Black Cultural Traffic: Crossroads in Global Performance and by Harry Justin Elam Jr., Kennell Jackson

By Harry Justin Elam Jr., Kennell Jackson

"A shrewdly designed, generously expansive, well timed contribution to our realizing of the way 'black' expression maintains to outline and defy the contours of worldwide (post)modernity. The essays argue persuasively for a transnational ethos binding disparate African and diasporic enactments, and jointly supply a strong dialog concerning the nature, background, destiny, or even chance of 'blackness' as a particular mode of cultural practice."
--Kimberly Benston, writer of Performing Blackness

"Black Cultural site visitors is not anything lower than our generation's manifesto on black functionality and pop culture. With a exceptional roster of individuals and issues ranging throughout educational disciplines and the humanities (including observation on movie, track, literature, theater, tv, and visible cultures), this quantity isn't just required studying for students desirous about many of the dimensions of black functionality, it's also a well timed and invaluable instructing software. It captures the thrill and highbrow innovation of a box that has come of age. Kudos!"
--Dwight A. McBride, writer of Why I Hate Abercrombie & Fitch

"The explosion of curiosity in black pop culture stories some time past fifteen years has left an important desire for a reader that displays this new scholarly strength. Black Cultural site visitors solutions that need."
--Mark Anthony Neal, writer of Songs within the Key of Black Life

"A progressive anthology that might be largely learn and taught. It crisscrosses continents and cultures and examines confluences and impacts of black pop culture -- song, dance, theatre, tv, type and picture. It additionally provides a brand new size to present discussions of racial, ethnic, and nationwide identity."
--Horace Porter, writer of The Making of a Black Scholar

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Extra resources for Black Cultural Traffic: Crossroads in Global Performance and Popular Culture

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Yet Africa's current realities are more dimly seen. 1 The gulf between the imagined and lived realities of Africa is not so much my focus here as it is my point of departure. I enter this discussion as a scholar of African the­ ater and performance, West African popular theater in particular. As I try to address the themes of this book, I find myself asking whether African theater belongs in a volume on black popular culture at all. Is it popular? And, perhaps more provocatively, is it black? Yes, most theater in sub­ Saharan Africa is created by and for black Africans.

Diawara's essay rediscovers this cul­ tural episode and advances a theory about the maintenance of African cul­ ture in New World slavery versus under European colonialism in Africa. Halifu Osumare's essay "Global Hip-Hop and the African Diaspora" brings us another vital perspective on the dispersion of hip-hop and reminds us that even though hip-hop is a commercial enterprise these days, it holds within it the promise of creating solidarities among the poor and dispossessed youth of the black diaspora, in particular in Cuba and Brazil.

12. , Bamboozled, 2000. 13. E. H. Gombrich, Art and Illusion, 2nd ed. (London: Phaidon, 1962), 90-98. 33 34 BLACK CULTURAL TRAFFIC 14. Brown's speech at the 1851 London meeting of fugitive slaves was a masterpiece, delicately shaded with emotion and poetic language, that broadly depicted the forces of enslavement (219). 15. The Original Kings of Comedy, dir. Spike Lee, filmed in 1998-99, and released in 2000. 16. Many studies exist on the movement of jazz and jazz overseas, especially in the Soviet Union.

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