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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

Table of Contents

  1. Cover
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  1. Title Page
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  1. Copyright
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  1. Contents
  2. pp. v-vi
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  1. Foreword
  2. pp. vii-viii
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  1. Twenty Questions
  2. pp. ix-x
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  1. Introduction: Traveling While Black
  2. pp. 1-39
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  1. PART ONE: Crossroads and Intersections in Black Performance and Black Popular Culture
  2. p. 41
  1. When Is African Theater “Black”?
  2. pp. 43-58
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  1. Performing Blackness Down Under: Gospel Music in Australia
  2. pp. 59-82
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  1. Passing and the Problematic of Multiracial Pride: (or, Why One Mixed Girl Still Answers to Black)
  2. pp. 83-87
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  1. The Shadows of Texts: Will Black Music and Singers Sell Everything on Television?
  2. pp. 88-107
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  1. PART TWO: Stop Signs and Signposts: Stabilities and Instabilities in Black Performance and Black Popular Culture
  2. p. 109
  1. Optic Black:Naturalizing the Refusal to Fit
  2. pp. 111-140
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  1. Diaspora Aesthetics and Visual Culture
  2. pp. 141-161
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  1. Keepin’ It Real: Disidentification and Its Discontents
  2. pp. 162-184
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  1. Faking the Funk?: Mariah Carey, Alicia Keys, and (Hybrid) Black Celebrity
  2. pp. 185-207
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  1. Interlude [Print Version Only]
  2. p. 208
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  1. PART THREE:International Congestion: Globalization, Dispersions, and Black Cultural Travel
  2. p. 219
  1. Black Community, Black Spectacle: Performance and Race in Transatlantic Perspective
  2. pp. 221-241
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  1. The 1960s in Bamako: Malick Sidibé and James Brown
  2. pp. 242-265
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  1. Global Hip-Hop and the African Diaspora
  2. pp. 266-288
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  1. Continental Riffs: Praisesingers in Transnational Contexts
  2. pp. 289-307
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  1. PART FOUR: Trafficking in Black Visual Images: Television, Film, and New Media
  2. p. 309
  1. Where Have All the Black Shows Gone?
  2. pp. 311-325
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  1. Hip-Hop Fashion, Masculine Anxiety, and the Discourse of Americana
  2. pp. 326-345
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  1. Spike Lee’s Bamboozled
  2. pp. 346-362
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  1. Moving Violations:Performing Globalization and Feminism in Set It Off
  2. pp. 363-378
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  1. Change Clothes and Go: A Postscript to Postblackness
  2. pp. 379-388
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  1. Contributors
  2. pp. 389-395
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  1. Index
  2. pp. 397-404
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Additional Information

ISBN
9780472025459
Related ISBN
9780472068401
MARC Record
OCLC
588869387
Pages
416
Launched on MUSE
2012-02-08
Language
English
Open Access
No
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