State University of New York at Cortland Africana Studies Department Annual Report 2007-2008

Total Page:16

File Type:pdf, Size:1020Kb

State University of New York at Cortland Africana Studies Department Annual Report 2007-2008 STATE UNIVERSITY OF NEW YORK AT CORTLAND AFRICANA STUDIES DEPARTMENT ANNUAL REPORT 2007-2008 Dr. Seth N. Asumah, Chairperson AAS Faculty Associates to the Department: The Africana Studies (AFST) Department has established a highly diverse cadre of faculty members from SUNY Cortland and the surrounding areas for its multidisciplinary function. The membership consists of AFST-specific teaching faculty and non-AFST teaching members. The associate members to the AFST Department include Samuel Kelley and Paul van der Veur, Communication Studies; Bill Buxton, Literacy; Michelle Kelly, Foundation and Social Advocacy; Kassim Kone, Sociology/Anthropology; Emmanuel Nelson and Matthew Lessig, English; Christopher Latimer, Adrian Hull and Peggy Murphy, Political Science; Ibipo 10hnston­ Anumonwo, Geography; Keith Smith, EOP; Susan Rayl and Yomee Lee, Exercise Science and Sports Studies; Edward Moore, Performing Arts; Mechthild Nagel, Philosophy and Seth N. Asumah, Political Science and Chairperson. The Year in Review: The Africana Studies Department at SUNY Cortland maintains its raison d'etre not only as a unit for producing majors, but also as an agency for advocating social justice and liberatory education. Nationally, new graduate programs in Africana studies are emerging. Among these graduate programs are Temple University, University of Massachusetts, Amherst; New York University, University of California, Harvard University, Yale University, Cornell University, SUNY Albany, SUNY Binghamton and Syracuse University. A number of our graduates have attended graduate schools in some of these institutions. Many institutions of higher learning are reaffirming the urgency of taking Africana Studies more seriously, and SUNY Cortland has joined the ranks of these institutions that have recently elevated Africana Studies from the margins to a department status. As stated in the media regionally and nationally, students, Africanists and Africologiests have applauded this College's efforts for taking the steps in sustaining the discipline at SUNY Cortland. The functional and symbolic relevance for action cannot be overemphasized in these times of internationalization and the concomitant efforts to reach cultural competence. This year was marked, partiCUlarly, by significant achievements in the Department. Yet, as usual, there were some disappointments too. Counted among the significant achievements were: a) two members of the Department received the State University of New York's highest ranks-Distinguished Teaching Professor and Distinguished Service Professor; b) the Department's associate membership increased with the addition of Dr. Christopher Latimer and Ms. Peggy Murphy; c) the Gospel Choir (AAS 241) visited Canada and started planning for touring Germany in 2009 ( The Student Government Association has pledged $20,000.00 to support this trip); d) the Department promoted diversity by organizing over 14 programs during Black History Month for SUNY Cortland, co-organized 1 Martin Luther King Day, and organized the Diversity Film Forum; e) promoted diversity by leading the campus in running the Summer Institute for Infusing Diversity Into the Curriculum; f) created three new courses--AAS 112, Beginning Blues Guitar, AAS 142, Rock, Jazz, and Blues Ensemble, and AAS 404, Constitutional Law lI-Civil Liberties; g) the Department's members collaborated with the Office of International Programs to complete the establishment of a new study-abroad program with the University of Ghana and the Department Chair visited the University of Ghana in October 2007 to complete the MOU; h) the Department continued to develop an institutional link with the TransAfrica Project; i) three associate members of the Department and the Chair presented papers at the New York Africana Studies Association (NYASA) Conference at Cornell University; j) curriculum development efforts in creating a new major-Africana Music Industry and Culture are almost completed; k) three associate members of the Department presented their works at Sandwich Seminars during Black History Month; 1) four associate members presented their research during Scholars Day. m) the Department Chair has been invited as one of the keynote presenters at