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This book is primarily about the culture of the people of Africa. It is a presentation of the way of life of a people which has been handed down from generations, and which also symbolizes a unique identity to persons of color irrespective of place of residence. The book presents a compelling background information on the exploitation of Africa by her European Colonial players. The Author also included some interesting pictures of the various stages of human development in their efforts to maintaining that what it takes to build and sustain a community. From marriage to childbirth through the formative years, to the institution of age grade system which provided the cornerstone for a viable communal improvement and security. The book ended with the presentation of a variety of aesthetic values which put Africa back at the center of cultural emancipation which she holds as a footprint for generations.
In Between Homeland and Motherland, Alvin B. Tillery Jr. considers the history of political engagement with Africa on the part of African Americans, beginning with the birth of Paul Cuffe’s back-to-Africa movement in the Federal Period to the Congressional Black Caucus’ struggle to reach consensus on the African Growth and Opportunity Act of 2000. In contrast to the prevailing view that pan-Africanism has been the dominant ideology guiding black leaders in formulating foreign policy positions toward Africa, Tillery highlights the importance of domestic politics and factors within the African American community. Employing an innovative multimethod approach that combines archival research, statistical modeling, and interviews, Tillery argues that among African American elites—activists, intellectuals, and politicians—factors internal to the community played a large role in shaping their approach to African issues, and that shaping U.S. policy toward Africa was often secondary to winning political battles in the domestic arena. At the same time, Africa and its interests were important to America’s black elite, and Tillery’s analysis reveals that many black leaders have strong attachments to the "motherland." Spanning two centuries of African American engagement with Africa, this book shows how black leaders continuously balanced national, transnational, and community impulses, whether distancing themselves from Marcus Garvey’s back-to-Africa movement, supporting the anticolonialism movements of the 1950s, or opposing South African apartheid in the 1980s.
During and after the Harlem Renaissance, two intellectual forces—nationalism and Marxism—clashed and changed the future of African American writing. Current literary thinking says that writers with nationalist leanings wrote the most relevant fiction, poetry, and prose of the day. Nationalism, Marxism, and African American Literature Between the Wars: A New Pandora's Box challenges that notion. It boldly proposes that such writers as A. Philip Randolph, Langston Hughes, and Richard Wright, who often saw the world in terms of class struggle, did more to advance the anti-racist politics of African American letters than writers such as Countee Cullen, Jessie Redmon Fauset, Alain Locke, and Marcus Garvey, who remained enmeshed in nationalist and racialist discourse. Evaluating the great impact of Marxism and nationalism on black authors from the Harlem Renaissance and the Depression era, Anthony Dawahare argues that the spread of nationalist ideologies and movements between the world wars did guide legitimate political desires of black writers for a world without racism. But the nationalist channels of political and cultural resistance did not address the capitalist foundation of modern racial discrimination. During the period known as the “Red Decade” (1929–1941), black writers developed some of the sharpest critiques of the capitalist world and thus anticipated contemporary scholarship on the intellectual and political hazards of nationalism for the working class. As it examines the progression of the Great Depression, the book focuses on the shift of black writers to the Communist Left, including analyses of the Communists' position on the “Negro Question,” the radical poetry of Langston Hughes, and the writings of Richard Wright.
"Focusing on specific texts by Jamaica Kincaid, Maryse Conde, and Paule Marshall, this study explores the intricate trichotomous relationship between the mother (biological or surrogate), the motherlands Africa and the Caribbean, and the mothercountry represented by England, France, and/or North America. The mother-daughter relationships in the works discussed address the complex, conflicting notions of motherhood that exist within this trichotomy. Although mothering is usually socialized as a welcoming, nurturing notion, Alexander argues that alongside this nurturing notion there exists much conflict. Specifically, she argues that the mother-daughter relationship, plagued with ambivalence, is often further conflicted by colonialism or colonial intervention from the "other," the colonial mothercountry." "Mother Imagery in the Novels of Afro-Caribbean Women offers an overview of Caribbean women's writings from the 1990s, focusing on the personal relationships these three authors have had with their mothers and/or motherlands to highlight links, despite social, cultural, geographical, and political differences, among Afro-Caribbean women and their writings. Alexander traces acts of resistance, which facilitate the (re)writing/righting of the literary canon and the conception of a "newly created genre" and a "womanist" tradition through fictional narratives with autobiographical components." --Book Jacket.
Africa has long gripped the American imagination. From the Edenic wilderness of Edgar Rice Burroughs’s Tarzan novels to the ‘black Zion’ of Garvey’s Back-to-Africa movement, all manner of Americans - whether white or black, male or female - have come to see Africa as an idealized stage on which they can fashion new, more authentic selves. In this remarkable, panoramic work, David Peterson del Mar explores the ways in which American fantasies of Africa have evolved over time, as well as the role of Africans themselves in subverting American attitudes to their continent. Spanning seven decades, from the post-war period to the present day, and encompassing sources ranging from literature, film and music to accounts by missionaries, aid workers and travel writers, African, American is a fascinating deconstruction of ‘Africa’ as it exists in the American mindset.
