“Neighborliness Is Nonspatial”: Howard Thurman and the Search for Integration and Common Ground

2017 ◽  
Vol 46 (6) ◽  
pp. 1206-1221
Author(s):  
Peter Eisenstadt
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Urban Space ◽  
Urban Areas ◽  
Common Ground ◽  
Racial Conflict ◽  
Spatial Understanding ◽  
The 1960S ◽  
Howard Thurman ◽  
Life Career

This article, by looking at the life, career, and thought of Howard Thurman, one of the most significant African American religious thinkers of the twentieth century, argues that one way to understand the call for racial integration by Thurman and others in the mid-century is through the demand to restructure urban space in less exclusive ways. The failure to realize this, in the 1960s, led to calls for defending “black space” in cities, although this too proved to be a failure. Thurman’s spatial understanding of integration is a still relevant intervention in understanding the complexities of race and racial conflict in urban areas.

scholarly journals The (Mis)Representation of African American Music: The Role of the Fiddle

2016 ◽  
Vol 10 (1) ◽  
pp. 1-32 ◽  
Author(s):  
JACQUELINE COGDELL DJEDJE
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Rural Areas ◽  
Urban Areas ◽  
Black People ◽  
American Music ◽  
Black Music ◽  
Black Musicians ◽  
African American Music ◽  
Musical Traditions

AbstractDuring the early twentieth century, research on African American music focused primarily on spirituals and jazz. Investigations on the secular music of blacks living in rural areas were nonexistent except for the work of folklorists researching blues. Researchers and record companies avoided black fiddling because many viewed it not only as a relic of the past, but also a tradition identified with whites. In the second half of the twentieth century, rural-based musical traditions continued to be ignored because researchers tended to be music historians who relied almost exclusively on print or sound materials for analyses. Because rural black musicians who performed secular music rarely had an opportunity to record and few print data were available, sources were lacking. Thus, much of what we know about twentieth-century black secular music is based on styles created and performed by African Americans living in urban areas. And it is these styles that are often represented as the musical creations for all black people, in spite of the fact that other traditions were preferred and performed. This article explores how the (mis)representation of African American music has affected our understanding of black music generally and the development of black fiddling specifically.

Staging Public Blackness in Mid-Twentieth-Century Peru: The Repertoires of Pancho Fierro and Cumanana

2020 ◽  
Vol 61 (2) ◽  
pp. 203-230
Author(s):  
Heidi Carolyn Feldman
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Santa Cruz ◽  
Dance Company ◽  
Lasting Impression ◽  
The Caribbean ◽  
Katherine Dunham ◽  
1960S And 1970S ◽  
The 1960S ◽  
A Performance

In 1951, Victoria (1922–2014) and Nicomedes Santa Cruz (1925–92) attended a performance at Lima's Teatro Municipal (Municipal Theatre) by the Katherine Dunham Dance Company. Dunham (1909–2006), an African American choreographer and anthropologist, pioneered a “research-to-performance” method to study African-derived dances in the Caribbean and stage them in stylized choreographies. Elite Lima patrons walked out of the theatre during the danced African fertility rite in Dunham's “Rites de Passage,” but the performance left a lasting impression on the Santa Cruzes. Nicomedes Santa Cruz later described the event as the first positive staged demonstration of blackness in Peru—and Victoria Santa Cruz stated that, when they saw Katherine Dunham's production, they knew they had to do something similar. The Santa Cruzes went on to lead a revival of Afro-Peruvian arts in the 1960s and 1970s.

scholarly journals Hungarian Population Discourses in the Twentieth Century: The Problem of Declining Birth Rates

2016 ◽  
Vol 8 ◽  
pp. 63-78
Author(s):  
Ildikó Szántó
Keyword(s):  
Twentieth Century ◽  
Urban Areas ◽  
Public Discourse ◽  
Birth Rate ◽  
Population Decline ◽  
Birth Rates ◽  
Hungarian Population ◽  
The 1960S ◽  
The Impact ◽  
Low Birth Rate

