "Beauty along the Color Line: Lynching, Aesthetics, and the Crisis". PMLA/Publications of the Modern Language Association of America 121, n. 5 (ottobre 2006): 1443–59. http://dx.doi.org/10.1632/pmla.2006.121.5.1443.

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“What have we who are slaves and blacks to do with Art?” asked DuBois in his 1926 essay “Criteria of Negro Art.” In an era of lynching, art hardly seemed appropriate for political struggle. Nevertheless, DuBois and his colleagues at the Crisis risked making connections between lynching and art by putting aesthetics to democratic use even as the theatricality of ritualized violence gave lynching an aesthetic dimension. Starting with DuBois's manifesto and reading in reverse chronological order every issue of the Crisis to its first issue in 1910, this article re-creates a critical narrative that traces the development of aesthetic theory among African American writers associated with the NAACP's national magazine. Contextualizing DuBois's work in the Crisis with fiction by Jessie Fauset and Walter White, I examine an alternative aesthetics that relies on propaganda to assail the ugliness of race relations. (RC)

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Carter-Ényì, Aaron, e Quintina Carter-Ényì. "“Bold and Ragged”: A Cross-Cultural Case for the Aesthetics of Melodic Angularity". Music & Science 3 (1 gennaio 2020): 205920432094906. http://dx.doi.org/10.1177/2059204320949065.

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Smaller corpora and individual pieces are compared to a large corpus of 2,447 hymns using two measures of melodic angularity: mean interval size and pivot frequency. European art music and West African melodies may exhibit extreme angularity. We argue in the latter that angularity is motivated by linguistic features of tone-level languages. We also found the mean interval sizes of African-American Spirituals and Southern Harmony exceed contemporary hymnody of the 19th century, with levels similar to Nigerian traditional music (Yorùbá oríkì and story songs from eastern Nigeria). This is consistent with the account of W. E. B. Du Bois, who argued that African melody was a primary source for the development of American music. The development of the American spiritual coincides with increasing interval size in 19th-century American hymnody at large, surpassing the same measure applied to earlier European hymns. Based on these findings, we recommend techniques of melodic construction taught by music theorists, especially preference rules for step-wise motion and gap-fill after leaps, be tempered with counterexamples that reflect broader musical aesthetics. This may be achieved by introducing popular music, African and African Diaspora music, and other non-Western music that may or may not be consistent with voice leading principles. There are also many examples from the European canon that are highly angular, like Händel’s “Hallelujah” and Schönberg’s Pierrot Lunaire. Although the tendency of textbooks is to reinforce melodic and part-writing prescriptions with conducive examples from the literature, new perspectives will better equip performers and educators for current music practice.

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Fuhr, Christina. "Abstractionist aesthetics: artistic form and social critique in African American culture". Ethnic and Racial Studies 40, n. 3 (9 settembre 2016): 535–37. http://dx.doi.org/10.1080/01419870.2016.1229493.

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Jennings, Kyesha, e Emery Petchauer. "Teaching in the Mix: Turntablism, DJ Aesthetics and African American Literature". Changing English 24, n. 2 (3 aprile 2017): 216–28. http://dx.doi.org/10.1080/1358684x.2017.1311035.

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Alanazi, Meshari S. "Challenging social standards". Linguistics and Culture Review 5, S2 (30 giugno 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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Rachman, Stephen. "Ellison and Dostoevsky: A Critical Reassessment of the Aesthetics and Politics". Literature of the Americas, n. 11 (2021): 34–81. http://dx.doi.org/10.22455/2541-7894-2021-11-34-81.

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After an overview of the well-known aspects of Ralph Ellison’s interest in and connections to the works and literary ideas of the Russian novelist Fyodor Dostoevsky, this paper reveals the hitherto unknown depths of Ellison’s research into and usage of the works and aesthetic theories of the Russian writer as he applied them to American and African American literary and social contexts. Making use of archival materials (including Ellison’s correspondence, draft of his unfinished novel Three Days Before the Shooting..., highlighting and marginalia in the books from his personal library, which includes numerous works by and about Dostoevsky), this reassessment addresses the role of the Russian classics, and in particular, of Dostoevsky, in Ellison’s intellectual formation, the role that Dostoevsky played in Ellison’s literary relationship with Richard Wright; the ways that Ellison’s interests in the blues, jazz and other folk and vernacular forms of African American culture were filtered through his analysis of nineteenth-century Russian culture; and the Dostoevskyan origins of a number of fictional scenarios that would find their way into Three Days Before the Shooting... The essay concludes with a discussion of the correspondence between Ellison and Joseph Frank, Dostoevsky’s biographer.