an International Conference, Building Bridges 111: Multiculturalism and Diversity in Barcelona, Spain. Counted among the disappointments were: a) the retirement of Dr. Don Wright; b) the resignation of Dr. Rachel Reinhard from the College; c) the continual state of ambivalence by some associate members of the Department; d) limited number of course offerings in the Department because of dependence on primary departments; c) no full-time faculty lines for the Department; and d) general structural paralysis and systemic dysfunctions from organizational standpoint with specific reference to limited resources. AFST Department's Course Offerings: This academic year, 36 courses with 50 total sections were offered by the Africana Studies Department in Fall 2007 and Spring 2008. Africana Studies courses serviced over 329 students for the past academic year. Our courses also served students emolled in general education courses (GE6, GE7 and GEll), upper level courses, and requirements for various majors. Progress in Improving Diversity: I. The Summer Institute for Infusing Diversity Into the Curriculum: The Africana Studies Department has championed the diversity and cultural competence endeavors on this campus more than any other department. The Summer Institute for Infusing Diversity into the Curriculum was the first of its kind to be developed in 2001. Since then, other institutes such as the Ethics Institute and Teaching Effectiveness (Technology) Institute have emerged. The Director of the Summer institute for Infusing Diversity into the Curriculum, Dr. Seth Asumah, administers the program and facilitates the seminars with other associate members of the Department, Drs. Mecke Nagel and Michelle Kelly. Over 85 SUNY Cortland faculty members have benefited from this institute in the past seven years. The Institute's success could be attributable to leadership from the Africana Studies Department and financial support from the Provost's Office for faculty participation, consumable recourses, supplies, and stipends. 2 II. The African American Chorale: Gospel Choir, AAS 241 The intricacy of African American music, gospel in particular, in any Africana Studies program cannot be overemphasized. The African American Chorale has demonstrated it raison d' etre since the AFST Department assumed control of the Choir from the Performing Arts Department many years ago. The Chorale's international trip to Toronto, Canada was a raving success. Three of the objectives of the Canada trip were to expose our students to global diversity, bring gospel music to Canada, and promote SUNY Cortland in the international arena. The Choir's Canadian tour was a program that our 47 diverse student body will always add to their educational experience even after they have left Cortland. Our spring concert was dedicated to "Cultural Celebration and Diversity" and attendees were not disappointed. The African American Chorale, in addition to performing at area schools and churches to strengthen its involvement in community building and diversity, represented COltland at the regional concerts too. Furthermore, the Student Govenunent Association voted in April 2008 to support the Choir's tour of Germany in 2009 with a financial assistance of $20,000.00. It is indubitable that at the apogee of events and entities that promote diversity and concerted efforts to improve the campus climate is the Gospel Choir. This was another very successful year for the SUNY Cortland Gospel Choir. III. Africana Dance Ensemble: AAS 106 Dr. Yomee Lee, the instructor for this course was on leave from Cortland but enjoyed her Fulbright scholarship in South Korea, where she taught this course, Africana Dance, to Koreans. She was proud to promote SUNY Cortland and this Africana Studies course in South Korea. IV. Rock, Jazz and Blues Ensemble: AAS 142 The Africana Studies Department offered the course on Rock, Jazz and Blues Ensemble again this year. Our students and faculty have found another avenue for promoting diversity through music on campus and down town. This Ensemble performed in a series of concerts on campus and at Lucky's nightclub. V. Black History Month: The Africana Studies Department again maintained it role as a powerhouse in promoting diversity and sustaining the zeitgeist of the Africana World at SUNY Cortland during Black History Month 2008. As an academic unit, the Department has led this campus in presenting faculty researches in Sandwich Seminars