New PDF release: Afromodernisms: Paris, Harlem, Haiti and the Avant-garde

ISBN-10: 074864640X

ISBN-13: 9780748646401

“This number of ten essays makes a persuasive case for a black Atlantic literary renaissance and its effect on modernist reports. The chapters stretch and problem present canonical configurations of modernism in methods: by means of contemplating the centrality of black artists, writers and intellectuals as key actors and middle presences within the improvement of a modernist avant-garde; and via interrogating ‘blackness’ as a cultured and political type at severe moments through the 20th century. this is often the 1st book-length book to discover the time period ‘Afromodernisms’ and the 1st learn to deal with jointly the cognate fields of modernism and the black Atlantic.”

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Additional resources for Afromodernisms: Paris, Harlem, Haiti and the Avant-garde

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E. B. ’15 More specifically, they came to the French capital with two primary concerns. indd 23 15/01/2013 13:51 24 Tyler Stovall peoples throughout the world for self-determination. Several African American intellectuals, including Chandler Owen, A. Philip Randolph and Hubert Harrison, spoke about the importance of solidarity with revolutionary anti-imperialism sweeping across the colonial world. 16 If the prospect of anti-colonial and racial revolution stirred black activists to come to Paris, so in a different sense did the danger of racial backlash.

230. 60. Cited in Vincent, Keep Cool, p. 107. 61. Lloyd, Eugene Bullard, pp. 105–6. 62. Ibid. pp. 80–5. 63. On Josephine Baker’s stewardship of her own career, see Bennetta JulesRosette, Josephine Baker in Art and Life: The Icon and the Image (Urbana: University of Illinois Press, 2007). 64. Stovall, Paris Noir, p. 88. 65. Langston Hughes, The Big Sea (New York: Hill and Wang, 1979), p. 162. indd 42 15/01/2013 13:51 Chapter 2 Futurist Responses to African American Culture Przemysław Stroz˙ek At the beginning of the twentieth century the first signs of African American culture in the form of dances – ragtime, the cakewalk, jazz, the Charleston – appeared in Europe as a new, original form of entertainment, and music craze, notably in the Parisian salons.

In spite of State Department restrictions, sixteen blacks from the United States took part, including John Hope, president of Morehouse College, Addie W. Hunton, Rayford Logan and Joel Spingarn. Six of the sixteen Americans were affiliated with the NAACP. Delegates from France and the French empire, notably the French West Indies, constituted the largest single contingent, with over twenty participants. Twelve delegates came from Africa, led by the Liberian delegation whose members were strenuously lobbied by Blaise Diagne to join the meeting.

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Afromodernisms: Paris, Harlem, Haiti and the Avant-garde


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