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Arens, Sarah. "Killer Stories: 'Globalizing' the Grotesque in Alain Mabanckou's African Psycho and Leïla Slimani's Chanson douce". Irish Journal of French Studies 20, n. 1 (1 novembre 2020): 143–72. http://dx.doi.org/10.7173/164913320830841692.

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Focusing on Leïla Slimani's Chanson douce (2016) and Alain Mabanckou's African Psycho (2003), this article traces a grotesque aesthetics that draws on other globally circulated texts, such as North American crime fiction, the literary trope of the serial killer and the 'evil mother', as well as on the recognition value of the city of Paris to appeal to a global, and in particular Western readership. While this new aesthetics is clearly informed by previous generations of African literature, such as the texts that have served to illustrate Achille Mbembe's articulation of the grotesque, the 'commandement' in Slimani and Mabanckou's novels is exercised by less tangible dynamics of transnational capitalism, class differentiation, gender stereotypes, and social marginalisation. The article considers the ways in which both Slimani and Mabanckou's narratives place a new importance on, and instrumentalize the role of the audience — as readership — by making them a central element of their representation of the grotesque. The writers' public performance of their identities as celebrity literary authors then serves to better understand how their re-configuration of the grotesque as a 'globalized' aesthetic extends to a re-thinking of what African literature in French and its authors are today on the world literary market.

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Sedlmeier, Florian. "Postblack Aesthetics: The Freedom to Be Black in Contemporary African American Fiction". Zeitschrift für Anglistik und Amerikanistik 67, n. 4 (18 dicembre 2019): 447–49. http://dx.doi.org/10.1515/zaa-2019-0034.

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Indriyanto, Kristiawan. "ARTICULATING THE MARGINALIZED VOICES: SYMBOLISM IN AFRICAN AMERICAN, HISPANIC, AND ASIAN AMERICAN LITERATURE". British (Jurnal Bahasa dan Sastra Inggris) 9, n. 2 (26 settembre 2020): 20. http://dx.doi.org/10.31314/british.9.2.20-36.2020.

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The present study contextualizes how symbolism is employed by writers of ethnically minority in the United States as an avenue of their agency and criticism against the dominant white perspective. The history of American minorities is marred with legacy of racial discrimination and segregation which highlights the inequality of race. Literature as a cultural production captures the experiences of the marginalized and the use of symbolism is intended to transform themes into the field of aesthetics. This study is a qualitative research which is conducted through the post-nationalist American Studies framework in order to focus on the minorities’ experience instead of the Anglo-Saxon outlook. The object of the study is three playscripts written from authors from Mexican-American, African-American and Asian-American to emphasize how discrimination is faced by multi-ethnic. The finding suggests how symbolism in these literary works intends to counter the stereotypical representation of Mexican-American, aligns with the passive resistance of the Civil Right Movement and subvert binary opposition of East and West which exoticizing the East. Keywords : minority literature in the U.S , symbolism, post-national

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Pedro, Josep, e Begoña Gutiérrez-Martínez. "‘Mississippi, My Home’: Songwriting, identity and everyday aesthetics in the African-American tradition". Jazz Research Journal 13, n. 1-2 (31 agosto 2019): 178–96. http://dx.doi.org/10.1558/jazz.39374.

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Bartlett, Andrew. "Airshafts, Loudspeakers, and the Hip Hop Sample: Contexts and African American Musical Aesthetics". African American Review 28, n. 4 (1994): 639. http://dx.doi.org/10.2307/3042229.

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Petchauer, Emery. "I Feel What He Was Doin’". Urban Education 46, n. 6 (10 marzo 2011): 1411–32. http://dx.doi.org/10.1177/0042085911400335.

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This study illustrates a set of learning activities designed from two hip-hop aesthetics and explores their use among a classroom of African American preservice teachers who graduated from urban school districts. Based on the two hip-hop aesthetics of kinetic consumption and autonomy/distance, the specific goal of these learning activities is to enable students to respond to justice-oriented teaching and democratic curriculum. Through an ethnographic and grounded theory approach, this study illustrates that these learning activities are useful for these purposes but that they also create potential barriers to student learning.

