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The Black Arts Enterprise and the Production of African American Poetry offers a close examination of the literary culture in which the Black Arts Movement’s poets (including Amiri Baraka, Nikki Giovanni, Sonia Sanchez, Larry Neal, Haki Madhubuti, Carolyn Rodgers, and others) operated and of the small presses and literary anthologies that first published the movement’s authors. The book also describes the role of the Black Arts Movement in reintroducing readers to poets such as Langston Hughes, Robert Hayden, Margaret Walker, and Phillis Wheatley. Focusing on the material production of Black Arts poetry, the book combines genetic criticism with cultural history to shed new light on the period, its publishing culture, and the writing and editing practices of its participants. Howard Rambsy II demonstrates how significant circulation and format of black poetic texts—not simply their content—were to the formation of an artistic movement. The book goes on to examine other significant influences on the formation of Black Arts discourse, including such factors as an emerging nationalist ideology and figures such as John Coltrane and Malcolm X.
Crossroads in Global Performance and Popular Culture
A shrewdly designed, generously expansive, timely contribution to our understanding of how 'black' expression continues to define and defy the contours of global (post)modernity. The essays argue persuasively for a transnational ethos binding disparate African and diasporic enactments, and together provide a robust conversation about the nature, history, future, and even possibility of 'blackness' as a distinctive mode of cultural practice. --Kimberly Benston, author of Performing Blackness "Black Cultural Traffic is nothing less than our generation's manifesto on black performance and popular culture. With a distinguished roster of contributors and topics ranging across academic disciplines and the arts (including commentary on film, music, literature, theater, television, and visual cultures), this volume is not only required reading for scholars serious about the various dimensions of black performance, it is also a timely and necessary teaching tool. It captures the excitement and intellectual innovation of a field that has come of age. Kudos!" --Dwight A. McBride, author of Why I Hate Abercrombie & Fitch "The explosion of interest in black popular culture studies in the past fifteen years has left a significant need for a reader that reflects this new scholarly energy. Black Cultural Traffic answers that need." --Mark Anthony Neal, author of Songs in the Key of Black Life "A revolutionary anthology that will be widely read and taught. It crisscrosses continents and cultures and examines confluences and influences of black popular culture -- music, dance, theatre, television, fashion and film. It also adds a new dimension to current discussions of racial, ethnic, and national identity." --Horace Porter, author of The Making of a Black Scholar
Race and Music in Chicago, 1900-1967
Amy Absher’s The Black Musician and the White City tells the story of African American musicians in Chicago during the mid-twentieth century. While depicting the segregated city before World War II, Absher traces the migration of black musicians, both men and women and both classical and vernacular performers, from the American South to Chicago during the 1930s to 1950s.Absher’s work diverges from existing studies in three ways: First, she takes the history beyond the study of jazz and blues by examining the significant role that classically trained black musicians played in building the Chicago South Side community. By acknowledging the presence and importance of classical musicians, Absher argues that black migrants in Chicago had diverse education and economic backgrounds but found common cause in the city’s music community. Second, Absher brings numerous maps to the history, illustrating the relationship between Chicago’s physical lines of segregation and the geography of black music in the city over the years. Third, Absher’s use of archival sources is both extensive and original, drawing on manuscript and oral history collections at the Center for Black Music Research in Chicago, Columbia University, Rutgers’s Institute of Jazz Studies, and Tulane’s Hogan Jazz Archive. By approaching the Chicago black musical community from these previously untapped angles, Absher offers a history that goes beyond the retelling of the achievements of the famous musicians by discussing musicians as a group. In The Black Musician and the White City, black musicians are the leading actors, thinkers, organizers, and critics of their own story.
The Ritual Murder Accusation at the Limit of Jewish History
The ritual murder accusation is one of a series of myths that fall under the label blood libel, and describes the medieval legend that Jews require Christian blood for obscure religious purposes and are capable of committing murder to obtain it. This malicious myth continues to have an explosive afterlife in the public sphere, where Sarah Palin's 2011 gaffe is only the latest reminder of its power to excite controversy. Blood Libel is the first book-length study to analyze the recent historiography of the ritual murder accusation and to consider these debates in the context of intellectual and cultural history as well as methodology. Hannah R. Johnson articulates how ethics shapes methodological decisions in the study of the accusation and how questions about methodology, in turn, pose ethical problems of interpretation and understanding. Examining recent debates over the scholarship of historians such as Gavin Langmuir, Israel Yuval, and Ariel Toaff, Johnson argues that these discussions highlight an ongoing paradigm shift that seeks to reimagine questions of responsibility by deliberately refraining from a discourse of moral judgment and blame in favor of an emphasis on historical contingencies and hostile intergroup dynamics.
Paul Oliver and the Transatlantic Story of the Blues
Christian O’Connell’s Blues, How Do You Do? examines Oliver’s contributions to the writing of blues history and to popular conceptions of the music during the post-war revival. The book focuses on the early days of blues appreciation in an austere post-war Britain, which includes detailed considerations of the scholar’s encounter with the first blues musicians to visit Britain in the 1950s within the context of the post-war jazz revival. The book also considers Oliver’s record collecting and analysis of blues lyrics, and the oral history and photography from the legendary field trip the US in 1960, which included the “discovery” of previously unrecorded musicians such as Mance Lipscomb. O’Connell’s study ends with Oliver’s creation of the first blues narrative, The Story of the Blues.
Disability and Performance
A testament to the synergy of two evolving fields. From the study of staged performances to examinations of the performing body in everyday life, this book demonstrates the enormous profitability of moving beyond disability as metaphor. . . . It's a lesson that many of our cultural institutions desperately need to learn. -Martin F. Norden, University of Massachusetts-Amherst This groundbreaking collection imagines disabled bodies as "bodies in commotion"-bodies that dance across artistic and discursive boundaries, challenging our understanding of both disability and performance. In the book's essays, leading critics and artists explore topics that range from theater and dance to multi-media performance art, agit-prop, American Sign Language theater, and wheelchair sports. Bodies in Commotion is the first collection to consider the mutually interpretive qualities of these two emerging fields, producing a dynamic new resource for artists, activists, and scholars.
Physical Disability in Transatlantic Modernist Literature
Essays on Women, Form, and the Poetic Self
The Body of Poetry collects essays, reviews, and memoir by Annie Finch, one of the brightest poet-critics of her generation. Finch's germinal work on the art of verse has earned her the admiration of a wide range of poets, from new formalists to hip-hop writers. And her ongoing commitment to women's poetry has brought Finch a substantial following as a "postmodern poetess" whose critical writing embraces the past while establishing bold new traditions. The Body of Poetry includes essays on metrical diversity, poetry and music, the place of women poets in the canon, and on poets Emily Dickinson, Phillis Wheatley, Sara Teasdale, Audre Lorde, Marilyn Hacker, and John Peck, among other topics. In Annie Finch's own words, these essays were all written with one aim: "to build a safe space for my own poetry. . . . [I]n the attempt, they will also have helped to nourish a new kind of American poetics, one that will prove increasingly open to poetry's heart." Poet, translator, and critic Annie Finch is director of the Stonecoast low-residency MFA program at the University of Southern Maine. She is co-editor, with Kathrine Varnes, of An Exaltation of Forms: Contemporary Poets Celebrate the Diversity of Their Art, and author of The Ghost of Meter: Culture and Prosody in American Free Verse, Eve, and Calendars. She is the winner of the eleventh annual Robert Fitzgerald Prosody Award for scholars who have made a lasting contribution to the art and science of versification.
Visual Abjection, Filipino Images, and the American Archive