View the Full Chronology (PDF, 548KB)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end. -
Festival Events 1
H.E. Lieutenant-General Olusegun Obasanjo, Head of State of Nigeria and Festival Patron. (vi) to facilitate a periodic 'return to origin' in Africa by Black artists, writers and performers uprooted to other continents. VENUE OFEVENTS The main venue is Lagos, capital of the Federal Republic of Nigeria. But one major attraction, the Durbar. will take place in Kaduna, in the northern part basic facts of the country. REGISTRATION FEES Preparations are being intensified for the Second World There is a registration fee of U.S. $10,000 per partici- Black and African Festival of Arts and Culture to be held pating country or community. in Nigeria from 15th January to 12th February, 1977. The First Festival was held in Dakar, Senegal, in 1966. GOVERNING BODY It was then known simply as the World Festival of Negro The governing body for the Festival is the International Arts. Festival Committee representing the present 16 Festival At the end of that First Festival in 1966, Nigeria was Zones into which the Black African world has been invited to host the Second Festival in 1970. Nigeria divided. These 16 Zones are: South America, the accepted the invitation, but because of the internal Caribbean countries, USA/Canada, United Kingdom and situation in the country, it was not possible to hold the Ireland, Europe, Australia/Asia, Eastern Africa, Southern Festival that year. Africa, East Africa (Community), Central Africa I and II, At the end of the Nigerian civil war, the matter was WestAfrica (Anglophone), West Africa (Francophone) I resuscitated, and the Festival was rescheduled to be held and II, North Africa and the Liberation Movements at the end of 1975. -
The Kano Durbar: Political Aesthetics in the Bowel of the Elephant
Original Article The Kano Durbar: Political aesthetics in the bowel of the elephant Wendy Griswolda,* and Muhammed Bhadmusb aDepartment of Sociology, Northwestern University, 1810 Chicago Avenue, Evanston, Illinois 60208, USA. E-mail: [email protected] bDepartment of Theatre and Drama, Bayero University Kano, Kano, Nigeria. E-mail: [email protected] *Corresponding author. Abstract Political aesthetics deploy theatrical techniques to unite performers and audience into a cultural community, thereby distracting from conflicts. The Kano Durbar in northern Nigeria demonstrates how the aesthetics of power can promote a place-based political culture. Although power in Kano rests on a wobbly three-legged stool of traditional, constitutional and religious authority, the status quo celebrated by the Durbar holds back ideological challengers like Boko Haram even as it perpetuates distance from the unified nation-state. The Durbar works as a social drama that helps sustain a Kano-based collective solidarity against the threats of ethnic/religious tensions and Salafist extremism. A cultural-sociological and dramaturgical analysis of the Durbar demonstrates how weak sources of power can support one another when bound together in an aesthetically compelling ritual. American Journal of Cultural Sociology (2013) 1, 125–151. doi:10.1057/ajcs.2012.8 Keywords: political aesthetics; place; social drama; Kano; Nigeria; Durbar Introduction While political rituals are expressions of power, what is less often noticed is that they are expressions of place. Bringing this insight to bear on the analysis of these rituals can reveal how they work, what exactly they accomplish, thereby resolving some of the puzzles they present. This article examines the case of the Kano Durbar, a Nigerian ritual that presents a social drama of and for Kano residents, a drama that helps sustain a sense of r 2013 Macmillan Publishers Ltd. -
Negritude Or Black Cultural Nationalism
REVIEWS TM Journal of Modem African Studies, 3,3 (1965), pp. 321-48 From French West Africa to the Mali Federation by W1LLIAMj. FOLTZ PAUL SEMONIN, Dakar, Sencgal 443 Negritude or Black Cultural Nationalism Tunisia Since Independence by CLEMENT HENR y Moo RE DR IMMANUEL WALLERSTEIN, Department ofSociology, Columbia Universi!)!, by ABIOLA IRELE* New rork 444 Th Modem Histo,;y ofSomali/and by I. M. LEWIS DR SAADIA TOUVAL, Institute of Asian and African Studies, Th Hebrew IT is well known that nationalist movements are generally accompanied Universi':)I ofJerusalem, ISTael 445 by parallel movements of ideas that make it possible for its leaders to The Foreign Policy ofAfrican States by DouDou TH JAM mould a new image of the dominated people. And as Thomas Hodgkin DR OEORGE o. ROBERTS, Dillision of Area Studies and Geography, Stat, has shown, the need for African political movements to 'justify them Universi!)! College, New Paltz, New rork 447 selves' and 'to construct ideologies' has been particularly strong. 1 Panafrika: Kontincntal, W,ltmacht im Werden? by HANSPETER F. STRAUCH Nationalist movements were to a large extent founded upon emotional Sociologie de la nouvelle Afrique by JEAN ZIEGLER DR FRANZ ANSPRENOER, Otto-Suhr-Institut an der Freien Unwersitiit Berlin impulses, which imparted a distinctive tone to the intellectual clamour The Economics ofSubsistence Agriculture by COLIN CLARK and M. R . HASWELL that went with them and which continue to have a clear resonance · JUNE KNOWLES, 1718 Economist Intelligence Unit Ltd., Nairobi 451 after independence. Uncqual Partners by THOMAS BALOGH In order to understand certain aspects of African nationalism and Foreign Trade and Economic Development in Africa by S. -