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Adelakun. "Black Lives Matter! Nigerian Lives Matter!: Language and Why Black Performance Matters". Genealogy 3, n. 2 (14 aprile 2019): 19. http://dx.doi.org/10.3390/genealogy3020019.

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This essay explores performance as a language by looking at its appropriation by other cultures, and the associated history of the crafted phrases that are borrowed along. I start by noting that to create awareness of the massacres that have recently occurred in some parts of Nigeria, commentators, both in and out of the country, and activist-cum-protesters created the term “Nigerian Lives Matter.” They appropriated from “Black Lives Matter,” the American-originated advocacy movement that campaigns against violence and brutality against black people. I show that these forms of lexical interchange are possible because of non-Americans’ familiarity with America’s racial history, and black performance liberation expressivity, which they have been acculturated into as a result of their long exposure to American culture. Beyond phrases however, I argue that black performance itself is a language that has a global resonance among minorities. To illustrate this further, I do a close reading of This is Nigeria, a recent music video released by Nigerian lawyer turned artist, Folarin Falana (Falz), alongside a version of the original production, This is America, also recently released by Donald Glover (Childish Gambino). Both songs continue in the older tradition of African and African American transatlantic political relations through music, the shared understanding of the similarities of anti-black oppression, and the formation of aesthetics that mediate the advocacy of black liberation. The songs are also a pointer to how black advocacy might continue to unfold in contemporary era.

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Elizabeth Archuleta. "Cultural Sites of Critical Insight: Philosophy, Aesthetics, and African American and Native American Women's Writings (review)". American Indian Quarterly 33, n. 1 (2008): 161–63. http://dx.doi.org/10.1353/aiq.0.0040.

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Kim, Mia. "On the Autobiographical writing and Collage text of Shange embracing African American Women’s Unique Aesthetics". Asia-pacific Journal of Multicultural Society 2, n. 2 (31 ottobre 2018): 27–32. http://dx.doi.org/10.21742/apjms.2018.2.2.05.

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Knadler, Stephen. "At Home in the Crystal Palace: African American Transnationalism and the Aesthetics of Representative Democracy". ESQ: A Journal of the American Renaissance 56, n. 4 (2011): 328–62. http://dx.doi.org/10.1353/esq.2011.0006.

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Cucarella-Ramon, Vicent. "The Aesthetics of Healing in the Sacredness of the African American Female’s Bible: Zora Neale Hurston’s Moses, Man of the Mountain". Revista Alicantina de Estudios Ingleses, n. 29 (15 novembre 2016): 69. http://dx.doi.org/10.14198/raei.2016.29.04.

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Zora Neale Hurston’s Moses, Man of the Mountain (1939) stands in the tradition of African American use of the biblical musings that aims to relativize and yet uphold a new version of the sacred story under the gaze of a black woman that manipulates and admonishes the characters of the gospel to offer a feminist side of the Bible. The novel discloses Hurston’s mastering of the aesthetics that black folklore infused to the African American cultural experience and her accommodation to bring to the fore the needed voice of black women. Rejecting the role of religion as a reductive mode of social protest, the novel extends its jeremiadic ethos and evolves into a black feminist manifesto in which a world without women equates disruption and instability. Hurston showcases the importance of an inclusive and ethic sacred femininity to reclaim a new type of womanhood both socially and aesthetically. Three decades before the post-colonial era, Hurston’s bold representation of the sacred femininity recasts the jeremiad tradition to pin down notions of humanitarianism, social justice and the recognition of politics of art. All in all, in an era of a manly social protest literature Hurston opts for portraying the folkloric aesthetics of spirituality as creative agency simply to acknowledge the leadership of the sacred femininity that black women could remodel into art.

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Richardson, Matt. "Ajita Wilson". TSQ: Transgender Studies Quarterly 7, n. 2 (1 maggio 2020): 192–207. http://dx.doi.org/10.1215/23289252-8143350.

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Abstract This article puts forward a consideration of Black womanhood by looking at the softcore films starring African American trans model and actress, Ajita Wilson. Wilson starred in many European softcore and hardcore films from the 1970s until her death in 1987. The author is particularly interested in Wilson's 1976 film The Nude Princess and the 1977 film Black Afrodite (Mavri Afroditi) for their use of soul aesthetics. Conceptualized in dialogue with Tanisha Ford's discussion of “soul style,” soul aesthetics are a combination of gestures as well as visual and auditory references in dress, music, literature, and language that were generated by Black people during a period of African and Caribbean anticolonialism and liberatory Black civil rights movements. Because they were born from radical movement politics, these references have transnationally come to symbolize the possibility for Black collective and self-transformation. The author offers an analysis of these films as an example of softcore pornography affirming Black womanhood and focuses on what this process of self-making has to offer Black trans and queer feminist thought.

