Social Movements and the Sound of Solidarity in the African Diaspora
Publication Year: 2013
Published by: NYU Press
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...overwhelming honor to thank the many people who have oriented me on my life’s course. To imagine the many hours spent on my behalf by the individuals and communities acknowledged here is humbling. The names on the printed page do not do justice to most of the relationships that I signal, but I nonetheless take this opportunity to try to make your efforts legible. In a very real...
Introduction: Anthem: Toward a Sound Franchise
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...Music is a method. Beyond its many pleasures, music allows us to do and imagine things that may otherwise be unimaginable or seem impossible. It is more than sound; it is a complex system of mean(ing)s and ends that mediate our relationships to one another, to space, to our...
1. From Race to Nation: “Ethiopia” and Pan-African Pageantry in the UNIA
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...It was the thirteenth of August 1920, nearly two weeks into the monthlong International Convention of the Negro Peoples of the World held in Harlem, New York. The stage was emblazoned with the colors of red, black, and green, and the two-thousand-member audience sat in eager anticipation of their entrance. On that day the Universal Negro...
2. Extending Diaspora: The NAACP and Up-“Lift” Cultures in the Interwar Black Pacific
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...In 1919 Reverend Henry Curtis McDowell, his wife Bessie Fonvielle McDowell, and their daughter arrived in Portuguese-colonized Angola. They were sent by the American Board of Congregational Missions, and their goal was to establish a ministry station run exclusively by African Americans. By 1922 their task was accomplished with the development...
3. Songs of Free Men: The Sound Migrations of “Ol’ Man River”
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...“We know about this struggle,” wrote Paul Robeson. His comments, written during World War II, brought into stark relief the conditions that threatened the practice of freedom on a global scale, and he articulated them through a communal language (“we”) balanced by his own experiences and knowledges: “We know what oppression means...
4. Women’s Work: “We Shall Overcome” and the Culture of the Picket Line
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...Riding high on their international acclaim, Paul Robeson and Lawrence Brown performed a special concert for the Highlander Folk School in Washington, D.C., on May 10, 1942. Advertised as Robeson “in a program of Negro Folk Song,” the event also included performances by Huddie “Leadbelly” Ledbetter, a well-known blues musician...
5. Soul Intact: CORE, Conversions, and Covers of “To Be Young, Gifted and Black”
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...In a 1963 picture captured by members of the Highlander Folk School, Nina Simone grips the hands of the man and woman to her left and right while those around her sing (Figure 5.1). This tight space is one of performance, and although she was a solo artist, it was not hers alone. Simone is here sandwiched between two formidable Black activists...
6. Sounds of Exile: “Nkosi Sikelel’ iAfrika” and ANC Ambassadors
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...Carnegie Hall was like a second home for Nina Simone. She performed there on more than ten occasions, each time as a more accomplished and higher profile artist. Yet it was her May 1961 show that marked an early “milestone” in her career and made an indelible mark on her personal life. The event was a benefit for a Harlem church, and...
Conclusion: The Last Anthem: Resonance, Legacy, and Loss at the Close of the Century
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...lead-up to and effects of urban conflict in segregated Brooklyn. Infused within this visual catalogue was a soundtrack that punctuated the scenes of the film and carried its political power onto the radio and into the ears of millions across the country. Far and away, the most enduring single was track 1: Public Enemy’s “Fight the Power.” Beginning with an original speech by Chicago political activist Thomas Todd...
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About the Author
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...Shana L. Redmond is Assistant Professor of American Studies and Ethnicity at the University of Southern California. She is a former musician and labor organizer, and a Midwest native...
Page Count: 368
Publication Year: 2013