Part I Philosophic Traditions Introduction to Part I 3 1 Philosophy and the Afro-American Experience 7 CORNEL WEST 2 African-American Existential Philosophy 33 LEWIS R. GORDON 3 African-American Philosophy: A Caribbean Perspective 48 PAGET HENRY 4 Modernisms in Black 67 FRANK M. KIRKLAND 5 The Crisis of the Black Intellectual 87 HORTENSE J. SPILLERS Part II The Moral and Political Legacy of Slavery Introduction to Part II 107 6 Kant and Knowledge of Disappearing Expression 110 (...) RONALD A. T. JUDY 7 Social Contract Theory, Slavery, and the Antebellum Courts 125 ANITA L. ALLEN AND THADDEUS POPE 8 The Morality of Reparations II 134 BERNARD R. BOXILL Part III Africa and Diaspora Thought Introduction to Part III 151 9 “Afrocentricity‘: Critical Considerations 155 LUCIUS T. OUTLAW, JR. 10 African Retentions 168 TOMMY L. LOTT 11 African Philosophy at the Turn of the Century 190 ALBERT G. MOSLEY Part IV Gender, Race, and Racism Introduction to Part IV 199 12 Some Group Matters: Intersectionality, Situated Standpoints, and Black Feminist Thought 205 PATRICIA HILL COLLINS 13 Radicalizing Feminisms from “The Movement Era‘ 230 JOY A. JAMES 14 Philosophy and Racial Paradigms 239 NAOMI ZACK 15 Racial Classification and Public Policy 255 DAVID THEO GOLDBERG 16 White Supremacy 269 CHARLES W. MILLS Part V Legal and Social Philosophy Introduction to Part V 285 17 Self-Respect, Fairness, and Living Morally 293 LAURENCE M. THOMAS 18 The Legacy of Plessy v. Ferguson 306 MICHELE MOODY-ADAMS 19 Some Reflections on the Brown Decision and Its Aftermath 313 HOWARD McGARY 20 Contesting the Ambivalence and Hostility to Affirmative Action within the Black Community 324 LUKE C. HARRIS 21 Subsistence Welfare Benefits as Property Interests: Legal Theories and Moral Considerations 333 RUDOLPH V. VANTERPOOL 22 Racism and Health Care: A Medical Ethics Issue 349 ANNETTE DULA 23 Racialized Punishment and Prison Abolition 360 ANGELA Y. DAVIS Part VI Aesthetic and Cultural Values Introduction to Part VI 373 24 The Harlem Renaissance and Philosophy 381 LEONARD HARRIS 25 Critical Theory, Aesthetics, and Black Modernity 386 LORENZO C. SIMPSON 26 Black Cinema and Aesthetics 399 CLYDE R. TAYLOR 27 Thanatic Pornography, Interracial Rape, and the Ku Klux Klan 407 T. DENEAN SHARPLEY-WHITING 28 Lynching and Burning Rituals in African-American Literature 413 TRUDIER HARRIS-LOPEZ 29 Rap as Art and Philosophy 419 RICHARD SHUSTERMAN 30 Microphone Commandos: Rap Music and Political Ideology 429 BILL E. LAWSON 31 Sports, Political Philosophy, and the African American 436 GERALD EARLY. (shrink)

An artistic discussion on the critical potential of African American expressive culture In a major reassessment of African American culture, Phillip Brian Harper intervenes in the ongoing debate about the “proper” depiction of black people. He advocates for African American aesthetic abstractionism—a representational mode whereby an artwork, rather than striving for realist verisimilitude, vigorously asserts its essentially artificial character. Maintaining that realist representation reaffirms the very social facts that it might have been understood to (...) challenge, Harper contends that abstractionism shows up the actual constructedness of those facts, thereby subjecting them to critical scrutiny and making them amenable to transformation. Arguing against the need for “positive” representations, Abstractionist Aesthetics displaces realism as the primary mode of African American representational aesthetics, re-centers literature as a principal site of African American cultural politics, and elevates experimental prose within the domain of African American literature. Drawing on examples across a variety of artistic production, including the visual work of Fred Wilson and Kara Walker, the music of Billie Holiday and Cecil Taylor, and the prose and verse writings of Ntozake Shange, Alice Walker, and John Keene, this book poses urgent questions about how racial blackness is made to assume certain social meanings. In the process, African American aesthetics are upended, rendering abstractionism as the most powerful modality for Black representation. (shrink)

What Makes That Black? The African American Aesthetic in American Expressive Culture delineates the African-American aesthetic in both the African-American culture and the artistic cultural formation of the United States. It presents a definition of the African-American aesthetic using a typology of seventy-four tenets-markers that expand the aesthetic's definition to include its artistic structure, cultural function, and consciousness.¿The book is both anecdotal and scholarly, creating an accessible dialogue in a research area (...) sometimes burdened by excessive scholarly nomenclature. The power of story (art) reaches into cognitive spaces and impact understandings unreachable by linear academic argument. ¿Physical features such as images, links to visual media, glossary, bibliography, and index make the project easier for teachers/students to use.¿The book approaches the African-American Aesthetic from wide-ranging sources, cross-referencing literature, dance, oration, music, dress, sub-Saharan African aesthetics, scholarly text, visual arts, athletics, children's games, and anecdotal accounts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Black Deconstruction: Russell Atkins and the Reconstruction of African-American CriticismAldon Lynn Nielsen (bio)“What does that signify?” “It don’t signify nothin’ Mr. Warner.”—Russell Atkins, MaleficiumThere are, everywhere unheard (as one might see deep in an electron microscope) rigidities violently breaking—Russell Atkins, WhicheverCritical debates about the applicability of recent literary theories to the reading of African-American writing have often been marked by curious lacunae. Despite the rapid (...) proliferation of critical texts addressing themselves to black writing, it remains the case that many critics come to black writing with methodologies and agendas already in hand, while few critics have taken upon themselves the task of rereading the critical history of African-American work in theory. This has often resulted in a sort of critical shortsightedness, with the field of black literary theory presented as a foreshortened, if now more level, playing field. While some have engaged in arguments about the question of whether or not African-American writing should be engaged by poststructuralist theorists (a question that seems to begin with the assumption that poststructuralism is a particularly white mode of mythology), the fact is that a form of deconstruction had been theorized by an African-American poet long before deconstruction had entered the American academy. That this fact is largely unknown among contemporary critics is the result of a continuing practice of not reading the theoretical work of black poets who have published outside the established circuit of the academic press. With the prominent exceptions of poets like Amiri Baraka, June Jordan, Larry Neal, and Haki Madhabuti, the critical writings of recent African-American poets have seldom been collected and circulated in any very effective way. Characteristically, Neal’s essays were gathered into a book posthumously, and Madhabuti’s have been published and distributed primarily through his own publishing house. Even Baraka’s collections have been allowed to pass out of print in most instances, only the books on music remaining readily available throughout his career. This may change for black poets who write in more mainstream modes in the near future. Now that Rita Dove has served a term as Poet Laureate of the United States and Derek Walcott has won the Nobel Prize, we might expect a modest increase in interest by publishers and readers in critical works by poets whose forms are less troubling than their content. And black poets who attain academic credentials and write scholarly/critical essays, such as Nathaniel Mackey and Harryette Mullen, may succeed in getting their works published by the university presses. However, surveys of shelves in bookstores and [End Page 86] libraries will confirm that there has been little concern among even university and small presses to collect and preserve the critical legacy of black experimentalists in the way that the essays of Charles Olson, Ed Dorn, or Robert Creeley have been maintained before a public.Russell Atkins has been one of the most prolific and demanding of black poets writing criticism and theory in the last four decades, but like Percy Johnston, central figure of the Dasein group of poets centered at Howard University in the 1950s, he has had to publish most of this work through his own magazine and workshop press, and there has never been a published collection of his critical work. The special Russell Atkins number of the Free Lance, a journal with which Atkins was associated for two decades, included a section surveying his work in critical prose, but little of that work has found its way into the broader critical discourse of literary scholars (it has fared a little better with musicologists), and Atkins’s prose is infrequently cited. As eccentric as Atkins’s prose can sometimes be, these works are important early signs of a break with the “rigidities” of traditional humanist discourse among African-American writers. Atkins’s statements on music, literature, politics, and education parallel the works by Baraka leading into and out of the Black Arts Movement, but Atkins, as he does in his verse, travels an independent and often disturbing path.Speaking of Anthony Braxton’s experimentalism, Ronald Radano observes that it “emerged from the changing landscape of urban American life, from... (shrink)