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Fensham, Rachel. "“Breakin' the Rules”: Eleo Pomare and the Transcultural Choreographies of Black Modernity". Dance Research Journal 45, n. 1 (10 dicembre 2012): 41–63. http://dx.doi.org/10.1017/s0149767712000253.

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The radical innovations of African-American artists with artistic form during the 1960s and 1970s, according to black performance theorist Fred Moten, led to a new theorization of the avant-garde. His book, In the Break: The Radical Aesthetics of the Black Tradition, discusses the poetry and jazz music of artists, from Amiri Baraka and Billie Holiday to Charles Mingus, and extols their radical experimentation with the structures and conventions of aurality, visuality, literature, and performance dominant in European art and aesthetics. In this essay, I consider the implications of these processes of resignification in relation to the choreographic legacy of the artist, Eleo Pomare, whose work and career during this period was both experimental and radical and, I will suggest, critical to the formation of a transnational, multiracial conception of modern dance.

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Zhang, Qiong. "The Blues-like Elements in John Edgar Wideman’s Sent for You Yesterday". International Journal of Applied Linguistics and English Literature 8, n. 4 (31 luglio 2019): 100. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.4p.100.

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Sent for You Yesterday, having won P.E.N./Faulkner Award as the best work of fiction, is considered to be Wideman’s blues novel in American literary circle. The blues-like elements in this novel is mainly in form. Firstly, the title of the novel is adapted from a piece of blues; secondly, the whole structure of the story is arranged according to the blues; thirdly, the special narration in the novel forms a kind of call-and –response. The blues-like elements in this novel is also in content: the black community is immerged in blues environment and blues is considered as the cultural symbol of African Americans and three generation inherited the cultural heritage by blues. By blues, Wideman combines the black aesthetics and daily life and strengthens the artistic beauty.

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Mitchell, Roland. "Cultural Aesthetics and Teacher Improvisation: An Epistemology of Providing Culturally Responsive Service by African American Professors". Urban Education 45, n. 5 (17 agosto 2010): 604–29. http://dx.doi.org/10.1177/0042085909347839.

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Rubin, Lisa R., Mako L. Fitts e Lisa R. Rubin. "“Whatever Feels Good in My Soul”: Body Ethics and Aesthetics Among African American and Latina Women". Culture, Medicine and Psychiatry 27, n. 1 (marzo 2003): 49–75. http://dx.doi.org/10.1023/a:1023679821086.

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Lurie, Peter. "Everybody’s Protest Cinema". James Baldwin Review 7, n. 1 (28 settembre 2021): 115–37. http://dx.doi.org/10.7227/jbr.7.7.

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This article uses Baldwin’s 1949 essay “Everybody’s Protest Novel” to consider that literary mode’s corollary in the 1990s New Black Cinema. It argues that recent African American movies posit an alternative to the politics and aesthetics of films by a director such as Spike Lee, one that evinces a set of qualities Baldwin calls for in his essay about Black literature. Among these are what recent scholars such as Ann Anlin Cheng have called racial melancholy or what Kevin Quashie describes as Black “quiet,” as well as variations on Yogita Goyal’s diaspora romance. Films such as Barry Jenkins’s adaptation of If Beale Street Could Talk (2018) and Joe Talbot and Jimmy Fails’s The Last Black Man in San Francisco (2019) offer a cinematic version of racial narrative at odds with the protest tradition I associate with earlier Black directors, a newly resonant cinema that we might see as both a direct and an indirect legacy of Baldwin’s views on African American culture and politics.

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Skansgaard, Michael. "How Not to Introduce Blues Prosody:". Poetics Today 40, n. 4 (1 dicembre 2019): 645–81. http://dx.doi.org/10.1215/03335372-7739071.

