14. Bahia Nights Carnival in Brazil’s Black World

2020 ◽  
pp. 308-334
Keyword(s):  
2021 ◽  
pp. 002193472110115
Author(s):  
Keisha-Khan Y. Perry ◽  
Anani Dzidzienyo

This essay provides a brief introduction to this special issue focused on the life and work of Black Brazilian scholar-activist Abdias Nascimento. The contributors include, Vera Lucia Benedito, Ollie Johnson, Zachary Morgan, Elisa Larkin Nascimento, and Cheryl Sterling who all participated in a 2015 conference at Africana Studies at Brown University. This group of scholars aptly illustrate that Nascimento had long contributed to the internationalization of Black Studies as a field in US academe and he was crucial in establishing Brazil as a central component of the Black World. The essays have much to teach us about Nascimento’s views on the relationship between art and politics, the role of military service in shaping his activism, the significance of black politicians in the reconceptualization of Brazilian democracy, and the importance of preserving archives and expanding our understanding of the Black radical tradition.


2021 ◽  
Vol 25 (1) ◽  
pp. 84-101
Author(s):  
Victoria J. Collis-Buthelezi

When South African–born Peter Abrahams moved to Jamaica in 1956, he thought he had found a racial paradise. Over the next six decades as a Jamaican, his understanding of race in Jamaica was complicated after independence. His last two novels—This Island Now (1966) and The View from Coyaba (1985)—fictionalize the transition to independence in the anglophone Caribbean and how that transition related to the set of concerns unfolding across the rest of the black world. This essay traces Abrahams’s thought on questions of race and decolonization through a close reading of his Caribbean fiction and how he came to theorize the literal and conceptual space of the Caribbean—the island—as a strategy for freedom. In so doing, the author asks, What are the limits of the Caribbean novel of the era of decolonization (1960s–80s) in the anglophone Caribbean? What constitutes it? And how does it articulate liberation?


Author(s):  
E. James West

This chapter situates Ebony’s evolving black history content within the broader struggle for black-centred education and the ‘Black Revolution’ on campus during the late 1960s and early 1970s. During this period, Ebony’s historical content presented a militant and, at times, heavily gendered interpretation of the African American past. On an individual level, Bennett’s developing relationship with organisations such as Northwestern University and the Institute of the Black World underscored the uniqueness of his role as Ebony’s in-house historian, and the complexity of his position as both a magazine editor and a black public intellectual.


Author(s):  
Kehbuma Langmia

This chapter examines a bi-polar ideological constructs of Western and Non-western modes of education within the Historically Black Colleges and Universities educational system. Western curricula have ‘colonized' Black world educational systems for centuries making it hard to inculcate African ontological and epistemological ideologies in most universities. As a result, the birth of HBCUs was a welcome relief as African Americans and Blacks from Africa, Latin America, Caribbean and Europe found a ‘home' to be ‘historically aware' of their lineage and ancestry. This chapter makes a case through critical literature to argue that sustaining and empowering these Black Colleges and Universities through Western and Non-western educational traditions constitute the barometer for success. This would ensure their long lasting role in higher education in the United States and the world.


Author(s):  
Vincent L. Wimbush

Things Fall Apart, with its thick and complex and rich representation of traditional village life, especially its central/centering rituals, sensibilities, and orientation, opens a window onto a world with a particular type of collective consciousness and politics and dynamics. In this chapter the Umuofia village in what we know today as Nigeria is introduced as the semi-fictional setting for the ongoing dynamics of a socially complex and richly textured society of local customs and traditions. Among these traditions is the masking ritual and the gendered, class, and interpersonal relations that it reflects and structures. Set at the end of the nineteenth century, at the height of the consolidations of the colonial era, Achebe’s story offers us an honest and realistic picture of a black world that represents a particular orientation to the world, a sensibility and mood, an epistemic system, including a certain felt anxiety and fear, symbolized by and managed through the mask worn in rituals.


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