While the field of aesthetics has long been dominated by European philosophy, recent inquiries have expanded the arena to accommodate different cultures as well as different definitions. In this volume, scholars and teachers in the fields of African and African American studies advance the debate over the nature of African aesthetics, approaching the subject from a broad range of disciplines. Dance, music, art, theatre, and literature are examined in order to appreciate and delineate the specific (...) qualities and aspects of African aesthetics; additionally, theoretical concepts and issues are discussed to define more clearly the meaning of an "African aesthetic.". (shrink)

In Cameroon, a monumental "statue of liberty" is made from scrap metal. In Congo, a thriving popular music incorporates piercing screams and carnal dances. When these and other instantiations of the aesthetics of Africa and its diasporas are taken into account, how are ideas of beauty reconfigured? Scholars and artists take up that question in this invigorating, lavishly illustrated collection, which includes more than one hundred color images. Exploring sculpture, music, fiction, food, photography, fashion, and urban design, the (...) contributors engage with and depart from canonical aesthetic theories as they demonstrate that beauty cannot be understood apart from ugliness. Highlighting how ideas of beauty are manifest and how they mutate, travel, and combine across time and distance, continental and diasporic writers examine the work of a Senegalese sculptor inspired by Leni Riefenstahl's photographs of Nuba warriors; a rich Afro-Brazilian aesthetic incorporating aspects of African, Jamaican, and American cultures; and African Americans' Africanization of the Santería movement in the United States. They consider the fraught, intricate spaces of the urban landscape in postcolonial South Africa; the intense pleasures of eating on Réunion; and the shockingly graphic images on painted plywood boards advertising "morality" plays along the streets of Ghana. And they analyze the increasingly ritualized wedding feasts in Cameroon as well as the limits of an explicitly "African" aesthetics. Two short stories by the Mozambican writer Mia Couto gesture toward what beauty might be in the context of political failure and postcolonial disillusionment. Together the essays suggest that beauty is in some sense future-oriented and that taking beauty in Africa and its diasporas seriously is a way of rekindling hope. Contributors. Rita Barnard, Kamari Maxine Clarke, Mia Couto, Mark Gevisser, Simon Gikandi, Michelle Gilbert, Isabel Hofmeyr, William Kentridge, Dominique Malaquais, Achille Mbembe, Cheryl-Ann Michael, Celestin Monga, Sarah Nuttall, Patricia Pinho, Rodney Place, Els van der Plas, Pippa Stein, Françoise Vergès. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Susan Laird, “Musical Hunger: A Philosophical Testimonial of Miseducation”Heidi WesterlundCan hunger and satisfaction, which according to John Dewey form “the arsis and thesis of a child’s life,”1 create the rhythm and heartbeat of music education? Susan Laird shows us through her autobiographical experiences how this heartbeat was missed in her case, while the undertone of her narrative and testimonial begs a wider self-reflection upon the (...) culture of music education. Indeed, Laird’s testimonial assumes that musical hunger has something to do with professional music educators; that musical hunger and satisfaction while setting the beat for a person’s musical life are not simply biological functions—something that exists and stays no matter how and what the person is fed or where and with whom the person eats. As Dewey wrote,[t]he very tendency of the child, while hungry, to recall his previous satisfaction, and to anticipate the coming one, is the beginning of the recognition of time. It grows more definite and accurate just in the degree in which all experiences are related to each other as members of one whole.2The imaginative musical dinner table that Laird’s testimonial lays out calls for music educators to reflect upon what kind of meal is served, not only from their own perspective but also from that of their students. Yet, reconstructing the menu is demanding in a profession that struggles with the pros and cons of a tradition in which teachers have learnt to teach in the same way that they themselves have been taught, also teaching using the same order in which they have learned—only hoping to do it more effectively.Quite recently, when visiting the recording studio at the Sibelius Academy department of music education to listen to one of my student’s work with her own rock band, I was reminded by my own remembrances of the difficulty, as well as the necessity, of reconstructing traditions in music teacher education. My thoughts led me fleetingly back to the ‘70s when making arrangements, improvisations, or working in recording studios were part of my musical life, until they were overwhelmed by the then-prevalent diet of professional music studies. Although my experiences of general music education were similar to those of Laird, teachers in the specialized music school fed me with goal-directed instruction in more than one instrument, in music theory, solfege, and the history of Western [End Page 81] art music. Looking back, however, I was lucky in more ways than one: my adolescent leisure time was blessed with numerous choirs, orchestras, and gigging bands—bringing a self-organized satisfaction and motivation to all kinds of music and musical activities. Multiple diets were feeding my musical life: I obtained the strengthening vitamin drops and enjoyed my self-made smorgasbord with family and friends, none of which had been enough by themselves to lead me into the profession. Yet, when entering the university to pursue my professional music studies, I experienced events in reverse order to that which Lucy Green describes in How Popular Musicians Learn.3 As I then did not have a piano of my own, I only had the opportunity to practice what was necessary for exams and so I practically stopped playing for fun. I also realized that not all flute teachers were able to accompany their students as did my first teacher, and so I had to play my flute repertoire for most of the year only imagining how the pieces would sound as a whole with no community with whom to share the joy of music making. While watching my student working in front of the studio desk searching for the right bass sound for her own song—a song that she was performing with friends and fellow students—to give the song the final touch for her work for the pedagogy of African-American music (popular music) course, to my own surprise I suddenly felt a long-forgotten hunger and desire. I was reminded of the challenges facing teacher education in exemplifying by its own practices a music education that does not take for granted that particular subject content or official... (shrink)

