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2 [email protected] e-mail () - fax () - telephone - New York,NY th oor  A Washington Mews, New YorkUniversity African-American A airs Institute of Noire Renaissance Renaissance/ Black translation. accompanied by anEnglish will beconsidered if language, French orSpanish manuscripts inAfrican le tothemaine-mailaddress; Word-compatible electronic spaced format,inaMicrosoft should besentindouble- itself. Manuscripts inEnglish, or New York University of African-AmericanA airs, New York University Institute oftheeditors, the view do notnecessarilyreect the individualauthorsand are theresponsibility of Noire Renaissance Renaissance/ Black All opinionsexpressed in All rightsreserved. and theauthors. byNew YorkUniversity All materialcopyright atNew YorkUniversity. A airs African-American by theInstitute of is editedandpublished Noire Renaissance Renaissance/ Black



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103 x126inches Diptych onlinen acrylic Kick, Split C. Norton, Michael back cover art by 36 x27 inches fabric onboard anddigital photographsAcrylic on (from Glenavron by Lady Caroline Lamb) Lady Calantha, Saar,Lezley cover art by Abdourahman A. WaberiAbdourahman Kitia Toure Clyde Taylor Patrick Rosal Alain Ricard Angelique V.Nixon Ngugi waiong’o Alexs Pate V. Y.Mudimbe Walter Mosley Kobena Mercer Robin D.G.Kelley Victor Hernandez Cruz Allison Adele Hedge Coke Kimiko Hahn Martín Espada Angela Y.Davis Condé Maryse Mbye Cham Kamau Brathwaite Houston A.Baker Jr. Je rey Renard Allen board editorial Marlon Swai editorcopy PorterMargaret Troupe assistant editorial editor/ arts Cesar Cruz director creative Megan Goins-Diouf assistant editor Quincy Troupe editor Walter Mosley Clyde Taylor Manthia Diawara founding editors 2009-2010 2012

9/24/14 1:31 AM BRN-FALL-2014.indb 3 Forever”: Maya Angelou Fiction ofHenryDumas St. LouisCemetery No. 1 Friendship, 1970’s-Style The JazzComposer as & theInvention ofa Excerpt fromTahrir The Collected Short Thelonious Monk: john pinderhughes john Fon. story, Ashort eugene b. redmond b. eugene allison hedge coke allison matthew shenoda matthew from EchoTree: “Be MyBrother Suite, Section 1 The Eruption: derek walcott derek quincy troupe quincy o natambu kof i henry dumas henry Visionary My Take Poems Poem 20 30 22 14 32 6 4 8

A-Legba Poetics: Reading The Temptation ofSpace Philosophical Visionary The ModernJazzCritic Year Assault OnSome as Cultural Historian, Why Two- TheThirty Black Male Writers? Revolution isSound Social Theorist,Social and The MusicalLegacy Miles Davis: ANew yusef komunyakaa yusef of Amiri Baraka:of Amiri colleen mcelroy colleen Creative Artist, aracelis girmay aracelis Komunyakaa o natambu kof i o natambu kof i ishmael reed ishmael richard vine richard Poems Poems 40 80 46 62 36 74 58  Contents

  Sterling Brown andthe “Be Vewy Vewy Quiet” | Browning ofMyLife   paul carter harrison paul carter Symposium onthe brenda marie osbey marie brenda Recent “Mammy” e. ethelbert miller ethelbert e. sterling plumpp sterling hermine pinson hermine aracelis girmay aracelis dennis kardon dennis barbara lewis barbara meha semwal meha Kara Walker tyehimba jess tyehimba Sculpture of clyde taylor carol diehl carol ekere tallie ekere Poems Poems Poems Poems Poem 106 104 126 110 116 112 86 92

The “Electronic Stimulus for aBlackRevolution”: Gypsy &theBully Door 1960s PublicTelevision Photographic on Series Gothic in19thCentury Black MarchingBands Caliphate Colonialism Black Journal andthe Trouble with Nigeria — TheTaproot ofthe “Madwoman inthe nina angela mercer angela nina Attic: TheFemail cynthia dewi oka dewi cynthia jane rhodes, phd Contributors Jules Allen’s Literature” lezley saar lezley part 1&2 chinweizu gail reid gail Poem 166 198 128 136 174 134 152

