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Letteratura scientifica selezionata sul tema "African Americans in popular culture"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 29 luglio 2024

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Articoli di riviste sul tema "African Americans in popular culture"

1

Martinez, Theresa A. "Popular Culture as Oppositional Culture: Rap as Resistance". Sociological Perspectives 40, n. 2 (giugno 1997): 265–86. http://dx.doi.org/10.2307/1389525.

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Bonnie Mitchell and Joe Feagin (1995) build on the theory of oppositional culture, arguing that African Americans, American Indians, and Mexican Americans draw on their own cultural resources to resist oppression under internal colonialism. In this paper, rap music is identified as an important African American popular cultural form that also emerges as a form of oppositional culture. A brief analysis of the lyrics of political and gangsta rappers of the late 1980s and early 1990s, provides key themes of distrust, anger, resistance, and critique of a perceived racist and discriminatory society. Rap music is discussed as music with a message of resistance, empowerment, and social critique, and as a herald of the Los Angeles riots of 1992.

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2

Brooks, D. A. "Beyond Blackface: African Americans and the Creation of American Popular Culture, 1890-1930". Journal of American History 99, n. 4 (15 febbraio 2013): 1267–68. http://dx.doi.org/10.1093/jahist/jas526.

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3

Manley, Theodoric. "BEYOND BLACKFACE: AFRICAN AMERICANS AND THE CREATION OF AMERICAN POPULAR CULTURE, 1890–1930". Ethnic and Racial Studies 35, n. 6 (giugno 2012): 1097–98. http://dx.doi.org/10.1080/01419870.2012.658830.

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4

Browne, Ray B. "African Americans and Popular Culture. 3 Vols by Todd Boyd, Editor". Journal of American Culture 32, n. 2 (giugno 2009): 165. http://dx.doi.org/10.1111/j.1542-734x.2009.00707.x.

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5

Gonzalez, Michelle A. "Review: Creating Ourselves: African Americans and Hispanic Americans on Popular Culture and Religious Expression". Theological Studies 71, n. 3 (settembre 2010): 737–39. http://dx.doi.org/10.1177/004056391007100321.

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6

Sun, Lei. "Extolling Blackness: The African Culture in The Color Purple". English Language and Literature Studies 7, n. 1 (20 gennaio 2017): 13. http://dx.doi.org/10.5539/ells.v7n1p13.

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Alice Walker, advocates African cultures in her epistolary novel The Color Purple. Underscoring the fact that quilt-making has an ancient history in the black community and presents the African tradition of folk art and the rich legacy of visual images in African culture, Walker employs the image of quilts and quilt-making to associate with the symbolic meaning of sisterhood, family history and self-creation. Also, she depicts Shug as the most popular character as a blues singer in the novel, to indicate that she acknowledges her mode of thinking that blues as one secular African tradition can deliver its spiritual power to African Americans.

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Billah, Zakiyah Dania. "Watchmen (2019): Is it an African-American superhero narrative or another traditional way to present racism?" Leksika: Jurnal Bahasa, Sastra dan Pengajarannya 17, n. 1 (20 febbraio 2023): 56. http://dx.doi.org/10.30595/lks.v17i1.15797.

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There have been many studies on race relations between African-American and White-American or Asian-American and White-American. However, there are few studies regarding the portrayal of these three races in media, such as film. The purpose of this study is to expose the Watchmen (2019) television series’ African-American superhero narrative and its racial relationship between white Americans, African Americans, and Vietnamese Americans (Asian Americans). In the United States, recent race relation is considered better than in the past, as proved by Obama serving the country for two terms, but the media is still preserving each race’s labels. This study argues that this series is proof of racist behavior in media. This qualitative study uses narrative and non-narrative to analyze the data gained from the series. This television series, uncommonly, shows the White-American as the villain while the African American as the hero, which makes this series worth analyzing. The series finally attained a complex racial relationship when a Vietnamese-American character was introduced. Racial stereotypes are frequently depicted in popular culture, including movies and television shows. Consequently, it is interesting to investigate its intricacy in light of white supremacy. This series presents several shots and events indicating a racist community, even from the very beginning of the series. Thus, this study argues that the series does not portray White-American as a villain but perpetuates the stereotypes of African-Americans and Asian-American.

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Snyder, Rob. "Sources: Encyclopedia of African American Popular Culture". Reference & User Services Quarterly 51, n. 1 (1 settembre 2011): 73–74. http://dx.doi.org/10.5860/rusq.51n1.73.