every year during Black History Month. This year was no different from the previous years. Our Sandwich Seminar series included, "Electing an American President: Reconsidering Race, Gender, and Religion in the Politics of Change" by 3 Drs. Kathy Russell, Karla Alwes, Sam Kelley, Seth N. Asumah and Mr. Keith Smith; "A Forgotten People" was presented by Dr. Adrian Hall; "How Do You Spell Murder" A Film Discussion by Dr. Mecke Nagel; "African Americans Oppositional Identity and Black-White Academic Performance Discrepancy," by Dr. Gerald Porter; "Black Men' s Guide for Survival at SUNY Cortland" was presented by Men of Value and Excellent (MOVE); "Primary Health Care and Incidence of HIVIAIDS in Sub Saharan Africa," by Dr. Ben Wodi; "Samuel Ringgold Ward: An African American Abolitionist Preacher" was presented by Dr. Charles Maxfield; "Liberia: Rebuilding
Recommended publications
  • The Blues Blue
    03-0105_ETF_46_56 2/13/03 2:15 PM Page 56 A grammatical Conundrum the blues Using “blue” and “the blues” Glossary to denote sadness is not recent BACKBEAT—a rhythmic emphasis on the second and fourth beats of a measure. English slang. The word blue BAR—a musical measure, which is a repeated rhythmic pattern of several beats, usually four quarter notes (4/4) for the blues. The blues usually has twelve bars per was associated with sadness verse. and melancholia in Eliza- BLUE NOTE—the slight lowering downward, usually of the third or seventh notes, of a major scale. Some blues musicians, especially singers, guitarists and bethan England. The Ameri- harmonica players, bend notes upward to reach the blue note. can writer Washington Irving CHOPS—the various patterns that a musician plays, including basic scales. When blues musicians get together for jam sessions, players of the same instrument used the term the blues in sometimes engage in musical duels in front of a rhythm section to see who has the “hottest chops” (plays best). 1807. Grammatically speak- CHORD—a combination of notes played at the same time. ing, however, the term the CHORD PROGRESSION—the use of a series of chords over a song verse that is repeated for each verse. blues is a conundrum: should FIELD HOLLERS—songs that African-Americans sang as they worked, first as it be treated grammatically slaves, then as freed laborers, in which the workers would sing a phrase in response to a line sung by the song leader. as a singular or plural noun? GOSPEL MUSIC—a style of religious music heard in some black churches that The Merriam-Webster una- contains call-and-response arrangements similar to field hollers.
    [Show full text]
  • Blues Poetry As a Celebration of African American Folk Art
    ABSTRACT RUTTER, EMILY R. Blues-Inspired Poetry: Jean Toomer, Sterling Brown and the BLKARTSOUTH Collective. (Under the direction of Professor Thomas Lisk). Adopting the blues to lyric poetry marks an implicit rejection of the conventions of the Anglo-American literary establishment, and asserts that African American folk traditions are an equally valuable source of poetic inspiration. During the Harlem Renaissance, Jean Toomer’s Cane (1923) exemplified the incorporation of African American folk forms such as the blues with conventional English poetics. His contemporary Sterling Brown similarly created hybrid forms in Southern Road (1932) that combined African American oral and aural traditions with Anglo-American ones. These texts suggest that blues music represents a complex and sophisticated lyrical form, and its thematic tropes poignantly express the history and contemporary realities of black Americans. In the late 1960s, members of New Orleans’s BLKARTSOUTH were influenced by African American musical traditions as a reflection of historical experience and lyrical expression, and their poetry emphasizes the importance of the blues. Led by Kalamu Ya Salaam and Tom Dent, these poets were part of the Black Arts Movement whose political objectives emphasized a separation from the conventions of the Anglo-American literary establishment, and their work suggests a rejection of traditional English poetics. Although they did not openly acknowledge their literary debt to Toomer and Brown, Cane and Southern Road laid the lyrical foundation for the blues-inspired poetry of Salaam, Dent and their colleagues. What unites these generations of poets is their adoption of the blues theme of resilience in response to the social, political and cultural issues of their eras.