In Cameroon, a monumental “statue of liberty” is made from scrap metal. In Congo, a thriving popular music incorporates piercing screams and carnal dances. When these and other instantiations of the aesthetics of Africa and its diasporas are taken into account, how are ideas of beauty reconfigured? Scholars and artists take up that question in this invigorating, lavishly illustrated collection, which includes more than one hundred color images. Exploring sculpture, music, fiction, food, photography, fashion, and urban design, the (...) contributors engage with and depart from canonical aesthetic theories as they demonstrate that beauty cannot be understood apart from ugliness. Highlighting how ideas of beauty are manifest and how they mutate, travel, and combine across time and distance, continental and diasporic writers examine the work of a Senegalese sculptor inspired by Leni Riefenstahl’s photographs of Nuba warriors; a rich Afro-Brazilian aesthetic incorporating aspects of African, Jamaican, and American cultures; and African Americans’ Africanization of the Santería movement in the United States. They consider the fraught, intricate spaces of the urban landscape in postcolonial South Africa; the intense pleasures of eating on Réunion; and the shockingly graphic images on painted plywood boards advertising “morality” plays along the streets of Ghana. And they analyze the increasingly ritualized wedding feasts in Cameroon as well as the limits of an explicitly “African” aesthetics. Two short stories by the Mozambican writer Mia Couto gesture toward what beauty might be in the context of political failure and postcolonial disillusionment. Together the essays suggest that beauty is in some sense future-oriented and that taking beauty in Africa and its diasporas seriously is a way of rekindling hope. Contributors. Rita Barnard, Kamari Maxine Clarke, Mia Couto, Mark Gevisser, Simon Gikandi, Michelle Gilbert, Isabel Hofmeyr, William Kentridge, Dominique Malaquais, Achille Mbembe, Cheryl-Ann Michael, Celestin Monga, Sarah Nuttall, Patricia Pinho, Rodney Place, Els van der Plas, Pippa Stein, Françoise Vergès. (shrink)

This paper will explore the aesthetic experience that can occur with music, and the potentially transformative existential education that can unfold from that experience. First and foremost, the paper explores the ways W.E.B Du Bois engages with music in _The Souls of Black Folk_. Drawing on the African-American tradition of the spirituals, but also European symphonic music, Du Bois shows the different ways music can captivate a listener. But Du Bois also complicates what is (...) meant by “listening” to music. This can happen when music is used as a literary device, symbolically as a way of setting the mood for the reader, but also when it is “heard” as arriving from the future. Secondly, this paper turns to Jean-Luc Nancy, whose writing on listening, music and philosophy has captured the attention of musicologists, literary theorists, educators, and, of course, philosophers. For Nancy, listening includes both the embodied experience of hearing and processing sound, as well as the hermeneutics of listening to the sound of ideas. Thinking is musical, music is philosophical, and the distinction between the two is not always entirely clear. Together, Du Bois and Nancy help us to gain a deeper appreciation and understanding for the diverse ways that “music” and “listening” can be experienced. (shrink)

This article honours the memory of blues musician B.B. King, who died on 14 May 2015, through focusing on his performances in prisons. The article situates his concerts inside Cook County jail and Sing Sing within the wider political crisis during the 1970s surrounding issues of race and class in the American prison system. It suggests the historical resonance of these events can be interpreted through using Paul Gilroy’s notion of planetary humanism. The tone of B.B. King’s guitar carries (...) both the historical trace of African American experience while at the same time voicing a humanistic sensibility beyond the brutalities of racism and incarceration. (shrink)

ABSTRACT Although Kairos in Greek mythology is often depicted as the winged son of Zeus who grants to those who lay hold of his single lock of hair their once-in-a-lifetime opportunity, in traditional African American culture, particularly when it comes to speech, Kairos is essentially family. Given how much African American speakers depend on seizing the moment to invoke spiritual connections, emit laughter, and profess the truth, Kairos, or what we might call CPT (“Colored People’s Time”), (...) can be summoned almost at will. One of the African American discourses this article will use to illustrate this point is Call and Response, a verbal exchange in which speakers and listeners attune to one another and to the timeliness of an event. Martin Luther King Jr.’s “I Have a Dream” speech was such an event, but it wouldn’t have been so were it not for the timely responding of his favorite gospel singer, Mahalia Jackson. (shrink)

Boys, Boyz, Bois concerns questions of ethics, gender and race in popular American images, national discourse and cultural production by and about black men. The book proposes an ethics of masculinity, as ethnics refers to a system of morality and valuation and as ethics refers to a care of the self and ethical subject formation. The texts of analysis include recent films by black/African American filmmakers, gansta rap and hip-hop and black star persona: texts ranging from Blaxploitation (...) and New Black Cinema to contemporary music video to autobiography and the public image of Sidney Poitier. The book is a significant contribution to cultural studies and gender studies and critical race theory. What is distinctive about the book is the question of ethics as a question of race and gender. (shrink)

Black Utopias posits a concept of utopia made possible by black people's exclusion from the human and expressed through the ecstatic practices, community creation, speculative fiction and music. Jayna Brown explores the practices and works of 19th century black women mystics as well as 20th century musicians and speculative fiction writers including mystics Sojourner Truth and Rebecca Cox Jackson, musicians Alice Coltrane and Sun Ra, and writers Samuel Delany and Octavia Butler.

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or (...) watching TV, as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pax Americana and the World of Music EducationEstelle R. Jorgensen (bio)It may seem ironic to speak of a Pax Americana at a time when the United States is prosecuting a war and its aftermath.1 Still, imperialism, or the desire to keep the peace on one's own terms, has led other nations into war when their will and power was frustrated and thwarted. My purpose in this essay is (...) to raise four important and interrelated questions: What are the political tasks that hopeful music teachers, administrators, and those interested in their work need to undertake to pursue an ethically universalistic, democratic, and humane education? What are some guiding principleswhereby music educators and policy-makers can navigate this territory? What are the conditions that would facilitate educational dialogue of the sort that is needed? How should music to be taught in order to achieve the intellectual objectives necessary in dialogical education? I view these questions from the limited musical perspective of the Western classical tradition — a misnomer since it is now an international tradition practiced around the world by people of many different languages, ethnicities, and cultures — and in the context of my position that this tradition merits transformation.2 This is a particularly interesting example since its roots originally are European, Eastern, and African, and it potentially subverts the predominant American popular musical culture of our time.Michael Hardt and Antonio Negri write of a global empire in the making and the seeds of its decline and fall, the multitudes that arise against it and the challenges they encounter in making their voices heard in the political arena.3 The forces of globalization, interwoven as they are with those of capitalism and the ideologies that foster it, are so pervasive that it is difficult for nation states to resist. The powers of nation-states decline while pervasive internationalism lies like an "epidermis" over the many nation-states, religions, languages, and ways of life that characterize societies on planet earth.4 The United States might champion capitalism and its own [End Page 1] breed of democratic ideology, yet globalization engulfs it such that it becomes the creature of its own making. Its values and culture might lie at the heart of the cultural, economic, and political agents of globalization — the multinational corporations with their corresponding distribution networks, interlocking international corporate directorships, licensing agreements, technological inventions, and powerful political and religious liaisons — yet even the United States becomes the child of forces it has exported throughout the world and that it is now unable to control. A culture of fear and violence pervades the country.5 Outsourcing, off-shore export of production capacity, the power of the profit motive, and management decisions made far from the particular places they impact leave many Americans without jobs and security, and a sense of powerlessness to change their circumstances — a phenomenon that also appears in other countries. Eventually, as Hardt and Negri posit in Marxian vein, the people impacted by these developments both here and abroad begin to organize themselves and rise against the oppression they may at first sense if not fully understand; in the beginning they may march peacefully but as their anger and frustration grow, they may eventually revolt. One need not buy into their particular reading of history to notice that, at least over the long term of decades or centuries, there seem to be limits on the human willingness to tolerate oppression; when their patience is eventually exhausted, people resist, subvert, escape, or overthrow their oppressors.One of the particular challenges of our time is the "polyvocality" of contemporary societies. Globalism may constitute the epidermis overlying these "multiplicities and pluralities" but underneath are the hosts of differing tribes, religions, languages, colors, and identities. Ways need to be found for people to dwell together in peace and debate and reconcile their differences without resorting to violence.6 In such a world, even in societies that espouse democratic ideals and principles, moral conflicts cannot be avoided, and differences between and among individuals and groups are often deeply rooted, persistent, and pervasive. This necessitates forging mechanisms that enable deliberation about how to solve the conflicts that necessarily arise.7 Seyla... (shrink)