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Agbere, Dawud Abdul-Aziz. "Islam in the African-American Experience". American Journal of Islam and Society 16, n. 1 (1 aprile 1999): 150–57. http://dx.doi.org/10.35632/ajis.v16i1.2138.

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African-American Islam, especially as practiced by the Nation oflslam, continuesto engage the attention of many scholars. The racial separatist tendency,contrasted against the color blindness of global Islam, has been the focal pointof most of these studies. The historical presence of African Americans in themidst of American racism has been explained as, among other things, the mainimpetus behind African-American nationalism and racial separatism. Islam inthe African-American Experience is yet another attempt to explain this historicalposition. Originally the author's Ph.D. dissertation, the book spans 293pages, including notes, select biographies, indices, and thirteen illustrations. Itstwo parts, "Root Sources" and "Prophets of the City," comprise six chapters; there is also an introduction and an epilogue. The book is particularly designedfor students interested in African-American Islam. The central theme of thebook is the signifktion (naming and identifying) of the African Americanwithin the context of global Islam. The author identifies three factors thatexplain the racial-separatist phenomenon of African-American Islam:American racism, the Pan-African political movements of African-Americansin the early twentieth century, and the historic patterns of racial separatism inIslam. His explanations of the first two factors, though not new to the field ofAfrican-American studies, is well presented. However, his third explanation,which tries to connect the racial-separatist tendency of African-AmericanMuslims to what he tern the “historic pattern of racial separatism” in Islam,seems both controversial and problematic.In his introduction, the author touches on the African American’s sensitivityto signification, citing the long debate in African-American circles. Islam, heargues, offered African Americans two consolations: first, a spiritual, communal,and global meaning, which discoMects them in some way from Americanpolitical and public life; second, a source of political and cultural meaning inAfrican-American popular culture. He argues that a black person in America,Muslim or otherwise, takes an Islamic name to maintain or reclaim Africancultural roots or to negate the power and meaning of his European name. Thus,Islam to the black American is not just a spiritual domain, but also a culturalheritage.Part 1, “Root Sources,” contains two chapters and traces the black Africancontact with Islam from the beginning with Bilal during the time of theProphet, to the subsequent expansion of Islam to black Africa, particularlyWest Africa, by means of conversion, conquest, and trade. He also points to animportant fact: the exemplary spiritual and intellectual qualities of NorthAmerican Muslims were major factors behind black West Africans conversionto Islam. The author discusses the role of Arab Muslims in the enslavement ofAfrican Muslims under the banner of jihad, particularly in West Africa, abehavior the author described as Arabs’ separate and radical agenda for WestAfrican black Muslims. Nonetheless, the author categorically absolves Islam,as a system of religion, from the acts of its adherents (p. 21). This notwithstanding,the author notes the role these Muslims played in the educational andprofessional development of African Muslims ...

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Potgieter, Koen. "“This Disintegrating Force”: Reading Theodore Dreiser’s Sister Carrie as a Narrative of Black Upward Mobility". aspeers: emerging voices in american studies 5 (2012): 69–80. http://dx.doi.org/10.54465/aspeers.05-07.

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In this essay, I argue that Theodore Dreiser’s 1900 novel Sister Carrie can be read as a narrative of African American migration to the Northern cities. Sister Carrie engages with social change at the turn of the century, of which the migration of African Americans and others to large urban centers was a significant part. The novel describes the social fall and ruin of the middle-class figure Hurstwood while it depicts Carrie as an ethnic Other becoming rich and famous. In numerous accounts of Carrie’s attitudes and behavior, there are striking similarities to stereotypes of African Americans, which were widely circulated through the era’s popular culture. Moreover, the way in which Carrie achieves fame as a Broadway actress echoes the success that a number of black performers were experiencing there for the first time. Through these resemblances, the turn-of-the-century reader could come to recognize an important subtext in Sister Carrie—the possibility of upward mobility for African Americans moving to places such as New York City or Chicago.

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Tesi sul tema "African Americans in popular culture"

1

Ellis, Aimé Jero. "The "bad nigger" in contemporary Black popular culture : 1940 to the present /". Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Kajikawa, Loren Yukio. "Centering the margins black music and American culture, 1980-2000 /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930277371&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Lombard, Deborah-Eve. "Racism's tangible lifeline 20th century material culture and the continuity of the white supremacy myth /". Thesis, University of Iowa, 1999. http://ir.uiowa.edu/etd/194.