    [Show full text]
  • Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937
    An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937 Peter Stanfield Cinema Journal, 41, Number 2, Winter 2002, pp. 84-108 (Article) Published by University of Texas Press DOI: 10.1353/cj.2002.0004 For additional information about this article http://muse.jhu.edu/journals/cj/summary/v041/41.2stanfield.html Access Provided by Amherst College at 09/03/11 7:59PM GMT An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929–1937 by Peter Stanfield This essay considers how Hollywood presented the song St. Louis Blues in a num- ber of movies during the early to mid-1930s. It argues that the tune’s history and accumulated use in films enabled Hollywood to employ it in an increasingly com- plex manner to evoke essential questions about female sexuality, class, and race. Recent critical writing on American cinema has focused attention on the struc- tures of racial coding of gender and on the ways in which moral transgressions are routinely characterized as “black.” As Eric Lott points out in his analysis of race and film noir: “Raced metaphors in popular life are as indispensable and invisible as the colored bodies who give rise to and move in the shadows of those usages.” Lott aims to “enlarge the frame” of work conducted by Toni Morrison and Ken- neth Warren on how “racial tropes and the presence of African Americans have shaped the sense and structure of American cultural products that seem to have nothing to do with race.”1 Specifically, Lott builds on Manthia D iawara’s argument that “film is noir if it puts into play light and dark in order to exhibit a people who become ‘black’ because of their ‘shady’ moral behaviour.2 E.
    [Show full text]
  • ENG 229: the Black Vernacular FSLT Field-Of-Study Proposal
    ENG 229: The Black Vernacular FSLT Field-of-Study Proposal Proposed field of study. Literary Studies Course number. English 229 Course title. The Black Vernacular Catalog description. Introduction to black vernacular oral and written art. Investigation of the black vernacular tradition in the wider context of American culture. Prerequisites. English 103 with a grade of C or better or exemption. Credit. 1 unit. Estimate of student enrollment. 25 By whom and when course will be offered. Bertram Ashe, once every other year. Staffing implications. None Adequacy of resources. Existing library and technological resources are adequate. Interdepartmental and interschool implications. None. Contact person. Louis Tremaine FSLT. This course meets the criteria of the FSLT requirement in several ways. While “concerning itself with verbal texts read as structures of meaning,” it greatly extends students’ idea of what counts as a “verbal text” and their understanding of how one’s reading practices shift in moving from one kind of text to another. By the nature of the material it necessarily exposes students to the methods and perspectives of formalist criticism, genre criticism, and critical race studies. The works studied in the course are placed squarely in relation to their historical and cultural contexts. Students are required to produce close textual analysis in writing in amounts consistent with our other 200-level FSLT courses. A syllabus is attached. Bertram D. Ashe American Studies Program University of Richmond Fall, 2007 The Black Vernacular “In African American literature, the vernacular refers to the church songs, blues, ballads, sermons, stories, and, in our own era, rap songs that are part of the oral, not primarily the literate (or written down) tradition of black expression.
    [Show full text]
  • A Channel Guide