Purpose: A poetic work of fiction haunts the base of the Statue of Liberty. The act overshadowed the original tribute to the Civil War victory and the Emancipation Proclamation. Abraham Lincoln's praises of the Black American military fell silent. Eurocentrists shrouded centuries of genius and scaled-down Black American mastery. Sagas of barrier-breaking Olympians, military heroes, Wild West pioneers, and inventors ended as forgotten footnotes. Today, countries around the world fetishize Black American history and culture to the point (...) of ethnocide. The real-time case study of Woni Spotts explores the phenomenon. Until ancient traditions evolve with authenticity, global cultures will wither and die. The presented research chronicles over half a millennium of archives. Lists with names, dates, and genealogies seal the Black American legacy in stone. Methodology: The presented research for case studies draws from archival data, dated events, news articles, and an interview with Woni Spotts. The case studies generated three lists. Fifty sports and competitions were dated and cataloged. The athletes were analyzed by a genealogist. Forty music and dance genres were cataloged by publishing or recording dates. The artists were analyzed by a genealogist. Copyright infringements were noted. Inventors were researched for U.S. patents. NASA astronauts and inventors were analyzed by a genealogist. Findings: The presented research showed centuries of untold, reframed, stigmatized, and fetishized Black American history and culture. In the case studies, foreigners of African descent (Africans, Caribbeans, Central Americans, and South Americans) practiced ethnocidal behavior in concert with European descendants. Prolific abolitionists, patriots, politicians, and inventors were written out of history. Superstar athletes were obstructed or outshined by fictional Recommendations: Case studies showed centuries of fragmented narratives created biases and distortions. Black Americans were written out of history, reframed as background characters, stigmatized with skewed statistics, and fetishized globally to the point of ethnocide. The presented research stands as a vital resource for preservationists. Music and dance genre architects were solidified by publishing and recording dates. Athletic events, inventions, and NASA scientists were recorded. (shrink)

The Christian church has always lived in tension between its global and its local identities, between gospel and culture. One aspect in which this tension plays out is in worship music. As the gospel came to them, many African churches adopted a North American/european form of song, ignoring or neglecting their local, traditional music. They opted for a more global identity and minimized their local identity. The church amongst the Songhai of West Africa is an example (...) of this phenomenon. A church that neglects its local identity, however, has little appeal to the surrounding society and loses its prophetic voice to the community. Resolving the tension between the two identities is an important matter for every church. Thinking through worship music practices plays a key part in resolving this tension. A tool called the ‘logophonic’ principle may be of help in this regard. The tool looks at both words and sounds to reexamine and renew worship practices and craft new music for congregations. This article explains how this tool might work and urges the necessity of good theological thinking and about worship and worship music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scott Joplin and the Quest for IdentityEarl Stewart and Jane DuranIn his innovative work I Wanna Be Me: Rock Music and the Politics of Identity, Ted Gracyk does much to dismantle notions of cultural authenticity and theft as they are currently articulated by some critics. Explaining that such concepts are less monolithic than some have claimed, Gracyk writes:While popular musicians often "pick up" the music of other (...) cultures, such practices are culturally, politically, and morally complex. In discussing such issues, I hope to show that they are even more complex than is typically thought. Here, I borrow an insight from Michelle Moody-Adams, who argues that prevailing positions in social and cultural anthropology assume that cultures are internally integrated wholes and that each culture is fundamentally a set of self-contained and discrete practices and beliefs. The same assumptions infest discussions of appropriation in cultural studies, folk-lore studies, and ethnomusicology. But these assumptions are highly questionable.1Gracyk's overall point is that what has frequently been simplified as "theft" or "inauthentic" is not susceptible to such easy formulation; indeed, Gracyk contends there is scarcely such a thing as a pure musical tradition.Gracyk's sophisticated argument is one, however, that itself admits of gradations and emendations. While it is no doubt accurate that there is very little that might count as artistically or culturally pure (hence, very little that can justifiably be claimed to have been stolen), some work is much more evocative of a cultural point of view than other efforts, and some work is much more centrally located within a given culture and its traditions than other musical work. In this article we shall make the twofold argument that much of the work of Scott Joplin is located in a tradition that is manifestly African derived, and that the composition of such work had, as one of its motivators, the desire to make a cultural statement. Thus, more so than some of Gracyk's exemplars, Joplin's work is strongly culturally attached, and its attachment needs to be duly noted.IThe origins of Joplin's work speak to the concerns of the nineteenth century and of the period immediately subsequent to emancipation. Most of [End Page 94] the black leadership of the time was united in its belief that a nationalist art would serve in the reconstruction of the image of African Americans. During the latter part of the nineteenth century many of these leaders saw the spiritual as the ideal folkloric basis for a serious black artistic expression. In music this notion was given strong support as a result of a concurrent interest on the part of European composers in African American music—an interest fed by the aesthetic of romanticism, which encouraged artistic investment in the strange, unusual, primitive, and exotic.Most classically trained African American composers attempted to comply with the vision of these black leaders by constructing a more or less European-style music tinctured with African American folk elements. The result would be a set of works that to this day has failed to be adopted by the African American community at large.Scott Joplin tried a different approach. He sought to create an African American musical expression that would be predicated upon an African American vernacular style—ragtime. Joplin essentialized his music in many ways. First, by choosing ragtime as a stylistic paradigm he assured the preservation of black rhythm. Second, to promote continuity and coherence he often employed rhythmic relationships between contrasting sections. Third, he frequently employed African American folk idioms like pentatonicism and call-and-response (antiphony) as interregnal devices in the structure of his melodies. Fourth, to assure an intrastructural linkage with the African American vernacular music of his day, he frequently used phrase structures that were consistent with those employed in folk music, particularly the black spiritual, for example, aaab. In his opera, Treemonisha, he based his libretto largely on black dialect, thus linking it with black literary tradition. These are but a few of the devices Joplin employed to assure a strong cultural essentialism to his music. As a result, Joplin has been acknowledged as one of the great icons of... (shrink)