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Thesis (M.A.)--University of Iowa, 1999.
Supervisor: MacCann, Donnarae. Title-page, preliminaries, Certificate of approval, Table of contents, text and appendices issued in paper (ii, 17 leaves, bound ; 28 cm.). Includes bibliographical references. Also issued on CD-ROM (46 files, 3.29 megabytes).

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Bryant, Yaphet Urie. "African American female adolescents and rap music video's image of women : attitudes and perceptions". Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1045619.

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The present study sought to answer the following questions: Is there a correlation between time spent watching rap music videos and and perception of the imagery of women in rap music videos shown? 2) Is there a correlation between the perception of the imagery of women in rap music videos and their attitudes toward women? There were a total of 53 AAFA who participated in the study. The participants completed the Background Questionnaire and Attitude Toward Women Scale for Adolescents (AWSA). They then viewed approximately 10 minutes of rap music videos that portrayed women negatively, and completed the Opinions on Music Videos survey and the General Questions about Rap Music survey. The data were analyzed with two crosstabs matching time spent watching rap music videos per week with feelings about images of women in rap videos shown, and acceptance of images of women in rap videos shown. A t-test was used to compare AWSA scores and acceptance of images of women in rap music videos shown. A one-way ANOVA was used to compare AWSA scores and feelings about women in rap music videos shown. The results of the study suggest that the more time spent watching rap videos, the less likely the participants would accept the negative images of women in these videos as negative and vice versa. No relationship was found between time spent watching rap videos and feelings about the images portrayed. Regardless of the participant's AWSA score, it did not correlate with her perceptions of the images of women in rap music videos shown. Implications for research and practice were then discussed.
Department of Counseling Psychology and Guidance Services

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Harris, John Rogers. "The performance of black masculinity in contemporary black drama". Columbus, OH : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054742668.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains vii, 233 p. Includes abstract and vita. Advisor: Stratos E. Constantinidis, Dept. of Theatre. Includes bibliographical references (p. 214-233).

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Dinerstein, Joel Norman. "Swinging the machine : White technology and Black culture between the World Wars /". Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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Dabbs, Ashlie C. "The Invisibility of “Second Sight”: Double Consciousness in American Literature and Popular Culture". Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1319390310.

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Waits, Sarah A. ""Listen to the Wild Discord": Jazz in the Chicago Defender and the Louisiana Weekly, 1925-1929". ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1676.

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This essay will use the views of two African American newspaper columnists, E. Belfield Spriggins of the Louisiana Weekly and Dave Peyton of the Chicago Defender, to argue that though New Orleans and Chicago both occupied a primary place in the history of jazz, in many ways jazz was initially met with ambivalence and suspicion. The struggle between the desire to highlight black achievement in music and the effort to adhere to tenets of middle class respectability play out in their columns. Despite historiographical writings to the contrary, these issues of the influence of jazz music on society were not limited to the white community. Tracing these columnists through the years of 1925-1929, a critical point in the popularity of jazz, reveals how considerations of black innovation and economic autonomy helped alter their opinions from criticism to ownership.

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Humphrey, Ashley Renee. "Where's the Roda?: Understanding Capoeira Culture in an American Context". Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1543574890650575.

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Paes, Gabriela Segarra Martins. "A \'recomendação das almas\' na comunidade remanescente de Quilombo de Pedro Cubas". Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-01122009-160957/.