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This article delivers a two-pronged intervention into blues prosody. First, it argues that scholars have repeatedly misidentified the metrical organization of blues poems by Langston Hughes and Sterling Brown. The dominant approach to these poems has sought to explain their rhythms with models of alternating stress, including both classical foot prosody and the beat prosody of Derek Attridge. The article shows that the systematic organization of blues structures originates in West African call-and-response patterning (not alternating stress), and is better explained by models of syntax and musical phrasing. Second, it argues that these misclassifications — far from being esoteric matters of taxonomy — lie at the heart of African American aesthetics and identity politics in the 1920s and 1930s. Whereas literary blues verse has long been oversimplified with conventional metrics like “free verse,” “accentual verse,” and “iambic pentameter,” the article suggests that its rhythms arise instead from a rich and complex vernacular style that cannot be explained by the constraints of Anglo-American versification.

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Jones, Gayl. "From The Quest for Wholeness: Re-Imagining the African-American Novel: An Essay on Third World Aesthetics". Callaloo 17, n. 2 (1994): 507. http://dx.doi.org/10.2307/2931773.

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Brown, Matthew P. "Funk music as genre: Black aesthetics, apocalyptic thinking and urban protest in post-1965 African-American pop". Cultural Studies 8, n. 3 (ottobre 1994): 484–508. http://dx.doi.org/10.1080/09502389400490331.

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BERNIER, CELESTE-MARIE. "“You Can't Photograph Everything”: The Acts and Arts of Bearing Witness in Joseph Rodríguez's Still Here: Stories after Katrina (2008)". Journal of American Studies 44, n. 3 (agosto 2010): 535–52. http://dx.doi.org/10.1017/s0021875810001222.

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Joseph Rodríguez re-creates and represents African American experiences which yet remain hidden or elided in mainstream memorializations of Hurricane Katrina. Intent upon giving “a voice to the voiceless,” Rodríguez relies upon an aesthetics of rupture and juxtaposition to create multiple narratives resistant to any reformist impetus towards cathartic trajectories of moral uplift. Fragmented and elliptical, his photographs, diary entries and textual captions operate in slippery relation to one another to signify upon unimaginable traumas. Rodríguez's subjects maintain agency by engaging in political, cultural and social acts of resistance. Signifying on the documentary mode, he creates self-reflexive compositions which rely on a symbolic visual language to challenge white mainstream tendencies towards depicting African Americans as types rather than as individuals. Refusing to objectify, appropriate or colonize private black testimonies by documenting the black body as a spectacular site of suffering, he turns instead to individual identities as intertwined with family histories as the only effective way in which to begin to explore the atrocities enacted in the aftermath of Katrina. Anti-explication, anti-exhibition and anti-sensationalism, Rodríguez's Still Here is a work of disjuncture, reimagining and experimentation.

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Marshall, Wayne. "Ragtime Country". Journal of Popular Music Studies 32, n. 2 (1 giugno 2020): 50–62. http://dx.doi.org/10.1525/jpms.2020.32.2.50.

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In 1955, Elvis Presley and Ray Charles each stormed the pop charts with songs employing the same propulsive rhythm. Both would soon be hailed as rock 'n' roll stars, but today the two songs would likely be described as quintessential examples, respectively, of rockabilly and soul. While seeming by the mid-50s to issue from different cultural universes mapping neatly onto Jim Crow apartheid, their parallel polyrhythms point to a revealing common root: ragtime. Coming to prominence via Maple Leaf Rag (1899) and other ragtime best-sellers, the rhythm in question is exceedingly rare in the Caribbean compared to variations on its triple-duple cousins, such as the Cuban clave. Instead, it offers a distinctive, U.S.-based instantiation of Afrodiasporic aesthetics—one which, for all its remarkable presence across myriad music scenes and eras, has received little attention as an African-American “rhythmic key” that has proven utterly key to the history of American popular music, not least for the sound and story of country. Tracing this particular rhythm reveals how musical figures once clearly heard and marketed as African-American inventions have been absorbed by, foregrounded in, and whitened by country music while they persist in myriad forms of black music in the century since ragtime reigned.

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Walker, Harriet. "A Feminist Study of African American Art in New Orleans: Considerations of Aesthetics, Art History and Art Criticism". Marilyn Zurmuehlen Working Papers in Art Education 14, n. 1 (1997): 30–35. http://dx.doi.org/10.17077/2326-7070.1305.

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Jarenski, Shelly. "“Delighted and Instructed”: African American Challenges to Panoramic Aesthetics in J. P. Ball, Kara Walker, and Frederick Douglass". American Quarterly 65, n. 1 (2013): 119–55. http://dx.doi.org/10.1353/aq.2013.0003.

