African-American Culture

As Nathan Huggins once stated, altering American history to account fully for the nation's black voices would change the tone and meaning--the frame and the substance--of the entire story. Rather than a sort of Pilgrim's Progress tale of bold ascent and triumph, American history with the black parts told in full would be transmuted into an existential tragedy, closer, Huggins said, to Sartre's No Exit than to the vision of life in Bunyan. The relation between memory and history has received increasing attention both from historians and from literary critics. In this volume, a group of leading scholars has come together to examine the role of historical consciousness and imagination in African-American culture. The result is a complex picture of the dynamic ways in which African-American historical identity constantly invents and transmits itself in literature, art, oral documents, and performances. Each of the scholars represented has chosen a different "site of memory"--from a variety of historical and geographical points, and from different ideological, theoretical, and artistic perspectives. Yet the book is unified by a common concern with the construction of an emerging African-American cultural memory. The renowned group of contributors, including Hazel Carby, Werner Sollors, Veve Clark, Catherine Clinton, and Nellie McKay, among others, consists of participants of the five-year series of conferences at the DuBois Institute at Harvard University, from which this collection originated. Conducted under the leadership of Genevieve Fabre, Melvin Dixon, and the late Nathan Huggins, the conferences--and as a result, this book--represent something of a cultural moment themselves, and scholars and students of American and African-American literature and history will be richer as a result.

Shane White and Graham White consider the deeper significance of the ways in which African Americans have dressed, walked, danced, arranged their hair, and communicated in silent gestures. They ask what elaborate hair styles, bright colors, bandanas, long watch chains, and zoot suits, for example, have really meant, and discuss style itself as an expression of deep-seated cultural imperatives. Their wide-ranging exploration of black style from its African origins to the 1940s reveals a culture that differed from that of the dominant racial group in ways that were often subtle and elusive. White and White argue that the politics of black style is, in fact, the politics of metaphor, always ambiguous because it is always indirect. To tease out these ambiguities, they examine extensive sources, including advertisements for runaway slaves, interviews recorded with surviving ex-slaves in the 1930s, autobiographies, travelers' accounts, photographs, paintings, prints, newspapers, and images drawn from popular culture, such as the stereotypes of Jim Crow and Zip Coon.

In the wake of the Kennedy era, a new kind of ethnic hero emerged within African-American popular culture. Uniquely suited to the times, burgeoning pop icons projected the values and beliefs of the Civil Rights and Black Power movements, and reflected both the possibility and the actuality of a rapidly changing American landscape. In Black Camelot, William Van Deburg examines the dynamic rise of these new black champions, the social and historical contexts in which they flourished, and their powerful impact on the African-American community. "Van Deburg manages the enviable feat of writing with flair within a standardized academic framework, covering politics, social issues and entertainment with equal aplomb."--Jonathan Pearl, Jazz Times "[A] fascinating, thorough account of how African-American icons of the 1960s and '70s have changed the course of American history. . . . An in-depth, even-tempered analysis. . . . Van Deburg's witty, lively and always grounded style entertains while it instructs."--Publishers Weekly

In any age and any given society, cultural practices reflect the material circumstances of people's everyday lives. According to Joel Dinerstein, it was no different in America between the two World Wars -- an era sometimes known as the "machine age" -- when innovative forms of music and dance helped a newly urbanized population cope with the increased mechanization of modern life. Grand spectacles such as the Ziegfield Follies and the movies of Busby Berkeley captured the American ethos of mass production, with chorus girls as the cogs of these fast, flowing pleasure vehicles.

Yet it was African American culture, Dinerstein argues, that ultimately provided the means of aesthetic adaptation to the accelerated tempo of modernity. Drawing on a legacy of engagement with and resistance to technological change, with deep roots in West African dance and music, black artists developed new cultural forms that sought to humanize machines. In "The Ballad of John Henry, " the epic toast "Shine, " and countless blues,songs, African Americans first addressed the challenge of industrialization. Jazz musicians drew on the symbol of the train within this tradition to create a set of train-derived aural motifs and rhythms, harnessing mechanical power to cultural forms. Tap dance and the lindy hop brought machine aesthetics to the human body, while the new rhythm section of big band swing mimicked the industrial soundscape of northern cities. In Dinerstein's view, the capacity of these artistic innovations to replicate the inherent qualities of the machine -- speed, power, repetition, flow, precision -- helps explain both their enormous popularity and social function in American life.

An analysis of the recent switch from the name "Black" to "African American" symbolizes a reconceptualization of Americans of African descent away from race to culture. This book examines the emergence of a new representation whose rapid spread has been fuelled by widely shared projections of a different future capable of overcoming the legacy of racism.

As the 20th century ends, the fate of the African-American community remains a central and hotly contested focus of our national political discourse. Although American race relations, and the structure of opportunities facing most African-Americans, have dramatically improved in recent decades, daunting challenges and questions remain. This book examines the vexing reality of racial conditions in America today: improved overall, but far more complicated than they used to seem, and in important respects continually depressing. Thirteen provocative and timely essays--by some of the most highly respected experts in the nation--present thoughtful, and often-competing, assessments of African-American progress and of the prospects for its further enhancement. The authors examine the educational achievement disparities and education policy choices confronting black America; the track record of faith-based organizations in improving poor inner-city communities; the continuing impediments to residential integration;,and data-based arguments for continuing affirmative action programs. The final chapter discusses the feasibility of "reaching beyond race" to build stronger political coalitions for racially-progressive policies. In addition to the editor, the authors include Edward G. Carmines, Linda Darling-Hammond, John J. DiIulio, Jr., Henry Louis Gates, Jr., Nathan Glazer, Jay P. Greene, Jennifer L. Hochschild, Christopher Jencks, Phillip Klinkner, Glenn C. Loury, Orlando Patterson, Paul E. Peterson, Meredith Phillips, Rogers Smith, Paul M. Sniderman, Abigail Thernstrom, and Stephan Thernstrom.

Semmes extends Afrocentric social theory by formulating the problem of structured inequality for African Americans in terms of cultural hegemony. This innovative work challenges oppositional and segmented analyses that look at Black inequality in terms of either economic dislocation or racial oppression, and introduces the idea that what is at stake are the issues of progressive cultural adaptation, cultural reconstruction, and institutional development. What emerges is a new way of seeing and understanding the intellectual tradition and body of knowledge called Black, African-American, or Africana studies.

Leading African American scholars examine the often neglected cultural context in research and policy development in African American higher education in this collection of essays. Past research has most often been conducted by individuals unfamiliar with the historical and cultural considerations of specific ethnic groups. Therefore, the outcomes of research and the development of programs have been based on deficit models, that is, what is wrong with African Americans, or what they cannot achieve. The book examines the questions; what is the relationship between African Americans' culture and experiences, and how should their culture be integrated into research and practice? How do African Americans' intra- and interrelations differ in higher education? How does understanding African American culture as it relates to higher education research enhance policy-making and practice? What role do HBUCs play in African Americans' participation in higher education? What are the policy and practice implications of,past and current research? Scholars and practitioners of education, culture and race relations will find this collection informative and interesting.