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A região entrecortada pelos rios Pilões, Nhunguara, Sapatu e Pedro Cubas era a mais rica zona de mineração de Eldorado (São Paulo), e o local para onde foram levados os primeiros escravizados que aportaram na região. Com a decadência da mineração, no final do século XVIII, muitos escravizados foram abandonados ou alforriados, transformando-se em camponeses, autônomos do ponto de vista econômico e religioso. O poder religioso era independente do clero oficial e concentrava-se nas mãos de leigos. Dessa forma, desenvolveu-se um catolicismo popular marcadamente diferente do catolicismo romano e repleto de influências africanas, e a Recomendação das Almas era uma de suas práticas. Porém, a partir dos anos 50 do século XX, o modo de vida tradicional dos negros da região, caracterizado pela autonomia, começou a sofrer fortes abalos devido às mudanças provocadas pelo corte ilegal do palmito, pela construção da estrada, pela implantação de unidades de conservação e pela ameaça da construção de barragens ao longo do Rio Ribeira de Iguape. Paralelamente, as práticas típicas do catolicismo popular entraram em declínio, e a Recomendação das Almas continuou a ser realizada apenas na região de Pedro Cubas. No entanto, as comunidades negras da região mobilizaram-se conjuntamente contra as adversidades e se auto-identificaram como membros de comunidades remanescentes de quilombo, e originaram as seguintes comunidades remanescentes de quilombo na região: Pedro Cubas, Pedro Cubas de Cima, Sapatu, Nhunguara, São Pedro, Galvão, Ivaporunduva, André Lopes, Pilões e Maria Rosa. Dessa forma, lutam contra as barragens, pelo direito de cultivar a terra e pela titulação de seu território.
The region between the rivers Pilões and Pedro Cubas had the richest gold mines of Eldorado (Sao Paulo), and it was there that were introduced the first slaves in the region. After the decline of the mining cycle, at the end of the XVIIIth century, many slaves were let by themselves or alforriados, and became peasants, with great autonomy concerning their economic and religious life. The local religious life was practically independent of the official clergy, and was administered by lay people. In this way, the local communities developed a popular Catholicism quite different from the Roman Catholicism, full of African influence, and the Recomendação das Almas was one of its practices. However, since the 1950s the traditional way of life of the black people of the region, characterized by the autonomy, begun to suffer impact caused by changes the illegal palm heart extraction, by the construction of the road, by the implantation of the conservation unities and by the threat of the dam constructions along the Ribeira River. At the same time, many practices of the popular Catholicism declined and the Recomendação das Almas continues to be realized only in the region of Pedro Cubas. Nevertheless, the black communities of the region organized themselves against adversities and recognized themselves as a former quilombo, and originated the communities of Pedro Cubas, Pedro Cubas de Cima, Sapatu, Nhunguara, São Pedro, Galvão, Ivaporunduva, André Lopes, Pilões and Maria Rosa. In this way, they fight against the dam, for the right of planting and for the land property of their territory.

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Libri sul tema "African Americans in popular culture"

1

Todd, Boyd, a cura di. African Americans and popular culture. Westport, CT: Praeger Publishers, 2008.

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Williams, Kimmika. Signs of the time: Culture pop. Darby, Pa: Three Goat Press, 1999.

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Pinn, Anthony B. Creating ourselves: African Americans and Hispanic Americans on popular culture and religious expression. A cura di Valentin Benjamin. Durham [NC]: Duke University Press, 2009.

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Pinn, Anthony B. Creating ourselves: African Americans and Hispanic Americans on popular culture and religious expression. A cura di Valentin Benjamin. Durham [NC]: Duke University Press, 2009.

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B, Pinn Anthony, e Valentin Benjamin, a cura di. Creating ourselves: African Americans and Hispanic Americans on popular culture and religious expression. Durham [NC]: Duke University Press, 2009.

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Daniels, Cora. Ghettonation: Dispatches from america's culture war. New York: Broadway Books, 2008.

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1940-, Adjaye Joseph K., e Andrews Adrianne R, a cura di. Language, rhythm, & sound: Black popular cultures into the twenty-first century. Pittsburgh, Pa: University of Pittsburgh Press, 1997.

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Williams, Thomas Chatterton. Losing my cool: Growing up with-and out of-hip-hop culture. New York: Penguin Press, 2010.

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Justin, Elam Harry, e Jackson Kennell A, a cura di. Black cultural traffic: Crossroads in global performance and popular culture. Ann Arbor: University of Michigan Press, 2005.

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1969-, Guillory Monique, e Green Richard C. 1967-, a cura di. Soul: Black power, politics, and pleasure. New York: New York University Press, 1998.

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Capitoli di libri sul tema "African Americans in popular culture"

1

Wilburn, Reginald A. "Malcolm X and African-American Literary Appropriations of Paradise Lost". In Milton in Popular Culture, 199–210. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403983183_16.

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Mathers, Kathryn. "Traveling Images and How Americans Learned to Care for Africa". In White Saviorism and Popular Culture, 15–41. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003223818-2.

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Fendler, Ute. "African American and African Artists in South Korean Popular Culture". In Asia-Afria- Multifaceted Engagement in the Contemporary World, 243–70. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-97-0696-9_12.

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Mills, John T., e DeMond S. Miller. "Contributions of African American Anthems for Social Justice and Equity". In Black Popular Culture and Social Justice, 67–82. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003308089-8.

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Desai, Gaurav. "Popular Culture". In Encyclopedia of African Religions and Philosophy, 562–63. Dordrecht: Springer Netherlands, 2021. http://dx.doi.org/10.1007/978-94-024-2068-5_313.