Passionate and rollicking personal and intellectual essays by philosopher Crispin Sartwell. Philosopher, music critic, and syndicated columnist Crispin Sartwell has forged a distinctive and fiercely original identity over the years as a cultural commentator. In books about anarchism, art and politics, Native American and African American thought and culture, Eastern spirituality, and American transcendentalism, Sartwell has relentlessly insisted on an ethos rooted in unadorned honesty with oneself and a healthy skepticism of others. This volume of (...) selected popular writings combines music and art criticism with personal memoir about addiction and rebellion, as well as cultural commentary on race, sexuality, cynicism, and the meaning of life. “Crispin Sartwell deserves to be recognized as the heir to a distinctively American intellectual legacy. Like the American ‘cynics’ he loves—Twain, Bierce, Mencken—he is fiercely individualistic, deeply antiauthoritarian, and slavishly aligned with no creed or academic discipline. He uses his significant erudition not to escape the ordinary or himself, but rather to let loose riches—of insight, suffering, and beauty—through a relentless examination of life, culture, and reality. Sartwell is also, in my opinion, the best philosophical prose stylist of his generation. His writing—crystalline, vivid, and intoxicating—is an uncontrollable substance. And though Sartwell swaggers, provokes, and sometimes infuriates, he does so with a tacit humility and self-scrutiny, which empowers readers to follow his example and convert their own rage into beauty.” — Elizabeth Walden, Bryant University “Crispin Sartwell is the most important philosophical voice of his generation. He has risen into the public consciousness in the last two decades due to his controversial views on social, political, and cultural subjects. Through television appearances, journalism, and blogging, along with his numerous scholarly books, he has made a reputation as a thinker of serious thoughts. Yet, there is a lightness to his world that is irreverent, fun, and entertaining. These essays reflect some of his best writing from the past fifteen years. They are highly readable, but they are also profound reflections on the subjects that will draw many of us into deeper ponderings about the meaning of life, or, more to the point, the meaning of our lives.” — Randall Auxier, author of Time, Will, and Purpose: Living Ideas from the Philosophy of Josiah Royce. (shrink)

This chapter contains sections titled: Emotional Trauma The Therapeutic Power of the Blues Three ‘Clinical’ Illustrations ‐ The Role of Lyrics Musical Characteristics of the Blues Concluding Remarks Notes.

This article focuses on the experiences of 29 African American teachers in K–12 institutions in Southern California. The article reports on the major themes of the participating teachers’ shared narratives in light of the theory of racial micro-aggression; their responses include evidence that racial micro-aggression during interactions with nonminority organizational members have had a negative impact on their experience. These findings, which are consistent with the neophyte literature, reveal a unique opportunity for scholars to engage in cutting edge (...) research and also suggest the need to integrate training specific to racial micro-aggression in professional development and teacher education programs in order to improve the experience of African American teachers in the future. (shrink)

A recent message on one of the e-mail bulletin boards sent by a college student read, “I believe that the AIDS virus was developed in government labs for the purpose of controlling black folks.” In September 1990, Essence, an African American magazine with a circulation of 900,000, had as a lead article “AIDS: Is It Genocide?” In 1991, the New York Times quoted Clarence Page, African American columnist and Pulitzer prize winner: “You could call conspiracy theories (...) about AIDS and drugs fringe ideas, but they seem, to have a large following among the black intelligentsia. … [And] you find it at all levels.” In April 1992, Lorene Gary explained in Newsweek “Why it's not just paranoia.” In that same month, another New York Times article reported: “Bizarre as it may seem to most people, many black Americans believe that AIDS and the health measures used against it are part of a conspiracy to wipe out the black race.”4 In February 1992, Science quoted Peter Breggin, director of the Center for the Study of Psychiatry in Bethesda, Maryland, as saying that research on violence “cloaks the intention to identify problem black children and then … prescribe pacifying drugs.”. (shrink)

A special issue of _The Philosophical Forum_, one of the most prestigious philosophy journals, is now available to a wider readership through its publication in book form. The volume includes twelve essays in three sections-- Philosophical Traditions; the African-American Tradition; and Racism, Identity, and Social Life. Contributors are: K. Anthony Appiah, Kwasi Wiredu, Lucius Outlaw, Leonard Harris, Bernard Boxill, Frank M. Kirkland, Tommy L. Lott, Adrian M.S. Piper, Laurence Thomas, Michele M. Moody-Adams, Anita L. Allen, and Howard McGary. (...) The introduction is by John P. Pittman. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.2 (2001) 9-34 [Access article in PDF] Of Blackface and Paranoid KnowledgeRichard Wright, Jacques Lacan, and the Ambivalence of Black Minstrelsy Mikko Tuhkanen Only the subject—the human subject, the subject of the desire that is the essence of man—is not, unlike the animal, entirely caught up in this imaginary capture. He maps himself in it. How? In so far as he isolates the function of the mask and (...) plays with it. Man, in effect, knows how to play with the mask as that beyond which there is the gaze. —Jacques Lacan, The Four Fundamental Concepts of Psycho-AnalysisThere is a danger of corrosion of the self in this pretense, and surely a rending of integrity. How, and when does one call upon the real self to dispel the make-believe and claim humanity and dignity?... It was just possible that the trick had been too perfect; legerdemain had undone itself in a disappearance act where the self had vanished, but also the incantation to call it back again. —Nathan Irvin Huggins, Harlem RenaissanceIn late November 1998, a teacher in New York City's Public School 75 introduced an acclaimed children's book called Nappy Hair to her third-grade students as extracurricular reading material. The book, written by Carolivia Herron, is a transcript of a piece of oral history passed on in the author's family. It tells the story of a black girl with "the kinkiest, the nappiest, the fuzziest, the most screwed up, squeezed up, knotted up, tangled up, twisted up [...] hair you've ever seen in your life" [Herron, unnumbered pages]. According to the author, the book aims to celebrate racial diversity and encourage pride in black children. Some parents of the (mostly black) pupils saw it differently, however. In the days following the introduction of the book, photocopies of parts of the book were circulated among the parents, some of whom were enraged when they saw what they considered demeaning, stereotypical, and "racially insensitive" depictions of black people. A meeting was called with parents and school officials. Threats were made by the parents, and the 27-year-old teacher, a white woman, was put on desk duty while an investigation was launched. Even though the school ended up backing the teacher, she refused to return to the classroom, citing fears for her own safety [see Holloway, "School"; "Teacher"; "Threatened"; "Unswayed"].The incident received a fair amount of commentary, including a New York Times op-ed article by Jill Nelson. In the article, Nelson argues that what the Nappy Hair controversy illustrates is not the racial insensitivity of the white teacher or the school [End Page 9] system—as the black parents argued—but that the "barriers to [...] self-esteem are perpetuated not by the white community but by the black one." For Nelson, the black community remains overly sensitive about certain representations of blackness. She suggests that such attitudes may have their origin in slavery and in the adoption of the valorization of white physical features by African descendants from their masters. In this, she follows critics such as Kobena Mercer, who writes in "Black Hair/Style Politics" that "black people's hair has been historically devalued as the most visible stigmata of blackness, second only to skin" [101]. Inevitably, representations such as those at stake in the classroom controversy find their historical background in minstrelsy: "In the minstrel stereotype of Sambo [...] the 'frizzy' hair of the character is an essential part of the iconography of inferiority. In children's books and vaudeville minstrelsy, the 'woolly' hair is ridiculed, just as aspects of black people's speech were lampooned in both popular music hall and the nineteenth-century novel as evidence of the 'quaint folkways' and 'cultural backwardness of the slaves'" [102]. Nelson concludes: "Too many African-Americans," she writes, "have internalized and passed down these beliefs, as if proximity to whiteness inherently enhances our worth."Nelson's reading of the controversy is neither incorrect nor adequate. Certainly, the parents' outrage with the book—more precisely, with the... (shrink)