Falling birth rates had already been recorded as early as the late-eighteenth century in south-western Hungary in the Ormánság. Population loss from low birth rate remained one of the main topics writers and sociologists focused on in the twentieth century. The issue of Hungarian population decline was highlighted among the social ills in the interwar period, which was one of several subjects that divided intellectuals into ‘populists’ and ‘urbanites’. Following the impact of the low birth rate figures in the 1960s, the populists’ views of the 1930s resurfaced in public discourse in the 1960s and 1970s and up to the present day. The concern about the increasing trend of single-child families in rural settlements as well as in urban areas appeared in the various works of Hungarian writers and journalists throughout the previous century. The present paper intends to focus on the intellectual background to the public debates on the population issue, outlining the accounts of the interwar ‘village explorers’ briefly, and the way they are related to the pre-Second World War populist movement. Finally the reappearance of the debates between populists and non-populists of the 1970s is discussed, a debate that is still continuing.

Part of the Times, Personally and Professionally

2019 ◽  
pp. 175-187
Author(s):  
Andy Propst
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Middle Part ◽  
Leonard Bernstein ◽  
Personal Lives ◽  
American Experience ◽  
The Times ◽  
The 1960S ◽  
Arthur Laurents

During the early and middle part of the 1960s Betty Comden and Adolph Green were no longer splitting their time between working on shows for Broadway and movies in Hollywood, and as a result they were able to dedicate more time to their personal lives. And while they might have been spending time with the elite of New York’s society, they were not unaware of the issues facing the country. This informed a pair of stand-alone songs they penned with Jule Styne and Leonard Bernstein as well as their next musical, Hallelujah, Baby! Featuring a book by Arthur Laurents, the show chronicled the African-American experience during the first six decades of the twentieth century. Leslie Uggams was the star of what was ultimately an unconventional tuner that had music by Jule Styne and went on to win a Tony Award as best musical

Written Out of History: Black Square Dance Traditions

2015 ◽  
Vol 2015 ◽  
pp. 168-173
Author(s):  
Susan Eike Spalding
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Rural Communities ◽  
Movement Analysis ◽  
African American Community ◽  
National Society ◽  
Appalachian Region ◽  
Community Based ◽  
University Of Illinois ◽  
The 1960S

Old time square dancing (in a big circle) was an early-twentieth-century home- and community-based recreation among all ethnicities in the Central Appalachian region. It disappeared in most places by the 1940s, re-emerging in white rural communities in the 1960s. By contrast, one Virginia African American community continued square dancing until the early 1970s, much longer than others. Their last dances were held just as square dancing again became popular in white communities. The movement of the dance itself, its context and meaning to the dancers, and elements of regional and national society and culture may have contributed both to its longevity and to its demise. The presentation is based on interviews and movement analysis as well as on bibliographic research. It is based upon research for the author's book Appalachian Dance: Creativity and Continuity in Six Communities (University of Illinois Press, 2014).

scholarly journals A formação da zona sul de Poços de Caldas, Minas Gerais

2019 ◽  
Vol 29 (2) ◽  
pp. 129-142
Author(s):  
Eduardo de Araujo Da Silva ◽  
Alexandre Carvalho De Andrade
Keyword(s):  
Urban Space ◽  
Urban Areas ◽  
Social Inequalities ◽  
Minas Gerais ◽  
The South ◽  
Industrial Buildings ◽  
Poços De Caldas ◽  
The 1960S ◽  
The City ◽  
South Zone

Poços de Caldas (MG) é uma cidade média localizada no Sul de Minas Gerais. Conhecida por suas belezas paisagísticas, a cidade é um ponto turístico reconhecido nacionalmente. Em seu espaço urbano, podem ser vistas diferenças significativas, tanto de construções, padrões urbanísticos e diferenças sociais, caso recorrente nas cidades inseridas na lógica capitalista. A partir da década de 1960, a cidade começa a crescer expressivamente, impulsionada pelas novas dinâmicas econômicas relacionadas à industrialização. Dessa forma, a cidade se organiza/reorganiza, criando novas áreas urbanas, como o caso da zona sul, que começa a ser predominantemente ocupada a partir da década de 1970. Na mesma década, empresas privadas instalaram unidades industriais na mesma região, induzindo a criação de infraestruturas. A zona sul apresenta índices socioeconômicos baixos para a população que ali reside, a homogeneidade social da zona sul e sua relativa descontinuidade com o restante do tecido urbano indicam segregação socioespacial.Palavras–chave: Cidade média, Urbanização, Segregação socioespacial.Abstract Poços de Caldas (MG) is a medium-sized city located in the south of Minas Gerais. Well known for its scenic beauty, this city is a nationally recognised tourist spot. In its urban space, relevant differences can be perceived, such as its buildings, urbanistic patterns and social inequalities that are recurrent in the cities inserted in the capitalist logic. By the 1960s, the city began to grow significantly, driven by the new economic dynamics related to industrialisation. Therefore, the city is organised/reorganised by creating new urban areas, such as the south zone, which began to be highly occupied from the 1970s. In the same decade, private companies have installed industrial buildings in the same region, encouraging the creation of infrastructures. The south zone presents low socioeconomic indexes for the population that resides there, the social homogeneity of the south zone and its relative discontinuity with the rest of the urban area indicate socio-spatial segregation.Keywords: Medium-sized City, Urbanization, Socio-spatial Segregation.