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Ambler, Charles. "African Historians and Popular Culture". In A Companion to African History, 483–99. Chichester, UK: John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781119063551.ch25.

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"African Americans and US popular culture since 1895". In The Debate on Black Civil Rights in America. Manchester University Press, 2020. http://dx.doi.org/10.7765/9781526153739.00014.

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"Popular perceptions of empire: native Americans in Britain in the 1760s". In Eighteenth-Century Popular Culture, a cura di John Mullan e Christopher Reid, 271–302. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198711346.003.0010.

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Abstract The eighteenth century is rightly seen as The period which witnessed Britain’s emergence as Europe’s leading colonial power. By 1763 Britain controlled vast tracts of land in North America as well as valuable possessions in India, Africa, and The Caribbean. Yet, as P.J. Marshall has shown, The process by which what came in time to he understood as an empire was acquired was a complex and uneven one. The colonial presence took quite different forms, ranging from commercial supremacy to territorial expansion and settlement, in different parts of The globe. In These circumstances The unifying idea of empire as a distinctive and inclusive political entity was slow to develop and take root. In particular, it is unclear how far those outside The political elite thought of Themselves as The beneficiaries of an imperial state, or derived Their sense of national identity from that perception.

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Dietzel, Susanne B. "The African American novel and popular culture". In The Cambridge Companion to the African American Novel, 156–70. Cambridge University Press, 2004. http://dx.doi.org/10.1017/ccol0521815746.010.

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Grant, Nicholas. "African American Culture, Consumer Magazines, and Black Modernity". In Winning Our Freedoms Together. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469635286.003.0005.

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Cultural exchange provided another vitally important avenue through which black South Africans engaged with, understood, and were influenced by African American life. Images of black cultural and economic success from across the Atlantic directly challenged white supremacist assumptions, providing black South Africans with a lens to assess the extent to which their lives were constrained and circumscribed by the modern apartheid state. These cross-cultural connections featured heavily in the pages of South African consumer magazines, especially the popular monthly publication Zonk!. The magazine’s transatlantic coverage gives an insight into how black South Africans envisioned and engaged with African American culture in the aftermath of World War II.

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Atti di convegni sul tema "African Americans in popular culture"

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Livingstone, David. "Breaking Blackface: African Americans, Stereotypes, and Country Music". In 10th Annual Conference of the Croatian Association for American Studies: Breaking Stereotypes in American Popular Culture. University of Zagreb Faculty of Humanities and Social Sciences; Croatian Association for American Studies, 2023. http://dx.doi.org/10.17234/9789533791258.08.

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Barbosa, Diego. "Careta, who are you? Aspects of the carnivalesque in African Brazilian manifestations as strategies of subversion and resistance". In LINK 2023. Tuwhera Open Access, 2023. http://dx.doi.org/10.24135/link2022.v4i1.197.

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The element of nonconformity in opposition to the authoritarianism of the official culture present in European folk carnival festivities traveled with European colonisers to the Americas, where they were met by diverse African and Indigenous traditions, giving birth to new forms of manifestation in the melting pot of cultures collateral to colonialism. Existing under a colonial system willing to suppress any subversive or marginal aspects, diasporic Black culture made use of carnivalesque modes of representation to temporarily subvert the authority of the official institutions, having the resistance against dominant power through the crossing of its culture as an important part of surviving in this environment, connected with the local hopes, aspirations and tragedies of those who occupy to this day the margins of society. In Brazil, many of these marginal manifestations happen as festivals connected to the period of catholic celebrations. In this research I focused on how these elements can be identified in the collective popular manifestations of ‘Caretas do Acupe’ and ‘Nego Fugido’, both present in the region of Recôncavo Baiano, in Brazil. The strategies found in these manifestations pervade African-American manifestations associated with black cultural resistance, and display instances where African traditional practices crossed and resignified aspects of European culture, using the carnivalesque as the sign of double articulation that enabled them to create counter-narratives to mock, disrupt and resist colonial power. These ideas were then articulated in the photographic project ‘Careta, who are you?’, which explored narratives created to connect and mix my own moving cultural identity from Bahia while living in Aotearoa.

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PAZ, LETICIA, e MARINILSE NETTO. "Os signos simbólicos-mágicos de Rubem Valentim: Sua presença e significação na tradição Nagô e Encantaria do Ilé Asè Aféfé T'Oyá". In Latin American Publicações. lapubl, 2021. http://dx.doi.org/10.47174/lace2021-005.