As the Byzantinist Ihor Ševčenko once observed, "Philology is constituting and interpreting the texts that have come down to us. It is a narrow thing, but without it nothing else is possible." This definition accords with Saussure's succinct description of the mission of philology: "especially to correct, interpret, and comment upon the texts." Philology is not just a grand etymological or lexicographical enterprise. It also involves restoring to works as much of their original life and nuances as we can manage. (...) To read the written records of bygone civilizations correctly requires knowledge of cultural history in a broad sense: of folklore, legends, laws, and customs. Philology also encompasses the forms in which texts express their messages, and thus it includes stylistics, metrics, and similar studies. _On Philology _brings together the papers delivered at a 1988 conference at Harvard University's Center for Literary and Cultural Studies. The topic "What is Philology?" drew an interdisciplinary audience whose main fields of research ran the gamut from ancient Indo-European languages to African-American literature, signaling a certain sense of urgency about a seemingly narrow subject. These papers reveal that the role of philology is more important than ever. At a time when literature in printed form has taken a back seat to television, film, and music, it is crucial that scholars be able to articulate why students and colleagues should care about the books with which they work. Just as knowledge will be lost if philological standards decline, so too will fields of study die if their representatives cannot find meaning for today's readers. _On Philology _will be of interest not only to students of philology but also to anyone working in the fields of hermeneutics, literature, and communication. (shrink)

Afrocentrism. Eurocentrism. Caribbean Studies. British Studies. To the forces of cultural nationalism hunkered down in their camps, this bold hook sounds a liberating call. There is, Paul Gilroy tells us, a culture that is not specifically African, American, Caribbean, or British, but all of these at once, a black Atlantic culture whose themes and techniques transcend ethnicity and nationality to produce something new and, until now, unremarked. Challenging the practices and assumptions of cultural studies, The Black Atlantic also (...) complicates and enriches our understanding of modernism. Debates about postmodernism have cast an unfashionable pall over questions of historical periodization. Gilroy bucks this trend by arguing that the development of black culture in the Americas arid Europe is a historical experience which can be called modern for a number of clear and specific reasons. For Hegel, the dialectic of master and slave was integral to modernity, and Gilroy considers the implications of this idea for a transatlantic culture. In search of a poetics reflecting the politics and history of this culture, he takes us on a transatlantic tour of the music that, for centuries, has transmitted racial messages and feeling around the world, from the Jubilee Singers in the nineteenth century to Jimi Hendrix to rap. He also explores this internationalism as it is manifested in black writing from the "double consciousness" of W. E. B. Du Bois to the "double vision" of Richard Wright to the compelling voice of Toni Morrison. In a final tour de force, Gilroy exposes the shared contours of black and Jewish concepts of diaspora in order both to establish a theoretical basis for healing rifts between blacks and Jews in contemporary culture and to further define the central theme of his book: that blacks have shaped a nationalism, if not a nation, within the shared culture of the black Atlantic. (shrink)

In the short decade between 1985 and 1995, the dominant cultural movement of our time, hip-hop culture, has become, seemingly overnight, mainstream American popular culture. This centering of hip-hop art, most specifically rap music, in American popular culture has given young African Americans unprecedented national and international visibility, at a historical time when images via the 21st century’s public square of television, film and the internet are more critical to identity than ever. This visibility, and most (...) certainly the often anti-Black and stereo-typical images that accompany it, forces distinctions to be drawn between today’s Black popular culture and traditional ideas of Black culture, including what is art and what’s at stake in cultural commodification. (shrink)

African-American Philosophers brings into conversation seventeen of the foremost thinkers of color to discuss issues such as Black existentialism, racism, Black women philosophers within the academy, affirmative action and the conceptual parameters of African-American philosophy.

This book extends Alfred Schutz’s “On Multiple Realities” by describing the provinces of meaning of play, music, religious ritual, and African-American folkloric humor. Throughout these provinces, the author traces two themes: resilience and responsiveness. In resilience, individuals or communities run up against obstacles, imposed relevances, which they come to terms with, or give meaning to (in phenomenological parlance), by modifying, evading, overcoming, or accepting them. Responsiveness emerges from Schutz’s idea of making music together, which the author (...) takes further by analyzing the mimetic encounter with the other and the asymmetries in listening to music, and, especially, by showing how the features of the cognitive style of music as a province of meaning affect sociality, disposing us to be more vulnerable and attentive to each other’s non-conceptual, musical meanings. This text appeals to upper-level undergraduate students and graduate students as well as to faculty in philosophy. (shrink)

The legendary Greek figure Orpheus was said to have possessed magical powers capable of moving all living and inanimate things through the sound of his lyre and voice. Over time, the Orphic theme has come to indicate the power of music to unsettle, subvert, and ultimately bring down oppressive realities in order to liberate the soul and expand human life without limits. The liberating effect of music has been a particularly important theme in twentieth-century African American (...) literature. The nine original essays in Black Orpheus examines the Orphic theme in the fiction of such African American writers as Jean Toomer, Langston Hughes, Claude McKay, James Baldwin, Nathaniel Mackey, Sherley Anne Williams, Ann Petry, Ntozake Shange, Alice Walker, Gayl Jones, and Toni Morrison. The authors discussed in this volume depict music as a mystical, shamanistic, and spiritual power that can miraculously transform the realities of the soul and of the world. Here, the musician uses his or her music as a weapon to shield and protect his or her spirituality. Written by scholars of English, music, women's studies, American studies, cultural theory, and black and Africana studies, the essays in this interdisciplinary collection ultimately explore the thematic, linguistic structural presence of music in twentieth-century African American fiction. (shrink)

This anthology brings together a selection of historical and contemporary writings on topics in African-American Philosophy. Questions regarding a wide range of issues--including slavery and freedom, social progress, self-respect, alienation, sexuality, cultural identity, nationalism, feminism, Marxism and violence--are critically examined from different perspectives by well-known philosophers and by non-philosophers from many disciplines. It emphasizes the historical significance of the philosophical arguments within very specific social and political contexts. Features substantial extracts, and in some cases complete works by important (...) 19th- and 20th-century social and political thinkers--organized under sections on Antebellem Critical Thought, Emigrationist and Diaspora Thought, Assimilation and Social Uplift, Contemporary Black Feminist Thought, Civil Rights and Civil Disobedience, Marxism and Social Progress, Rebellion and Radical Thought, Social Activism Reconsidered, Black Women Writers on Rape, and Alienation and Self-Respect. For anyone interested in the African-American experience and American history. (shrink)