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Bolden, Tony. "Reflections on Black Visual Artist Doug Redd". Journal of Foreign Languages and Cultures 4, n. 2 (28 dicembre 2020): 134–43. http://dx.doi.org/10.53397/hunnu.jflc.202002013.

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This essay was inspired by the death and devastation related to the pandemic of Covid-19 which intensified the ways that preexisting sociopolitical contradictions affected black people. Before the pandemic it was commonplace for thinkers to describe themselves as radicals. However, in the moment of crisis, their voices were often silent or they offered superficial commentaries. And the magnitude of their limitations—conflating moral protestations with political analyses, for instance—evoked memories of perceptive thinkers that I knew as a young man, such as visual artist Doug Redd whose worldview and aesthetics exemplify our need for alternative sensibilities, perspectives, and centers of thought in African American culture.

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Lewis, George E. "Too Many Notes: Computers, Complexity and Culture in Voyager". Leonardo Music Journal 10 (dicembre 2000): 33–39. http://dx.doi.org/10.1162/096112100570585.

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The author discusses his computer music composition, Voyager, which employs a computer-driven, interactive & “virtual improvising orchestra” that analyzes an improvisor's performance in real time, generating both complex responses to the musician's playing and independent behavior arising from the program's own internal processes. The author contends that notions about the nature and function of music are embedded in the structure of software-based music systems and that interactions with these systems tend to reveal characteristics of the community of thought and culture that produced them. Thus, Voyager is considered as a kind of computer music-making embodying African-American aesthetics and musical practices.

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Barg, Lisa. "Queer Encounters in the Music of Billy Strayhorn". Journal of the American Musicological Society 66, n. 3 (2013): 771–824. http://dx.doi.org/10.1525/jams.2013.66.3.771.

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AbstractThis article addresses issues of queer identity, aesthetics, and history in jazz through a focus on two midcentury works composed and/or arranged by Billy Strayhorn: a set of four pieces written in 1953 for an Off-Broadway production of Federico García-Lorca's The Love of Don Perlimplín for Belisa in Their Garden (Amor de Don Perlimplín con Belisa en su jardín); and several movements from the Strayhorn-Ellington adaptation of Tchaikovsky's Nutcracker Suite (1960). My study considers how the two works engage artistic figures, themes, topics, and aesthetic practices that have strong queer historical affiliations. These include failed or impossible love, masking, stylized exotica, and other liminal spheres of identificatory ambiguity and reversal. Taken together, these works enable a positioning of Strayhorn within modernist queer cultural history and, more specifically, within the history of African American gay cultural production. At the same time, through showing how queerness inhabits jazz's past, my analyses of Strayhorn's queer musical encounters provide a critical vantage point from which to examine historical and cultural understandings of jazz at midcentury and, more broadly, the complex relationships between social identities (race, sexuality, gender) and composition, arrangement, and collaboration in twentieth-century music.

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Dhakal, Lekha Nath. "Black Art: An Aesthetic Transformation for Freedom and Justice". KMC Research Journal 3, n. 3 (13 giugno 2019): 91–99. http://dx.doi.org/10.3126/kmcrj.v3i3.35716.

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This paper attempts to explore African Americans’ world view and its roots in Black Aesthetics. It also reveals that Black art is an aesthetic transformation of African Americans for freedom and an expectation of a higher level of life. Supporters of Black Aesthetics appealed to black artists to establish a new standard of judgment and beauty based on African myths, spirituality, belief systems and music in opposition to Western aesthetic. However, the Black Aesthetics had its origins in those first artistic resonances of black slaves in the form of spirituals, coded singing and signifying, and later in writings. Black aesthetic theory in the United States traces its origin to the literature of slavery and freedom. The slave narratives depict African-Americans’ artistic and academic labors to show their humanity and critical moments in the development of Black aesthetics. Writing about their own communities in order to establish a sense of self-worth and claiming their identities as African Americans are crucial elements in the works of many Black writers.

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Usman, Azhar. "An Apology". American Journal of Islam and Society 25, n. 4 (1 ottobre 2008): 143–48. http://dx.doi.org/10.35632/ajis.v25i4.1446.