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Os emblemas e objetos de Rubem Valentim transitam entre a arte e a religião compondo um repertório simbólico-mágico em obras de estética geometrizadas que dialogam com a religiosidade afro-brasileira. Impregnado pelo sincretismo popular, o artista em seus deslocamentos compõe um acervo sígnico enraizado no primitivo prospectando temas que são debatidos na arte contemporânea. As experiências e os sentidos do candomblé são observados na ritualística Nagô e encantaria em entrevista realizada com o sacerdote doterreiro Ilê Asè Aféfé T'Oyá. Este estudo percorre as obras de Rubem Valentim estabelecendo relações com as práticas do terreiro e a literatura, apresentando a presença e o significado da tradição e da encantaria em um terreiro localizado na cidade de Chapecó, em Santa Catarina. Com características singulares, plenos de signos e significados os terreiros se constituem de espaços de preservação, ressignificação e resistência da cultura permitindo a sobrevivência étnica e a continuidade do universo mítico africano. Por sua força e energia transcendentes configuram-se como espaços de luta permanente contra o racismo, a discriminação e a intolerância. A arte no espaço do terreiro carrega identidades e conecta subjetividades.

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Macken, Jared. "The Ordinary within the Extraordinary: The Ideology and Architectural Form of Boley, an “All-Black Town” in the Prairie". In 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.63.

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In 1908, Booker T. Washington stepped off the Fort Smith and Western Railway train into the town of Boley, Oklahoma. Washington found a bustling main street home to over 2,500 African American citizens. He described this collective of individuals as unified around a common goal, “with the definite intention of getting a home and building up a community where they can, as they say, be ‘free.’” The main street was the physical manifestation of this idea, the center of the community. It was comprised of ordinary banks, store front shops, theaters, and social clubs, all of which connected to form a dynamic cosmopolitan street— an architectural collective form. Each building aligned with its neighbor creating a single linear street, a space where the culture of the town thrived. This public space became a symbol of the extraordinary lives and ideology of its citizens, who produced an intentional utopia in the middle of the prairie. Boley is one of more than fifty “All-Black Towns” that developed in “Indian Territory” before Oklahoma became a state. Despite their prominence, these towns’ potential and influence was suppressed when the territory became a state in 1907. State development was driven by lawmaker’s ambition to control the sovereign land of Native Americans and impose control over towns like Boley by enacting Jim Crow Laws legalizing segregation. This agenda manifests itself in the form and ideology of the state’s colonial towns. However, the story of the state’s history does not reflect the narrative of colonization. Instead, it is dominated by tales of sturdy “pioneers” realizing their role within the myth of manifest destiny. In contrast, Boley’s history is an alternative to this myth, a symbol of a radical ideology of freedom, and a form that reinforces this idea. Boley’s narrative begins to debunk the myth of manifest destiny and contrast with other colonial town forms. This paper explores the relationship between the architectural form of Boley’s main street and the town’s cultural significance, linking the founding community’s ideology to architectural spaces that transformed the ordinary street into a dynamic social space. The paper compares Boley’s unified linear main street, which emphasized its citizens and their freedom, with another town typology built around the same time: Perry’s centralized courthouse square that emphasized the seat of power that was colonizing Cherokee Nation land. Analysis of these slightly varied architectural forms and ideologies reorients the historical narrative of the state. As a result, these suppressed urban stories, in particular that of Boley’s, are able to make new contributions to architectural discourse on the city and also change the dominant narratives of American Expansion.

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Rapporti di organizzazioni sul tema "African Americans in popular culture"

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Kenes, Bulent. Richard B. Spencer: The founder of alt-right presents racism in a chic new outfit. European Center for Populism Studies (ECPS), giugno 2021. http://dx.doi.org/10.55271/lp0010.

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Richard Bertrand Spencer is a well-groomed, well-educated advocate for the creation of a “white ethno-state” in North America for a “dispossessed white race.” He has also called for “peaceful ethnic cleansing” to halt the “deconstruction” of what he describes as “white culture” and to achieve a “white homeland.” Spencer has become the most recognizable public face of the white supremacist and nationalist movements. As an ardent white supremacist and ethnonationalist, Spencer says America belongs to white people, who he claims have higher average IQs than Hispanics and African Americans, and that the latter are genetically predisposed to crime. In Spencer’s “America,” Asians, Muslims, and Jews don’t qualify as “white” either.

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