Analysing a variety of tourist productions, ranging from dance dramas in Bali to an Abraham Lincoln heritage site in Illinois, Bruner considers the diverse perspectives of various actors, including the tourists, the producers, the natives & the anthropologist himself.
Quincy Jones (b. 1933) is one of the most prolific composers, arrangers, bandleaders, producers, and humanitarians in American music history and the recording and film industries. Among pop music fans he is perhaps most famous for producing Michael Jackson's album, Thriller. Clarence Bernard Henry focuses on the life, music, career, and legacy of Jones within the social, cultural, historical, and artistic context of American, African American, popular, and world music traditions. Jones's career has spanned over sixty years, generating a substantial body of work with over five hundred compositions and arrangements. The author focuses on this material as well as many of Jones's accomplishments: performing as a young trumpeter in the bands of Lionel Hampton and Dizzy Gillespie, becoming the first African American to hold an executive position in the competitive white-owned recording industry, breaking racial barriers as a composer in the Hollywood film and television industries, producing the best-selling album of all time, and receiving numerous Grammy Awards. The author also discusses many of Jones's compositions, arrangements, and recordings and his compositional study in France with legendary teacher Nadia Boulanger. In addition, details are provided about Jones's distinct ability as one of the most innovative composers and arrangers who incorporates many different styles of music, techniques, and creative ideas in his compositions, arrangements, and film scores. He collaborated with an array of musicians and groups such as Louis Armstrong, Duke Ellington, Miles Davis, Ella Fitzgerald, Sarah Vaughan, Frank Sinatra, Clifford Brown, Ray Charles, Michael Jackson, USA for Africa, and many others. Clarence Bernard Henry shows how Jones has, throughout his career, wholeheartedly embraced philosophies of globalization and cultural diversity in his body of work, collaborations, humanitarian projects, and musical creativity.
In the decades between the Berlin Conference that partitioned Africa and the opening of the African Hall at the American Museum of Natural History, Americans in several fields and from many backgrounds argued that Africa had something to teach them. Jeannette Eileen Jones traces the history of the idea of Africa with an eye to recovering the emergence of a belief in “Brightest Africa”—a tradition that runs through American cultural and intellectual history with equal force to its “Dark Continent” counterpart. Jones skillfully weaves disparate strands of turn-of-the-century society and culture to expose a vivid trend of cultural engagement that involved both critique and activism. Filmmakers spoke out against the depiction of “savage” Africa in the mass media while also initiating a countertradition of ethnographic documentaries. Early environmentalists celebrated Africa as a pristine continent while lamenting that its unsullied landscape was “vanishing.” New Negro political thinkers also wanted to “save” Africa but saw its fragility in terms of imperiled human promise. Jones illuminates both the optimism about Africa underlying these concerns and the racist and colonial interests these agents often nevertheless served. The book contributes to a growing literature on the ongoing role of global exchange in shaping the African American experience as well as debates about the cultural place of Africa in American thought.
This Book is the outcome of a long project begun thirty years ago. It is a book on the makings of pan-Africanism through the predicaments of being black in a world dominated by being white. The book is a tribute and celebration of the efforts of the African-American and African-Caribbean Diaspora who took the initiative and the audacity to fight and liberate themselves from the shackles of slavery. It is also a celebration of those Africans who in their own way carried the torch of inspiration and resilience to save and reconstruct the Free Humanism of Africa. As a story of the rise from the shackles of slavery and poverty to the summit of Victors of their Renaissance Identity and Self-Determination as a People, the book is the story of African refusal to celebrate victimhood. The book also situates women as central actors in the Pan-African project, which is often presented as an exclusively masculine endeavour. It introduces a balanced gender approach and diagnosis of the Women actors of Pan-Africanism which was very much lacking. The problem of balkanisation of Africa on post-colonial affiliations and colonial linguistic lines has taken its toll on Africas building of its common identity and personality. The result is that Africans are more remote to each other in their pigeon-hole-nation-states which put more restrictions for African inter-mobility, coupled by education and cultural affiliations, the communication and transportation and trading networks which are still tied more to their colonial masters than among themselves. This book looks into the problem of the new wave of Pan-Africanism and what strategies that can be proposed for a more participatory Pan-Africanism inspired by the everyday realities of African masses at home and in the diaspora. This book is the first book of its kind that gives a comprehensive and multidimensional coverage of Pan-Africanism. It is a very timely and vital compendium.
This book presents an interpretation and analysis of the phenomenon of ambivalence so persistent in the Afro-American consciousness of Africa. Today a wide range of black opinion has accepted Pan-Africanism and Africa and many are consciously making an effective attempt to create more links with Africa. The right of blacks to be culturally independent is now accepted, at least verbally, without question. But this was not always the case. The present study is offered as an exploration in the field of social identity as it affects people in diaspora. The identity of every people is shaped in their environment, it is a legacy of historical forces.