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On September 11th, 2008, while countless American flags whipped inthe wind and the television and radio waves were dominated by remembrances,recordings, and stories about the terror attacks of seven years ago,I attended the funeral of ImamW.D.Mohammed (may God be pleased withhim). Forme, it was a somber day, but I found myselfmostly lost in thought:about African-American Muslim communities, about the challenges aheadin American Muslim institution-building, and about the future of Islam inAmerica. If you don’t know who ImamWDMwas, you should look him up.The Sufis say: “The true sage belongs to his era.” And of the many giftsgiven to ImamWDM by God, perhaps the most obvious and beneficial onewas the Imam’s profound understanding of the principles of religion, and hisadeptness at intelligently applying those Islamic principles in a socially andculturally appropriate manner befitting the everyday lives of his NorthAmerican followers. While carefully respecting sound, traditional jurisprudentialmethodologies of the Islamic religion, and the collective religioushistory and time-honored scholarship of classical Islam, he promulgated creativeideas and dynamic teachings across many domains of human endeavor,including theology, law, spirituality and even ethics and aesthetics, thattogether articulated a vision for a quintessentially “American Muslim” cultural identity. And he did all of this before anyone else, with quiet strengthand unending humility – a true sage indeed ...

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Borshuk, M. "Cross-Rhythms: Jazz Aesthetics in African-American Literature; Writing the Future of Black America: Literature of the Hip-Hop Generation". American Literature 82, n. 4 (1 gennaio 2010): 855–57. http://dx.doi.org/10.1215/00029831-2010-056.

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Mehaffy, M. "Popular Fronts: Chicago and African-American Cultural Politics, 1935-46; Afro-Modernist Aesthetics and the Poetry of Sterling A. Brown". American Literature 73, n. 4 (1 dicembre 2001): 875–77. http://dx.doi.org/10.1215/00029831-73-4-875.

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Pochmara, Anna, e Justyna Wierzchowska. "Nobody Knows My Name: The Masquerade of Mourning in the Early 1980s Artistic Productions of Michael Jackson and Prince". Open Cultural Studies 1, n. 1 (20 dicembre 2017): 628–45. http://dx.doi.org/10.1515/culture-2017-0058.

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AbstractThe article analyses Michael Jackson’s album Thriller and Prince’s movie Purple Rain. We explore their camp aesthetics and their recasting of the cultural representations of the black male. Jackson’s and Prince’s performative personas are both liberatory and burdened with the received cultural scripts of black masculinity. We claim that their employment of camp is political rather than escapist and depoliticized. Camp serves them as a platform to mourn the cultural displacement of the black male body in a postslavery America. In particular, the two artists distance themselves from the extensive ideological and physical pressures exerted on the black male body in the early 1980s. As a result, their performances are complexly de-Oedipalized. Prince in Purple Rain refuses to assume the patriarchal position of the Father. Analogously, Jackson fashions himself as a Peter Pan-like eternal adolescent who never makes his final identification as either heterosexual or LGBTQ desiring agent. In the coda to the article, we reach beyond the 1980s to explore a more flexible approach to camp in the artistic output of twenty-first-century African American performers of Queercore and Afrofuturist scenes, which were partially enabled by Jackson’s and Prince’s performances.

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Lamb, Robert Paul. ""A Little Yellow Bastard Boy": Paternal Rejection, Filial Insistence, and the Triumph of African American Cultural Aesthetics in Langston Hughes's "Mulatto"". College Literature 35, n. 2 (2008): 126–53. http://dx.doi.org/10.1353/lit.2008.0012.

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Goyal, Yogita. "The Genres ofGuantánamo Diary: Postcolonial Reading and the War on Terror". Cambridge Journal of Postcolonial Literary Inquiry 4, n. 1 (gennaio 2017): 69–87. http://dx.doi.org/10.1017/pli.2016.32.

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AbstractThis essay reads Mohamedou Ould Slahi’sGuantánamo Diary(2015) as an exemplary occasion to stage the dilemmas of postcolonial reading in the present, especially in relation to the global War on Terror declared by the United States after the 9/11 attacks. ReadingGuantánamo Diaryin relation to a genre it clearly seems to echo—the African American slave narrative—the essay argues that the analogy to slavery enables a deeper sense of the multiple and overlapping histories of race and empire but also obscures the transnational geography of detention signaled by Slahi as well as his damning comment on the failed project of postcolonial sovereignty. Showing how attention to questions of genre and their circulation across the globe illuminates the politics of terror and detention, the essay elaborates the possible ethics and aesthetics of postcolonial reading in the present.

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