From Nkrumah’s Black Star to the African Diaspora: Ghanaian Intellectual Activists and the Development of Black Studies in the Americas

2021 ◽  
Vol 106 (4) ◽  
pp. 682-705
Author(s):  
Bright Gyamfi
2019 ◽  
Vol 50 (4) ◽  
pp. 343-366
Author(s):  
Nolan Kopkin ◽  
Erin N. Winkler

The ongoing debate about nomenclature has been part of the discourse in Black Studies since the late 1960s, yet there remains no consensus on an ideal name. The existing literature ties specific name choices to political, ideological, and paradigmatic approach; regional focus; and/or institutional and market pressure. In this study, we augment the literature with survey data on the opinions of Black Studies scholars. Our findings show “Africana Studies” is most often chosen as the ideal name, followed by “Black Studies,” “African Diaspora Studies,” “African American Studies” and “Pan-African Studies,” “Africology,” and “African Studies,” and that trends for positive and negative connotations follow a somewhat similar pattern. Just as the literature ties specific name choices to political, ideological, and paradigmatic approach; regional focus; and/or institutional and market pressure, so too do our respondents. It is our hope these results add to the ongoing scholarly discussion around nomenclature in Black Studies.


Author(s):  
Joyce E. King

The original mission of Black Studies is producing consciousness transforming knowledge, and teaching for social change in close connection with Black communities, not mimicking other disciplines in producing esoteric knowledge for establishment legitimacy in the academy. Two principal pillars for Black Studies curriculum theorizing and praxis have been: (a) knowledge making as (and for) consciousness transformation and (b) social change for (and as) Diaspora literacy knowledge making also refers to the ability to “read” various cultural signs as continuities in African-descended people’s experience. As a foundation for collective cultural agency, Heritage knowledge or group memory, refers to a repository or heritable legacy that makes a feeling of belonging, peoplehood, and communal solidarity as an outcome of education possible. Vèvè A. Clark, scholar of African and Caribbean literature, African American dance histories, and African diaspora theatre, coined the concept of Diaspora literacy in a 1984 paper analyzing allegory in Guadeloupean writer Maryse Condé’s novel, Hérémakhonon, which situated an Afro-Caribbean women’s identity quest in postcolonial West Africa. Clark later revised and expanded the concept to denote a narrator’s or reader’s ability to understand and/or interpret the multilayered meanings of stories, words, and other folk sayings within any given African diaspora community. Heritage knowledge takes the unjust system out of the center and puts the Africanity of group memory, the Black perspective, which is the cultural foundation that generates people’s collective cultural agency, at the center. While Heritage knowledge is a cultural birthright of every human being, the experience of Blackness as “ontological lack” obstructs and denies African people’s humanity and agency. These conceptual tools and revolutionary African-centered pedagogy provide opportunities for consciousness transforming education for Black liberation. Such theoretical concepts and praxis in Black Studies are neglected in curriculum theorizing discourse and praxis. This is so even though curriculum is viewed as racial text and reconceptualists focus on autobiography, subjectivity, identity, transformation, and more to define curriculum as a process (currere) not an object of study. Likewise, curriculum theorizing has yet to become an identifiable subfield within the transdiscipline of Black or Africana Studies, notwithstanding decades of institutionalizing curricula in higher education since the 1980s, including a National Council of Black Studies curriculum framework. Because African-descended people’s continent of origin and history, as well as Black children, their families, and teachers have been maligned in society, the radical introduction of African content in Afrocentric curriculum and pedagogy is needed to change the quality of education and to create new understanding of the racial politics of knowledge for all students and teachers. Revolutionary African-centered pedagogy aims to undo “twisted thinking” about Africa; challenge the oppressive educational system’s vision; defend students from self-hatred, and support agency for those who have been marginalized by hegemonic concepts, themes, and curricular ideas. The aim of examining relevant theoretical, epistemological, curriculum, and pedagogical developments in Black Studies and Black education scholarship is to clarify the meaning, significance, and implications of (a) African diaspora/s as a concept in education, political discourse, and method in Black Studies; (b) what deciphering Africanity in Diaspora literacy consciousness and Heritage knowledge reveals about the importance of the Black (Studies) perspective; and (c) revolutionary African-centered pedagogy as a philosophy and method of teaching for consciousness transformation.


Costume ◽  
2017 ◽  
Vol 51 (2) ◽  
pp. 263-265
Author(s):  
Alistair O'Neill
Keyword(s):  

Author(s):  
Vijay Iyer

Improvisation has been construed as Western art music’s Other. This chapter urges music theorists to take the consequences of this configuration seriously. The decision to exclude improvisation as inherently unstable is not neutral, but is bound up with the endemic racism that has characterized social relations in the West and that is being brought to the fore in Black Lives Matter and other recent social and political movements. Traditional music theory is not immune from such institutional racism—its insistence on normative musical behaviors is founded on the (white) phallogocentrism of Western thought. Does the resurgent academic interest in improvisation offer a way out? No, at least not as it is currently studied. Even an apparently impartial approach such as cognitive science is not neutral; perception is colored by race. To get anywhere, this chapter argues, improvisation studies must take difference seriously. Important impetus for a more inclusive critical model comes from such fields as Black studies, Women’s studies, subaltern studies, queer studies, and disability studies.


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