    Intelsat is the First MEDIA Choice In Africa Are you ready to provide top media services and deliver optimal video experience to your growing audiences? With 552 channels, including 50 in HD and approximately 192 free to air (FTA) channels, Intelsat 20 (IS-20), Africa’s leading direct-to- home (DTH) video neighborhood, can empower you to: Connect with Expand Stay agile with nearly 40 million your digital ever-evolving households broadcasting reach technologies From sub-Saharan Africa to Western Europe, millions of households have been enjoying the superior video distribution from the IS-20 Ku-band video neighborhood situated at 68.5°E orbital location. Intelsat 20 is the enabler for your TV future. Get on board today. IS-20 Channel Guide 2 CHANNEL ENC FR P CHANNEL ENC FR P 947 Irdeto 11170 H Bonang TV FTA 12562 H 1 Magic South Africa Irdeto 11514 H Boomerang EMEA Irdeto 11634 V 1 Magic South Africa Irdeto 11674 H Botswana TV FTA 12634 V 1485 Radio Today Irdeto 11474 H Botswana TV FTA 12657 V 1KZN TV FTA 11474 V Botswana TV Irdeto 11474 H 1KZN TV Irdeto 11594 H Bride TV FTA 12682 H Nagravi- Brother Fire TV FTA 12562 H 1KZN TV sion 11514 V Brother Fire TV FTA 12602 V 5 FM FTA 11514 V Builders Radio FTA 11514 V 5 FM Irdeto 11594 H BusinessDay TV Irdeto 11634 V ABN FTA 12562 H BVN Europa Irdeto 11010 H Access TV FTA 12634 V Canal CVV International FTA 12682 H Ackermans Stores FTA 11514 V Cape Town TV Irdeto 11634 V ACNN FTA 12562 H CapeTalk Irdeto 11474 H Africa Magic Epic Irdeto 11474 H Capricorn FM Irdeto 11170 H Africa Magic Family Irdeto
    [Show full text]
  • Chicago Beau, Il Viaggiatore Del Blues. Interview by Gianni Franchi
    Chicago Beau, il viaggiatore del Blues. interview by Gianni Franchi. You've toured constantly around the world , which was the reason you never stopped? The popularity of Blues goes in cycles. There has always been a kind of base audience that are true Blues Lovers, and fans of highly visible Blues artists like Buddy Guy, BB King, Koko Taylor and others who have been around for years. And those performers have often experienced periods with less work. So, a Blues artist must keep busy, and play wherever in the world, whenever. Unfortunately, Blues is the least promoted music. So, as Sonny Boy Williamson said, ‘You got to catch it while it’s hot, if you let it cool, I won’t be worth a damn!’ And so, I’ll only stop when too old to perform. Which is the country where you found yourself most at ease and why? Each country has something different to offer. I have a great appreciation for warm climates. I think that is naturally in my DNA. I like Quebec, and Canada in general because of the diversity. I had great experiences in Iceland, recording, and live performances. As you know I lived in Italy for five years primarily because of the beauty of Italian people, their rich cultural heritage, and their appreciation of Black Music and culture. You know the expression, ‘different reason, different season.’ Seasons can be, metaphorically, a person’s age. Where you are in your life. Things are always changing. And from the musical point of view which one did you think was the best? Italy, Quebec, Senegal, Iceland, Kenya.
    [Show full text]
  • Extensions of Remarks 12897 Extensions of Remarks
    June 28, 2000 EXTENSIONS OF REMARKS 12897 EXTENSIONS OF REMARKS NATIONAL JUNETEENTH The Juneteenth Festival has grown to be a ovations of existing ones has always been left CELEBRATION vitally important part of not only Baltimore, but to the states and local school districts. And it African-American culture as well. True to tradi- should continue to be that way. HON. ELIJAH E. CUMMINGS tion, this year’s celebration proved to be as Instead, the Classroom Modernization Act is OF MARYLAND exciting as ever. responsible to the needs of the American tax- IN THE HOUSE OF REPRESENTATIVES I congratulate Juneteenth National Museum payer, our school boards, and our children. Tuesday, June 27, 2000 on a successful Juneteenth celebration! It is responsible to the American taxpayer f because it provides for a limited program Mr. CUMMINGS. Mr. Speaker, today I pay aimed at fulfilling the most important needs of tribute to the Juneteenth National Museum, lo- IN HONOR OF THE LATE WILLIAM America’s schools. We do not open the fed- cated in my home district of Baltimore, MD., SENQUIZ eral coffers to a broad, new—and potentially and in observance of the National Juneteenth very costly—construction plan. Celebration. HON. DENNIS J. KUCINICH It is responsible to our school boards be- On June 17–18, 2000, the Juneteenth Na- OF OHIO cause it doesn’t make promises the federal tional Museum held its 12th annual IN THE HOUSE OF REPRESENTATIVES government cannot keep. Instead of promising ‘‘Juneteenth’’ celebration commemorating the Tuesday, June 27, 2000 them new schools paid for with federal dollars, Emancipation Proclamation.