Studying Modern Arabic Literature

2015 ◽  
Keyword(s):  
Twentieth Century ◽  
Arab World ◽  
Public Intellectual ◽  
Arabic Literature ◽  
Global Culture ◽  
The West ◽  
Teaching And Research ◽  
The Face ◽  
The 1960S ◽  
Modern Arabic

This book is devoted to the life and academic legacy of Mustafa Badawi who transformed the study of modern Arabic literature in the second half of the twentieth century. Prior to the 1960s the study of Arabic literature, both classical and modern, had barely been emancipated from the academic approaches of orientalism. The appointment of Badawi as Oxford University's first lecturer in modern Arabic literature changed the face of this subject as Badawi showed, through his teaching and research, that Arabic literature was making vibrant contributions to global culture and thought. Part biography, part collection of critical essays, this book celebrates Badawi's immense contribution to the field and explores his role as a public intellectual in the Arab world and the west.

Rewriting the Narrative

2019 ◽  
Vol 96 (4) ◽  
pp. 54-77
Author(s):  
Nicolas G. Rosenthal
Keyword(s):  
Twentieth Century ◽  
Native American ◽  
American Indian ◽  
Modern Society ◽  
Mixed Media ◽  
The State ◽  
Historical Narratives ◽  
Recent Scholarship ◽  
Art Scene ◽  
The 1960S

A vibrant American Indian art scene developed in California from the 1960s to the 1980s, with links to a broader indigenous arts movement. Native American artists working in the state produced and exhibited paintings, prints, sculptures, mixed media, and other art forms that validated and documented their cultures, interpreted their history, asserted their survival, and explored their experiences in modern society. Building on recent scholarship that examines American Indian migration, urbanization, and activism in the twentieth century, this article charts these developments and argues that American Indian artists in California challenged and rewrote dominant historical narratives by foregrounding Native American perspectives in their work.

Trey Ellis's Platitudes: Redefining Black Voices

2009 ◽  
Vol 32 (1) ◽  
pp. 55-76
Author(s):  
Quan Manh Ha
Keyword(s):  
Twentieth Century ◽  
African American ◽  
American Literature ◽  
African American Literature ◽  
Black Experience ◽  
Racial Issues ◽  
Black Voices ◽  
Late Twentieth ◽  
One Year ◽  
Late Twentieth Century

Trey Ellis has emerged as a prominent African American writer of the late-twentieth century, despite the small number of his published works. “The New Black Aesthetic,” an essay that he first published in CaUaloo in 1989, one year after the publication of his first novel, Platitudes, stands as a manifesto that defines and articulates his perspective on the emerging black literary voices and culture of the time, and on “the future of African American artistic expression” in the postmodern era.1 According to Eric Lott, Ellis's novel parodies the literary and cultural conflict between such male experimental writers as lshmael Reed and such female realist writers as Alice Walker.2 Thus, Ellis's primary purpose in writing Platitudes is to redefine how African Americans should be represented in fiction, implying that neither of the dominant approaches can completely articulate late-twentieth-century black experience when practiced in isolation. In its final passages, Platitudes represents a synthesis of the two literary modes or styles, and it embodies quite fully the diversity of black cultural identities at the end of the twentieth century as it extends African American literature beyond racial issues. In this way, the novel exemplifies the literary agenda that Ellis suggests in his theoretical essay.

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