The use of African American as a new denomination for a group previously referred to as Black has rapidly become standard practice in American society. This paper analyzes how the introduction of African American in our ordinary language marks the elaboration of a new social reality. As the concept becomes part of our social life, it is transformed into a real “phenomenon” of social representation that formalizes behaviour and orients communication. Such a transformation requires that (...) the new term infiltrates people's everyday lives sufficiently to concretize it into a common reality. The analysis presented here outlines three key processes in the emergence and formation of the social representation of African American. The first one is anchoring which familiarizes the new object by linking it with preexisting categories in our minds. The second process is objectification which assures the crystallization of the object. A figurative core is created to allow the projection of images. At this point people can talk about the object, and through communication the object takes on meaning. This naturalization is the third process to conclude the transformation of the object into a social reality. These steps have allowed African American to become the carrier for a modification of cognitions and broadening of attitudes concerning the group. (shrink)

A special issue of The Philosophical Forum , one of the most prestigious philosophy journals, is now available to a wider readership through its publication in book form. The volume includes twelve essays in three sections-- Philosophical Traditions; the African-American Tradition; and Racism, Identity, and Social Life. Contributors are: K. Anthony Appiah, Kwasi Wiredu, Lucius Outlaw, Leonard Harris, Bernard Boxill, Frank M. Kirkland, Tommy L. Lott, Adrian M.S. Piper, Laurence Thomas, Michele M. Moody-Adams, Anita L. Allen, and Howard (...) McGary. The introduction is by John P. Pittman. (shrink)

Many African American children make use of African American English in their everyday lives, and face academic barriers when introduced to Standard American English in the classroom. Research has shown that students who can adapt and use SAE for academic purposes demonstrate significantly better test scores than their less adaptable peers. Accordingly, AAE use and its confirmed inverse relationship to reading achievement have been implicated in the Black-White Test Score Gap, thus becoming the focus of (...) intense research and practical interest. This volume discusses dialectal code-switching from AAE to SAE and stresses the benefits and importance of African American students becoming bi-dialectal. It provides background theory and science supporting the most promising educational approach to date, Contrastive Analysis, a set of longstanding methods drawn from Second Language research and used effectively with students ranging from kindergarten through college. It offers a deeper knowledge of AAE use by students, the critical features of Contrastive Analysis, and detailed information about successful applications which teachers can apply in their own pedagogy. (shrink)

This investigation seeks to explore connection points between music and societal processes, by linking improvised music to cultural networks and social practices. Exceeding musicological and action-theoretical reflections, the improvisation is regarded from a cultural sociological perspective, which asks how improvisational practices can be integrated into cultural, historical and discursive contexts. Taking free jazz as the scope of the investigation, it is argued that there is a necessity to discuss its characteristic improvisation, in connection to the critical, radical and (...) aesthetical practices of the African-American community. The musical practices of free jazz, therefore, can be seen as social practices, in which a form of resistance is manifested through an intended liberation of the current musical and cultural order. Improvisation processes expressed in free jazz hence reflect an ethnically motivated strategy, in which the ruling system of values is questioned, while simultaneously offering alternative modes of expression. (shrink)

Ice Cube "What's a brother gotta do to get a message through to the Red, White, and Blue?" Ice-T Rap music has emerged as one of the most distinctive and controversial music genres of the past decade. A significant part of hip hop culture, [1] rap articulates the experiences and conditions of African-Americans living in a spectrum of marginalized situations ranging from racial stereotyping and stigmatizing to struggle for survival in violent ghetto conditions. In this cultural context, (...) rap provides a voice to the voiceless, a form of protest to the oppressed, and a mode of alternative cultural style and identity to the marginalized. Rap is thus not only music to dance and party to, but a potent form of cultural identity. It has become a powerful vehicle for cultural political expression, serving as the "CNN of black people", or upping the high-tech ante, as their "satellite communication system". It is an informational medium to tune into, one that describes the rage of African-Americans facing growing oppression, declining opportunities for advancement, changing moods on the streets, and everyday life as a matter of sheer survival. In turn, it has become a cultural virus, circulating its images, sounds, and attitude throughout the culture and body politic. (shrink)

This book offers a sustained scholarly analysis of Gadamer's reflections on art and our experience of art. It examines fundamental themes in Gadamer's hermeneutical aesthetics such as play, festival, symbol, contemporaneity, enactment, art's performative ontology, and hermeneutical identity. The first two chapters focus on Gadamer's critical appropriation and movement beyond Kantian and Hegelian aesthetics (and includes a coda on Heidegger's influence). The final three chapters argue for the continued relevance of Gadamer's hermeneutical aesthetics by bringing his claims into conversation with (...) contemporary art and music, as well as the ethical and sociopolitical dimensions of the Artworld and art-praxis. The ethical and sociopolitical aspects of art- and music-making are given particular attention in chapters devoted to 20th century African American artist Romare Bearden, Banksy's street art, and a range of jazz expressions, from traditional jazz to the complex practice of free jazz. Gadamer's Hermeneutical Aesthetics will appeal to researchers and advanced students working on Gadamer, philosophical hermeneutics, continental philosophy, aesthetics, and the philosophy of contemporary art and music. (shrink)

The legendary Greek figure Orpheus was said to have possessed magical powers capable of moving all living and inanimate things through the sound of his lyre and voice. Over time, the Orphic theme has come to indicate the power of music to unsettle, subvert, and ultimately bring down oppressive realities in order to liberate the soul and expand human life without limits. The liberating effect of music has been a particularly important theme in twentieth-century African American (...) literature. The nine original essays in Black Orpheus examines the Orphic theme in the fiction of such African American writers as Jean Toomer, Langston Hughes, Claude McKay, James Baldwin, Nathaniel Mackey, Sherley Anne Williams, Ann Petry, Ntozake Shange, Alice Walker, Gayl Jones, and Toni Morrison. The authors discussed in this volume depict music as a mystical, shamanistic, and spiritual power that can miraculously transform the realities of the soul and of the world. Here, the musician uses his or her music as a weapon to shield and protect his or her spirituality. Written by scholars of English, music, women's studies, American studies, cultural theory, and black and Africana studies, the essays in this interdisciplinary collection ultimately explore the thematic, linguistic structural presence of music in twentieth-century African American fiction. (shrink)

Focusing on West's recent work Democracy Matters, this essay argues that West's work has been guided by three major acts of translation. First, he has sought to translate the memory of suffering and the history of struggle into the foundations for democratic maturity. Second, combining Socratic questioning, prophetic practice and dark hope, West translates suspicion, action and hope into an ethos of collective education, which he calls democratic paideia. Finally, West's work has sought to translate the aesthetic, and in particular (...) vocal and musical, creativity of African Americans into a source of democratic vitality. (shrink)

