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Six myths lie at the heart of the American experience. Taken as aspirational, four of those myths remind us of our noblest ideals, challenging us to realize our nation's promise while galvanizing the sense of hope and unity we need to reach our goals. Misused, these myths allow for illusions of innocence that fly in the face of white supremacy, the primal American myth that stands at the heart of all the others.
This book, a milestone in American music scholarship, is the first to take a close look at an important and little-studied component of African American music, one that has roots in Europe, but was adapted by African American congregations and went on to have a profound influence on music of all kinds—from gospel to soul to jazz. "Lining out," also called Dr. Watts hymn singing, refers to hymns sung to a limited selection of familiar tunes, intoned a line at a time by a leader and taken up in turn by the congregation. From its origins in seventeenth-century England to the current practice of lining out among some Baptist congregations in the American South today, William Dargan’s study illuminates a unique American music genre in a richly textured narrative that stretches from Isaac Watts to Aretha Franklin and Ornette Coleman. Lining Out the Word traces the history of lining out from the time of slavery, when African American slaves adapted the practice for their own uses, blending it with other music, such as work songs. Dargan explores the role of lining out in worship and pursues the cultural implications of this practice far beyond the limits of the church, showing how African Americans wove African and European elements together to produce a powerful and unique cultural idiom. Drawing from an extraordinary range of sources—including his own fieldwork and oral sources—Dargan offers a compelling new perspective on the emergence of African American music in the United States. Copub: Center for Black Music Research
Four lectures given as part of an endowed Lectureship on Christian Sociology at Philadelphia Divinity School. Washington's two lectures concern the economic development of African Americans both during and after slavery. He argues that slavery enabled the freedman to become a success, and that economic and industrial development improves both the moral and the religious life of African Americans. Du Bois argues that slavery hindered the South in its industrial development, leaving an agriculture-based economy out of step with the world around it. His second lecture argues that Southern white religion has been broadly unjust to slaves and former slaves, and how in so doing it has betrayed its own hypocrisy.
The Harlem Renaissance was the most influential single movement in African American literary history. The movement laid the groundwork for subsequent African American literature, and had an enormous impact on later black literature world-wide. In its attention to a wide range of genres and forms – from the roman à clef and the bildungsroman, to dance and book illustrations – this book seeks to encapsulate and analyze the eclecticism of Harlem Renaissance cultural expression. It aims to re-frame conventional ideas of the New Negro movement by presenting new readings of well-studied authors, such as Zora Neale Hurston and Langston Hughes, alongside analysis of topics, authors, and artists that deserve fuller treatment. An authoritative collection on the major writers and issues of the period, A History of the Harlem Renaissance takes stock of nearly a hundred years of scholarship and considers what the future augurs for the study of 'the New Negro'.
As a jazz musician, filmmaker, anthropologist, sexologist, and crime novelist, the boundlessly curious German autodidact Ernest Borneman exemplified the conflicting cultural and intellectual currents of the twentieth century. In this long-awaited English translation, acclaimed historian Detlef Siegfried chronicles Borneman’s journey from a young Jewish Communist in Nazi Berlin to his emergence as a celebrated (and reliably controversial) transatlantic polymath. Through an innovative structure organized around the human senses, this biography memorably portrays a figure whose far-flung obsessions comprised a microcosm of postwar intellectual life.
Originally published in 1978, this book caused a storm of controversy as Michele Wallace blasted the masculinist bias of the black politics that emerged from the sixties. She described how women remained marginalized by the patriarchal culture of Black Power and the ways in which a genuine female subjectivity was blocked by the traditional myths of black womanhood. In 1990 the author added a new introduction examining the debate the book had sparked between intellectuals and political leaders; an extensive bibliography of contemporary black feminist studies was also added. Black Macho raised issues and arguments that framed the terms of current feminist and black theory and continues to be relevant today.
A groundbreaking study, A Spirit of Dialogue examines through extensive, interdisciplinary research, theory, and close reading the intricate reconstructions, extensions, and resonances of the West African myth of spirit children, the "Born-to-Die," in contemporary African American neo-slave narratives. Arguing that the myth, called "Ogbañje" in Igbo language and "àbíkú" in Yoruba, has had over thirty years of uncharted presence in African American literature, Okonkwo advances a compelling case absent in extant scholarship. He traces Ogbañje/the Born-to-Die's appearance in African American texts to a convergence of factors. They include but are not limited to: the impact of Chinua Achebe's Things Fall Apart; the 1960s emergence of the contemporary neo-slave narrative; the 1960s and 1970s black consciousness/Black Power movement and the cultural agenda, gendered politics, and centripetal philosophy of the Black Arts movement's nationalist aesthetic; African American identity questions of the post-civil rights and the multicultural eras; and the thematic shifts, as well as the African diaspora orientation of African American fiction of the post-nationalist aesthetic period. A Spirit of Dialogue focuses on the sometimes neglected and understudied works of four canonical African American writers: Octavia E. Butler's Wild Seed and Mind of My Mind, Tananarive Due's The Between, John Edgar Wideman's The Cattle Killing, and Toni Morrison's Sula and Beloved. Okonkwo demonstrates persuasively how the mythic spirit child informs the content and form of these novels, offering Butler, Due, Wideman, and Morrison a non-occidental "code" by which to engage collectively with the various issues integral to the history experience of African-descended people. The paradigm functions, then, as the nexus of a life-affirmative dialogue among the six novels, as well as between them and other works of African religious and literary imagination, particularly Things Fall Apart and Ben Okri's The Famished Road.
This acclaimed work surveys the varied course of religious life in modern America. Beginning with the close of the Victorian Age, it moves through the shifting power of Protestantism and American Catholicism and into the intense period of immigration and pluralism that has characterized our nation's religious experience.
The first conprehensive inquiry into the history, nature and ultimate meaning of racism.
"This is a ground-breaking book. The text is remarkable in its use of MPAA files and studio archives; Weisenfeld uncovers all sorts of side stories that enrich the larger narrative. The writing is clear and concise, and Weisenfeld makes important theoretical interpretations without indulging in difficult jargon. She incorporates both film theory and race theory in graceful, non-obtrusive ways that deepen understanding. This is an outstanding work."--Colleen McDannell, author of Picturing Faith: Photography and the Great Depression