Culture Education” and the Challenge of Globalization in Modern Nigeria
Oral Tradition, 21/2 (2006): 325-341 “Culture Education” and the Challenge of Globalization in Modern Nigeria Ademola O. Dasylva Introduction Let me begin with a quotation from Frantz Fanon’s The Wretched of the Earth that I find quite apposite to the main thrust of this paper (1967:168): … the passion with which the native intellectuals defend the existence of their national culture may be a source of amazement, but those who condemn this exaggerated passion are strangely apt to forget that their own psyche and their own selves are conveniently sheltered behind a French or German [or any western] culture which has given full proof of its existence and which is uncontested. I must also confess that the full import of the above statement by Fanon did not occur to me until I came across the same reference again in Toyin Falola’s The Power of African Cultures (2003:49) while in the course of preparing the present article. Fanon’s treatise is not only relevant to the present discourse but also directly foregrounds this paper’s philosophy. For the purpose of clarity, let me explain the term “culture education” as it is intended herein. If “education” is the process of knowledge acquisition, “culture education” emphasizes the peculiar means and methods of instruction by which a society imparts its body of values and mores in the pursuance and attainment of the society’s collective vision, aspirations, and goals. Thus, anyone who demonstrates a degree of knowledge of his or her societal values and general education is said to be educated. -
Aneta Pawłowska Department of Art History, University of Łódź [email protected]
Art Inquiry. Recherches sur les arts 2014, vol. XVI ISSN 1641-9278 Aneta Pawłowska Department of Art History, University of Łódź [email protected] THE AMBIVALENCE OF AFRICAN-AMERICAN1 CULTURE. THE NEW NEGRO ART IN THE INTERWAR PERIOD Abstract: Reflecting on the issue of marginalization in art, it is difficult not to remember of the controversy which surrounds African-American Art. In the colonial period and during the formation of the American national identity this art was discarded along with the entire African cultural legacy and it has emerged as an important issue only at the dawn of the twentieth century, along with the European fashion for “Black Africa,” complemented by the fascination with jazz in the United States of America. The first time that African-American artists as a group became central to American visual art and literature was during what is now called the Harlem Renaissance of the 1920s and 1930s. Another name for the Harlem Renaissance was the New Negro Movement, adopting the term “New Negro”, coined in 1925 by Alain Leroy Locke. These terms conveyed the belief that African-Americans could now cast off their heritage of servitude and define for themselves what it meant to be an African- American. The Harlem Renaissance saw a veritable explosion of creative activity from the African-Americans in many fields, including art, literature, and philosophy. The leading black artists in the 1920s, 1930s and 1940 were Archibald Motley, Palmer Hayden, Aaron Douglas, Hale Aspacio Woodruff, and James Van Der Zee. Keywords: African-American – “New Negro” – “Harlem Renaissance” – Photography – “African Art” – Murals – 20th century – Painting. -
MFA Boston, Acquisition of Works from Axelrod Collection, Press Release, P
MFA Boston, Acquisition of Works from Axelrod Collection, Press Release, p. 1 Contact: Karen Frascona 617.369.3442 [email protected] MUSEUM OF FINE ARTS, BOSTON, ACQUIRES WORKS BY AFRICAN AMERICAN ARTISTS FROM JOHN AXELROD COLLECTION MFA Marks One-Year Anniversary of Art of the Americas Wing with Display including Works by John Biggers, Eldzier Cortor, and Archibald Motley Jr. BOSTON, MA (November 3, 2011)—Sixty-seven works by African American artists have recently been acquired by the Museum of Fine Arts, Boston (MFA), from collector John Axelrod, an MFA Honorary Overseer and long-time supporter of the Museum. The purchase has enhanced the MFA’s American holdings, transforming it into one of the leading repositories for paintings and sculpture by African American artists. The Museum’s collection will now include works by almost every major African American artist working during the past century and a half. Seven of the works are now displayed in the Art of the Cocktails, about 1926, Archibald Motley Americas Wing, in time for its one-year anniversary this month. This acquisition furthers the Museum’s commitment to showcasing the great multicultural artistry found throughout the Americas. It was made possible with the support of Axelrod and the MFA’s Frank B. Bemis Fund and Charles H. Bayley Fund. Axelrod has also donated his extensive research library of books about African American artists to the Museum, as well as funds to support scholarship. ―This is a proud moment for the MFA. When we opened the Art of the Americas Wing last year, our goal was to reflect the diverse interests and backgrounds of all of our visitors. -