ABSTRACT This article asks why African American Philosophy matters. The notion of the “Black philosopher” continues to be an enigma. African descendants are not generally associated with the revered location and status of “the philosopher” and with doing philosophy. In a celebration of the sustained work of the Black philosopher-practitioner, who continues to suffer a fate of deliberate academic “invisibility” and historical erasure, this article supports the expansion of philosophical categories, philosophical conversation, and philosophical inclusivity. This work (...) contends that the marginalization of African American philosophy can be understood from a synthesis of Foucault’s thesis of “subjugated knowledge” and Black philosopher Lewis Gordon’s explanation of “subverted realization,” which is built in to “white” modern thought. Both key philosophers help locate the problem questioned here. The overriding current of the “white stream” of philosophy, by its deliberate exclusion of African American philosophy, disqualifies it. (shrink)

In the burgeoning field of whiteness studies, What White Looks Like takes a unique approach to the subject by collecting the ideas of African-American philosophers. George Yancy has brought together a group of thinkers who address the problematic issues of whiteness as a category requiring serious analysis. What does white look like when viewed through philosophical training and African-American experience? In this volume, Robert Birt asks if whites can "live whiteness authentically." Janine Jones examines what it (...) means to be a "goodwill white." Joy James tells of beating her "addiction" to white supremacy, while Arnold Farr writes on making whiteness visible in Western philosophy. What White Looks Like brings a badly needed critique and philosophically sophisticated perspective to central issue of contemporary society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 216-223 [Access article in PDF] Notes and Fragments Genre Fiction and "The Origin of the Work of Art" Nancy J. Holland I FIRST, A CONFESSION. Like, I suspect, many of my readers, I am an unpublished fiction writer. Unlike most of the closet fiction writers in academia, however, I write genre fiction. The question that immediately follows is how that writing is related to (...) the intellectual work I do in philosophy.This question, of course, is open to a broad range of answers, from the possibility that the two aren't related at all, to potential Freudian answers it might take years of therapy to unearth. Teaching informs one's life, however, as much as the reverse, and in teaching Martin Heidegger's "The Origin of the Work of Art" to my Metaphysics class last year, I began to understand at least one dimension of the appeal that writing genre fiction has for me as a philosopher.But first, let me explain what I mean by genre fiction. In what follows, I will be referring primarily to four forms of genre fiction that have clear roots in the nineteenth century in Western Europe and North America: two gender-segregated genres, the western and the romance, and two gender-marked genres, science fiction and detective novels. I will be comparing these to two other forms of "popular culture" that also developed in the nineteenth century and have, I would argue, similar relationships to the older, more "legitimate," more elite art forms which they closely resemble: photography 1 and popular music, [End Page 216] especially those forms of popular music such as ragtime, blues, jazz, and rock that are informed by the African-American experience in the United States. 2These "low brow" art forms all appear to have arisen out of the growth of the middle class in developing parts of the world during the nineteenth century and the correlative confluence of greater leisure, greater aggregate prosperity, and higher levels of education across a broader spectrum of society. Further, these art forms all combine the surface appearance of their respective "high brow" correlate arts with the reassurance of repetition that is the cornerstone of the folk arts with which they are also correlated. Each of these forms of popular culture balances itself, then, between a demand for more and more "works of art" (and/or class aspirations based on the appearance of such) and a demand for the familiar in a rapidly changing, materially challenging world.Thus, photography gives us a frozen and thereby purified visual reality, an icon of memory to which we can return at will. The truth it reveals is most often starker than that of folk painting and portraiture, but also gives the appearance of being free from the subjectivity of the artist. Great iconic photographs such as the kiss on V-E day, I have heard it said, become more real than the reality they encapsulated.Popular music similarly combines often amazing musical complexity (which is not unknown, although rarer, in western folk music) with the reassurance of a form that not only repeats itself within a song, but also between songs of the same genre. Thus, blues can be recognized by both the minor chords in its melodies and the characteristic rhyme pattern of its lyrics. Moreover, most western popular music, even to some extent free-form jazz, has a familiar and reassuring beginning-middle-end structure, both melodically and dynamically, that locates a listener immediately within the song's "story-arc." 3This same beginning-middle-end structure is one clear hallmark of genre fiction. Another is repetition. We all immediately know the plot of a detective novel or science fiction adventure: where it will begin, what the key stages of the story will be, and how it will end—not just happily, but with a specific form of reassuring outcome, be it the victory of well-intentioned intelligence over cunning evil or humanity's ability to survive even the most alien (and so most familiar) of threats. At... (shrink)

This essay examines James Baldwin's conception of what he calls “black English” and its link to historical and cultural identity. I link Baldwin's defense of black English to his reflections on the sorrow songs and sound, which draws on long-standing accounts of musicality as the foundation of the African-American tradition. In order to demonstrate this relation to the tradition, the essay puts Baldwin's remarks in relation to Frederick Douglass's and W. E. B. Du Bois's description of the sorrow (...) songs. I also underscore how that relation to the African-American tradition marks an important set of tensions with mid-twentieth century black Atlantic theory, tensions which make sense of the Americanness of Baldwin's work. Across the essay, I claim that Baldwin's account of language has epistemological and ontological significance, which gives an interesting and important twist to Martin Heidegger's famous phrase that “language is the house of Being.”. (shrink)

Shrinking enrollments in the agricultural programs of the 1890 schools can be partly explained by negative attitudes of Blacks toward agriculture. This attitude has roots in the historical experiences of African Americans and has negative implications for the agricultural programs of the 1890 schools. A collection of data from a sample of Black Louisiana Farmers lends credence to the claim that Black Farmers are not encouraging their children to go into farming. To counter the impact on the 1890 schools, (...) an active recruiting program should be undertaken, partly to show Black students that career openings in various agricultural fields offer excellent opportunities for Black students. These fields extend beyond the traditional farmgate. (shrink)

Jacoby Adeshei Carter has done an invaluable service in editing this critical edition of Alain Leroy Locke’s series of six lectures in Haiti delivered “from April 9 to July 10, 1943, when he was the Inter-American Exchange Professor to Haiti under the joint auspices of the American Committee for Inter-American Artistic and Intellectual Relations and the Haitian Ministry of Education”. African American Contributions to the Americas’ Cultures consists of two parts. The first part is Locke’s (...) series of six lectures entitled “The Negro’s Contribution to the Culture of the Americas.” The second part is Carter’s critical interpretative essay on Locke’s lectures entitled “‘Like Rum in the Punch’: The Quest for Cultural... (shrink)

African American spirituality provides a rich lens into the heart and soul of the black church experience, often overlooked in the Christian spiritual formation literature. By addressing this lacuna, this essay focuses on three primary shaping qualities of history: the effects of slavery, the Civil Rights Movement under Dr. Martin Luther King's leadership, and the emergence of the Black Church. Four spiritual practices that influence African American spirituality highlight the historical and cultural context of being “forged (...) in the fiery furnace,” including worship, preaching and Scripture, the community of faith and prayer, and community outreach. The essay concludes by recognizing four areas of the lived experiences of African Americans from which the global church can glean: persevering in pain and suffering, turning to God for strength, experiencing a living and passionate faith, and affirming God's intention for freedom and justice to be afforded to every individual. (shrink)