    [Show full text]
  • September 2019
    official newsletter of the city of suwanee, ge rgia INSIDE suwanee.com September2019 this issue… ONE, COME ME ALL 3 CO •TO THE• ! WORLD FAMOUS Kick off the weekend at the Suwanee Fest Parade! 4 Over 12 hours of TOWN CENTER PARK live entertainment! SEPT. 21ST SEPT. 22ND 6 9AM - 7PM & NOON - 5PM PARADE 9AM SUWANEEFEST.COM PRESENTED BY: 200+ vendors & SPONSORED BY: exhibitors! SUWANEE FEST SCHEDULE SATURDAY SEPTEMBER 21 8am – 8pm Free shuttle to/from offsite parking 9am PARADE 10am – 7pm Arts & crafts exhibitors, inflatable rides, family fun zone, COME ONE, COME ALL, food vendors TO THE WORLD FAMOUS 10:30am – 7pm SUWANEE FEST! Free on-stage entertainment Our annual two-day celebration of community returns to Town Center Park September 21 and 22! 5:30pm HEADLINER Nearly 200 vendors and exhibitors, 15 entertainment Queen Nation acts, and one amazing parade are just some of the highlights of this beloved fall tradition. ★ Usher in the weekend by joining us in the Saturday 1pm traditional one-mile parade down Main Street and MYSTERY into Town Center Park! Cash prizes are awarded each year to floats and participants in a variety of PERFORMER! categories. Even if you aren’t marching as part of a Check out Suwanee’s social media club or organization, you can join the Red Wagon feeds on Tuesday, August 27 for the announcement! Brigade! CityofSuwanee CityofSuwaneeGA ★ Suwanee Fest vendor and exhibitors offer a variety of hand-crafted items and delicious delights. Festival CityofSuwanee exhibitors include fine artists, talented craftspeople, food vendors who have a flair for flavor, and generous sponsors.
    [Show full text]
  • FOR RELEASE: Wednesday, Feb. 5, 2014 AMERICAN AIRLINES
    Martha Pantín 305-520- 3197 [email protected] FOR RELEASE: Wednesday, Feb. 5, 2014 AMERICAN AIRLINES CELEBRATES BLACK HISTORY MONTH BY PAYING TRIBUTE TO ICONIC BLACK FILMS FORT WORTH, Texas – American Airlines, a global company that connects people from different cultures and communities around the world, is celebrating Black History Month by paying tribute to timeless African-American films that shape our culture and enhance American cinema. During the months of February and March, the airline’s in-flight entertainment will focus on African-American films, playing must-see movies such as “Lady Sings the Blues,” “Lee Daniels’ The Butler,” “Baggage Claim,” “Think Like a Man” and “12 Years A Slave.” “Our airline celebrates equality and strives to be as diverse as the customers we serve and the employees who make our business successful,” said Fernand Fernandez, American’s vice president of Global Marketing. “American’s overall commitment to diverse hiring, world-class supplier diversity initiatives and ongoing support in the communities we serve demonstrates how Black history is celebrated every day.” In honoring timeless African-American films, customers are invited to participate in a sweepstakes for the opportunity to win a trip for two to New York to attend the 2014 American Black Film Festival. Learn more at aa.com/iconicblackfilms. During Black History Month, American Way, the award-winning in-flight magazine of American Airlines, will feature Los Angeles Clippers All-Star point guard Chris Paul on its cover, as well as an article on entrepreneur Sheila Johnson, co-founder of BET turned sports team owner, and an article authored by a United Negro College Fund (UNCF) student.