Review: Isaac Julien by Caille Millner May 26, 2016 Jessica Silverman Gallery, San Francisco, USA Isaac Julien's Well-Know
Review: Isaac Julien By Caille Millner May 26, 2016 Jessica Silverman Gallery, San Francisco, USA Isaac Julien’s well-known films Looking for Langston (1989) and The Long Road to Mazatlán (1999–2000) marry desire for the body to desire for a righteous body politic. ‘Vintage’, a show of Julien’s images at Jessica Silverman Gallery, presents the British artist as a connoisseur of beauty and a master of technique. To fully comprehend the political engagement that’s fuelled the past three decades of Julien’s career, though, visitors will also have to watch his films. Most of the images in the show were shot on the set of Looking for Langston, Julien’s atmospheric homage to the Harlem Renaissance and the closeted poet Langston Hughes. There are silver gelatin prints and larger photographs that evoke the great scale of a movie screen. They’re lush with texture and tonality. The smoke gets in your eyes. The skin looks warm and inviting. Isaac Julien, Film Noir Angels, 1989/2016, silver gelatin fine art paper mounted on aluminum and framed, 40 x 57 cm. All images courtesy: the artist and Jessica Silverman Gallery, San Francisco Julien drew on the rich visual history of the Harlem Renaissance, in particular on photographers like James VanDerZee and Carl van Vechten, to achieve Langston’s melancholic look. One group of photographs, from one of the film’s early scenes, shows members of the all-male cast dressed in tuxedos, dancing together in a jazz club. The soft lighting on the actors’ facial features recalls Van Vechten’s tendency to glorify his subjects. -
African American Modernist: the Exhibition, the Artist, and His Legacy
Aaron Douglas: African American Modernist 121 Aaron Douglas: African American Modernist: The Exhibition, the Artist, and His Legacy Stephanie Fox Knappe On September 8, 2007, the Spencer Museum of Art at the University of Kansas, Lawrence, opened the first nationally traveling retrospective to com- memorate the art and legacy of Aaron Douglas (1899–1979), the preeminent visual artist of the Harlem Renaissance. Aaron Douglas: African American Modernist reaffirmed his position in the annals of what remains the largely white epic of American modernism and focused new attention on lesser-known facets of the lengthy career of the indefatigable artist. The retrospective of nearly one hundred works in a variety of media from thirty-seven lenders, as well as its accompanying catalogue, conference, and myriad complementary programs, declared the power of Douglas’s distinctive imagery and argued for the lasting potency of his message. This essay provides an opportunity to extend the experience presented by Aaron Douglas: African American Modernist during its fifteen-month tour. Beginning at the Spencer Museum of Art and continuing on to the Frist Center for the Visual Arts in Nashville, and Washington D.C.’s Smithsonian American Art Museum, the exhibition closed on November 30, 2008, at the Schomburg Center for Research in Black Culture in New York. Many of the works that were gathered together for the traveling retrospective with the purpose of showcasing Douglas, his role in American modernism, and his enduring legacy are discussed in this essay. Additionally, to acknowledge that rare is the artist whose work may truly be understood when divorced from the context in which it took root, the 0026-3079/2008/4901/2-121$2.50/0 American Studies, 49:1/2 (Spring/Summer 2008): 121-130 121 122 Stephanie Fox Knappe art that composed Aaron Douglas: African American Modernist is presented here in tandem with key biographical elements. -
And Wallace Thurman's Infants of the Spring
