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Articles 1 - 8 of 8
Full-Text Articles in Arts and Humanities
Jazz On The River By William Howland Kenney (Book Review), Gene H. Anderson
Jazz On The River By William Howland Kenney (Book Review), Gene H. Anderson
Music Faculty Publications
Jazz has not always been "America's classical music." In the first decades of the twentieth century it was regarded by much of the black and white Establishment as unsettling, provocative, even dangerous - attitudes exacerbated by the social upheaval of the Great Migration around the time of World War I. Enter black riverboat jazz bands to negotiate the color line: to help "white Americans approach in an oblique manner underlying social and cultural changes that were too deep and too heavily laden with pain, guilt, and fear for most citizens to discuss openly" (5). Such is the thesis of Jazz …
Childhood Trauma And Its Reverberations In Bebe Moore Campbell's Your Blues Ain't Like Mine, Suzanne W. Jones
Childhood Trauma And Its Reverberations In Bebe Moore Campbell's Your Blues Ain't Like Mine, Suzanne W. Jones
English Faculty Publications
Novelist Bebe Moore Campbell was only five when Emmett Till was murdered on August 28, 1955. But in Your Blues Ain't Like Mine (1992) she seeks to answer the question that black teenagers in Mississippi, and indeed many people from all over the United States, asked after seeing the photograph of Till's mutilated and bloated body: "How could they do that to him? He's only a boy" (Dittmer 58). Campbell embraces the view that Lillian Smith expressed in Killers of the Dream (1949): "The warped, distorted frame we have put around every Negro child from birth is around every white …
These - Are - The "Breaks": A Roundtable Discussion On Teaching The Post-Soul Aesthetic, Bertram D. Ashe, Crystal Anderson, Mark Anthony Neal, Evie Shockley, Alexander Weheliye
These - Are - The "Breaks": A Roundtable Discussion On Teaching The Post-Soul Aesthetic, Bertram D. Ashe, Crystal Anderson, Mark Anthony Neal, Evie Shockley, Alexander Weheliye
English Faculty Publications
We met at Duke University - mid-summer, in the mid Atlantic, at mid-campus - to talk about teaching courses that focused on the post-soul aesthetic. We met outside the John Hope Franklin Center, and soon enough we five youngish black professors were walking a hallway towards a conference room near the African and African American Studies program. Not at all surprisingly, the walls of the hallway were lined with framed photographs of the esteemed John Hope Franklin at various stages throughout his long and storied career. For me, given the topic I was about to raise among these professional colleagues, …
Theorizing The Post-Soul Aesthetic: An Introduction, Bertram D. Ashe
Theorizing The Post-Soul Aesthetic: An Introduction, Bertram D. Ashe
English Faculty Publications
It's time. Clearly, it's time. As I begin this introduction, in the spring of 2006, landmark anniversaries press in on me from every side: 20 years ago, Greg Tate wrote "Cult-Nats Meet Freaky-Deke: the Return of the Black Aesthetic" for the Village Voice in the fall of 1986. And Spike Lee's She's Gotta Have It - that totemic post-soul anthem - was released in the summer of 1986, as well. More personally, I first taught Trey Ellis's essay "The New Black Aesthetic" in 1991,15 years ago, and I inaugurated my post-soul aesthetic course in the Spring semester of 1996 - …
"I Put The Tale Back Where I Found It": Feeling The Past Through "The Warmth Of The Human Voice", Daryl Cumber Dance
"I Put The Tale Back Where I Found It": Feeling The Past Through "The Warmth Of The Human Voice", Daryl Cumber Dance
English Faculty Publications
In this article, I examine my revelations and growth related to folk culture and literature connected to the African American community. I borrow from and play on the Sudanese formulaic ending for the folktale; it seemed to me appropriate - even obligatory- that "I put the tale back where I found it." This maxim is symbolic, reflecting what I find one of the most characteristic elements of Black folklore - that is, the focus on the group, the community, in terms of the source of the historical situation of the tale; the moral lesson; the content, style, and delivery; and …
Constructing Black Selves: Caribbean American Narratives And The Second Generation By Lisa D. Mcgill (Book Review), Daryl Cumber Dance
Constructing Black Selves: Caribbean American Narratives And The Second Generation By Lisa D. Mcgill (Book Review), Daryl Cumber Dance
English Faculty Publications
Using second generation Americans Harry Belafonte, Paule Marshall, Audre Lorde, Piri Thomas, and the meringue hip hop group Proyecto Uno, Lisa D. McGill considers in Constructing Black Selves: Caribbean American Narratives and the Second Generation the issues of identity formation of those whose heritage ultimately includes Africa, the Caribbean, and the United States, most often New York City. Though her subjects come from different national, racial, and language backgrounds; though they have made their names in different media; and though they have different views of race, identity, and culture, she convincingly makes the argument that "African America becomes powerful site …
Sucking Salt: Caribbean Women Writers, Migration, And Survival By Meredith M. Gadsby (Book Review), Daryl Cumber Dance
Sucking Salt: Caribbean Women Writers, Migration, And Survival By Meredith M. Gadsby (Book Review), Daryl Cumber Dance
English Faculty Publications
The folk will tell you that salt can either save you or destroy you. Toni Cade Bambara's Velma of The Salteaters realized that her survival depended on learning "the difference between eating salt as an antidote to snakebite and turning into salt, succumbing to the serpent." The lesson of similar folk wisdom is the subject of Meredith M. Gasby's Sucking Salt, where she propses as a new framework for the examination of Caribbean women's writing the survival techiniques implied in "sucking salt," techiniques suggested in her aunt's reflections on people she knew. Tantie expounded: "Little salt won't kill …
'The Senator And The Socialite: The True Story Of America's First Black Dynasty,' By Lawrence Otis Graham, Eric S. Yellin
'The Senator And The Socialite: The True Story Of America's First Black Dynasty,' By Lawrence Otis Graham, Eric S. Yellin
History Faculty Publications
Lawrence Otis Graham attempts to tell the important story of the Bruces and their legacy in The Senator and the Socialite: The True Story of America’s First Black Dynasty. Starting his story before the Civil War, Graham follows the “First Black Dynasty” through its ultimate fall from grace in mid-twentieth-century New York City. As with his previous bestseller, Our Kind of People: Inside America’s Black Upper Class (1999), Graham takes on the ambitious task of capturing the meaning and importance of an underappreciated group of American’s.