    [Show full text]
  • June 19, 2020 Juneteenth
    June 19, 2020 Juneteenth: A Statement from the Santa Clara County Office of Education. Today marks a momentous date in United States history and provides us with an important opportunity to reflect and honor its significance. June 19th, also recognized as “Juneteenth,” is the oldest known celebration of the ending of slavery. It was on this day in 1865, more than two years after the Emancipation Proclamation of January 1, 1863, that Union soldiers arrived in Galveston, Texas to announce the Civil War had ended and the enslaved were now free. Juneteenth Day celebrations have since been held to commemorate African American freedom from slavery. Honoring this day, more than 150 years later, helps us learn our history and better understand the experiences of African Americans that shaped this nation. It also gives us an opportunity to reflect on what it really means to be free. Inequitable policies and systemic racism have proliferated oppressive behaviors and mindsets that prevent true freedom for all, rather than just some. We recognize the atrocity of slavery, the work that needs to be done to eradicate systemic oppression, and strive for the healing that has to happen for us to move forward in unity. This tradition of celebrating Juneteenth acknowledges and condemns the atrocities and degradation of our shared past and honors resilience in the face of injustice and inhumanity, for now and future generations. We simultaneously acknowledge the historical relevance of this significant event and the generational trauma that accompanies being subject to racism, discrimination and prejudice as a barrier to positive mental and physical health and well-being, economic opportunity, and academic achievement.
    [Show full text]
  • Spike Lee and Commentaries on His Work. Occasional Papers Series 2, No.1
    DOCUMENT RESUME ED 353 622. CS 508 049 AUTHOR Hudson, Herman C., Ed. TITLE Spike Lee and Commentaries on His Work. Occasional Papers Series 2, No.1. INSTITUTION Indiana Univ., Bloomington. Afro-American Studies. PUB DATE 92 NOTE 92p.; A Martha C. Kraft Professorship Publication. PUB TYPE Collected Works General (020) Reports Evaluative /Feasibility (142) Reference Materials Bibliographies (131) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS Auteurism; *Black Community; *Black Culture; Black History; Cultural Images; Film Criticism; *Film Production Specialists; *Film Study; Popular Culture; Racial Relations; Urban Culture IDENTIFIERS *African Americans; *Lee (Spike) ABSTRACT This monograph presents a critical essay and a comprehensive 454-item bibliography on the contemporary African-American filmmaker, Spike Lee. The essay, entitled "African-American Folklore and Cultural History in the Films of Spike Lee" (Gloria J. Gibson-Hudson), analyzes Lee's filmmaking approach from a cultural and historical perspective. The essay identifies Lee as a contemporary storyteller weaving his tales with the aid of a camera and demonstrates how his film narratives draw on both the historic and contemporary experiences of African Americans. The essay discusses five of Lee's films (made between 1984 and 1991) thematically, categorizing them under intra-racal issues and inter-racial issues. The bibliography (by Grace Jackson-Brown) provides citations from both scholarly and popular literature, encompassing newspaper articles, journal and magazine articles, chapters or sections from books, and reviews of films (most of the citations date from the last 5 years). The extensive 49-page bibliography is intended to be a comprehensive guide to literature that will assist students and researchers with an interest in Spike Lee.
    [Show full text]
  • " African Blues": the Sound and History of a Transatlantic Discourse
    “African Blues”: The Sound and History of a Transatlantic Discourse A thesis submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Saul Meyerson-Knox BA, Guilford College, 2007 Committee Chair: Stefan Fiol, PhD Abstract This thesis explores the musical style known as “African Blues” in terms of its historical and social implications. Contemporary West African music sold as “African Blues” has become commercially successful in the West in part because of popular notions of the connection between American blues and African music. Significant scholarship has attempted to cite the “home of the blues” in Africa and prove the retention of African music traits in the blues; however much of this is based on problematic assumptions and preconceived notions of “the blues.” Since the earliest studies, “the blues” has been grounded in discourse of racial difference, authenticity, and origin-seeking, which have characterized the blues narrative and the conceptualization of the music. This study shows how the bi-directional movement of music has been used by scholars, record companies, and performing artist for different reasons without full consideration of its historical implications. i Copyright © 2013 by Saul Meyerson-Knox All rights reserved. ii Acknowledgements I would like to express my utmost gratitude to my advisor, Dr. Stefan Fiol for his support, inspiration, and enthusiasm. Dr. Fiol introduced me to the field of ethnomusicology, and his courses and performance labs have changed the way I think about music.
    [Show full text]