Oblique Scriptures of Harlem. The "Niggeratti Manor" and Wallace Thurman's Infants of the Spring (1932). Elisa Cecchinato∗1 1Paris Est Cr´eteil{ Universit´eParis-Est { Paris, France R´esum´e In the 1910s and 1920s, Harlem is the destination of two important migratory movements: the Great Migration of African Americans from the South of the United States, and a migratory wave internal to the city of New York, consequent to the anti-"vice" policies of Progressive Era Reform. During this time, Harlem progressively becomes the largest black American urban settlement in the United States, a Black Metropolis animated by political, artistic, economic, and social life. In 1926, a group of young black writers and artists based in the neighborhood, among whom Wallace Thurman, Richard Bruce Nugent, Zora Neale Hurston, Aaron Douglas and Langston Hughes, self-edited and published a magazine titled FIRE!! Devoted to Younger Negro Artists. The magazine took a polemical stance against what the young black artists saw as the disciplined heteronormative injunctions of the New Negro intellectuals and part of the emerging black middle-class, towards their sexual and social mores. In a polemical editorial penned by Wallace Thurman, FIRE!! reclaimed in prophetic tones the notorious representations of improper, sexualized black characters from Nigger Heaven (1926), a novel by white author, photographer, and Harlem Renaissance patron Carl Van Vechten. Both Thurman and Nugent put in fictional form episodes from their lives in the apartment, which they dubbed the "Niggeratti Manor." In this paper I study Wallace Thurman's novel Infants of the Spring (1932) and the space of the "Niggeratti Manor" as sites of inscription of black and queer apperceptions of, and orientations within, the Black Metropolis and its antagonizing discursive representations. -
Kara Keeling, Looking for M
LOOKING FOR M — Queer Temporality, Black Political Possibility, and Poetry from the Future Kara Keeling In his conclusion to Black Skin, White Masks, Frantz Fanon uses the well- known quotation by Karl Marx from The Eighteenth Brumaire of Louis Bonaparte. Fanon’s version reads, The social revolution cannot draw its poetry from the past, but only from the future. It cannot begin with itself before it has stripped itself of all its superstitions concerning the past. Earlier revolutions relied on memories out of world history in order to drug themselves against their own content. In order to find their own content the revolutions of the nineteenth century have had to let the dead bury their dead. Before, the expression exceeded the content; now, the content exceeds the expression.1 Fanon’s choice of this oft-cited quotation substantiates the claim he makes in the conclusion of Black Skin, White Masks that the problem he consid- ers there, created by the psychopathologies of colonialism, is one of time. As an epigraph to that conclusion, Marx’s well-known formulation of the organization of time within the proletarian movement of the nineteenth century calls atten- tion to Fanon’s own interest in exploding the temporality of the colonial mode of representation of otherness and in revealing a temporality that raises the possibil- ity of the impossible within colonial reality, black liberation. Elsewhere I have explored what Fanon’s emphasis on the temporality of the black and blackness means for studies of the black image in cinema.2 Here, I return to the temporality Fanon invokes in order to follow another relevant line of flight from it — one that opens through his citation of Marx’s notion of “poetry from the future” — and to consider what thinking that formulation at the conjunction of contemporary con- GLQ 15:4 DOI 10.1215/10642684-2009-002 © 2009 by Duke University Press 566566 GLQ: A JOURNAL OF LESBIAN AND GAY STUDIES structions of “race” and “sexuality” might offer black cultural studies and queer theory now. -
Tangled Legacies
Rethinking History ISSN: 1364-2529 (Print) 1470-1154 (Online) Journal homepage: https://www.tandfonline.com/loi/rrhi20 Tangled Legacies Bhaskar Sarkar To cite this article: Bhaskar Sarkar (2003) Tangled Legacies, Rethinking History, 7:2, 215-234, DOI: 10.1080/13642520308360 To link to this article: https://doi.org/10.1080/13642520308360 Published online: 08 Jun 2011. Submit your article to this journal Article views: 109 View related articles Citing articles: 12 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rrhi20 06 RHI 7-2 Sarkar (JB/D) Page 215 Monday, July 14, 2003 3:46 PM Rethinking History 7:2 (2003), pp. 215–234 Tangled Legacies The autos of biography Bhaskar Sarkar University of California, Santa Barbara What is the measure of an illustrious life, what is its legacy? Does a biography begin at the point of birth and conclude with one’s death, or does it take on a life of its own? Consider an example that has enjoyed recent salience: the year 2002 marked the birth centennial of the celebrated African-American poet Langston Hughes, who died in 1967. On this commemorative occasion, evaluations of his life and his legacy – some recycled, some fresh – were advanced, debates about his relevance ‘outside the race’ for literary modernism revisited. Some thirty-five years after his demise, both the man’s life and his oeuvre remain amenable to constant interpretation and assess- ment–an openness underscoring the remarkable iterability that is a character- istic of chronicles of famous lives.