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166  eyare culturalpath nders, which American military andAfricantradition. American military Every re ned gesture andhighstepis celebrate cultural potency. us toadapt, succeedand of everyday life, inspiring struggles andtriumphs to thepast, ennoblingthe alive ourconnections book ofculture, keeping are amarching history Black marching bands Bands Black Jules Allen’s Photographic on Series with acommunityvibrantlysensitive respects toourheroes andabove allto rhythm andresistance ofthebands the dead,consoledistressed, pay is anessentialAmericanstory. Black to themusicandceremony.  e national institutionofmythical transformational force, usingarchetypal marching bandsprovoke ustodemand metaphors ofhome.Asanexemplary band.  ebandsare grounded in celebrate victories! everything theyhave togive:everything tomourn creative interchange, theylinkartists dimension, foundedandfueledby etching theinheritedterrainwitha seize thepublicspace,dramatically spiritual magicinablackmarching Marching GAIL REID By

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168 9/24/14 1:33 AM BRN-FALL-2014.indb 169 eir rhythmicrepetitions offormand we carry withusallthetime. eblack we carry response. ecrowd triumphantly reminder thatculture’s songissomething ritualized, wittyvillagepageant,a the bands’ creative re andigniteaperfect tone are nelystructured articulations not aoorshow. It’s anelegant, marching bandseries’ timingiscrucial. demands thewholestory, theancient of theblacktradition,whichtransform story asapathtothefuture. It’sstory fanfare,

Today’s soaringtravel costsnow which have historicallyfurnisheda respected schoolmusicprograms, this indispensablecenturies-oldmusical parades. Diminishing publicfunding heritage isgravely threatened. have plummetedfrom thousandstoa andeven eliminated has disrupted musicians. Marching bandnumbers few hundredfew inadecade.Continuity of ground for America’sfertile new abilities toreach distantcommunity severely long-establishedbands’ curtail 9/24/14 1:33 AM

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170 rupture marches renewal. world.Out ofthe within thedisrupted messages. eyhelpusbuildcoherence political themes,direct andpowerful parades haveurgency, anew openly to release oldways.Contemporary liberating ideals,andtheresilience us: thewarmth,culturalanchors, the familiararchitecture carriedwithin the waytogoonlivingisrecognize and changesinbesiegedcommunities, whirlwinds ofincomprehensible assault disturbing theoldsocialorder. Within knows noborders. It crosses thetracks, inexpressible. It surrounds, perturbs, expressinge musicisimportant, the change. eyalsodrive andclarifyit. celebrate heroism. ebandsmark toerasebarriersand opportunities oer geographicandculturallyspecic boundaries, blackmarching bands resonant visualaspect.Penetrating old reconstruction asaprocess witha documents communityandpersonal parades, andregional festivals, Allen In post-KatrinaSecond Lines,funeral photographing onthebackbeat. which embracehissignature styleof ourish andprecision asexplicitforms Allen’s imagesconnectwiththebands’ Across thecountry, Professor Jules 9/24/14 1:33 AM BRN-FALL-2014.indb 171 9/24/14 1:33 AM

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172 9/24/14 1:33 AM BRN-FALL-2014.indb 173 e bandsbuildcommunitysolidarity, Jules Allen’s blackmarching bandseries we seeinamutatinglandscape.is investment, and as construction. investment, andasconstruction. identity andyearning asrevelation, as potential. imagine new information and in whichblackmarching bandsoerus inspiring socialchange,inremembering legacy ofblackculture. It isalens pays tributetothedignityandlasting focused on the role that artists playin focused ontherole thatartists challenge ourassumptionsaboutwhat and achievement. ephotographs and re ecting onhumanstruggle all a critical opportunity toinvest new all acriticalopportunity series reveals tousthepowerful ways n

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