Review: South of Pico: African American Artists in Los Angeles in the 1960s and 1970s by Kellie Jones

This chapter chronicles the relationship between African religious practices on the continent and African American religion in the plantation Americas in the era of slavery and the transatlantic slave trade. A new generation of scholars who emerged in the 1960s and 1970s have demonstrated not only that African religious practices exhibit remarkable subtlety and complexity but also that these cultures have played significant roles in the subsequent development of religious practices throughout the world. Christianity, Islam, and traditional African religion comprised a set of broad and varied religious practices that contributed to the development of creative, subtle, and complex belief systems that circulated around the African Diaspora. In addition, this chapter addresses some of the vexed epistemological challenges related to discussing and describing non-Western ritual and religious practices.

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On the Blackness of Post-Blackness

Black and More than Black ◽

10.14325/mississippi/9781496824516.003.0002 ◽

2019 ◽

pp. 33-60

Author(s):

Cameron Leader-Picone

Keyword(s):

African American ◽

American Art ◽

Original Formulation ◽

African American Art ◽

Linked Fate ◽

Racial Categorization ◽

Individual Agency ◽

Black Art ◽

American Artists ◽

African American Artists

This chapter argues that Colson Whitehead’s novel Sag Harbormirrors post-Black art’s emphasis on simultaneously rejecting and embracing the racial categorization of African American art. In doing so, Whitehead’s novel represents a qualified liberation for African American artists that optimistically imagines a freedom from racial categorizations that is still rooted in them. This chapter analyzes Whitehead’s novel in the context of the competing definitions of post-Blackness offered by Touré in Who’s Afraid of Post-Blackness? as well as in the original formulation by Thelma Golden. Employing a framework of “racial individualism,” the chapter argues that a loosening sense of linked fate has led to the privileging of individual agency over Black identity. In doing so, post-Blackness serves to discursively liberate African American artists from any prescriptive ideal of what constitutes black art without implying either a desire or intent to not address issues of race.

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Douglas, Aaron (1899–1979)

Routledge Encyclopedia of Modernism ◽

10.4324/9781135000356-rem418-1 ◽

2018 ◽

Author(s):

Catrina Hill

Keyword(s):

African American ◽

Public Library ◽

Langston Hughes ◽

African Art ◽

Illustrated Books ◽

Claude Mckay ◽

New York Public Library ◽

Tribal Art ◽

American Artists ◽

African American Artists

Aaron Douglas was an African American artist and educator often referred to as the father of "Black Art." He was a leading figure of the artistic movement known as the Harlem Renaissance. Douglas is best known for his work of the 1920s and 1930s, which featured abstracted silhouettes combined with African tribal art and ancient Egyptian profile heads. European artists like Matisse, Modigliani and Picasso had been influenced by African tribal art for decades, but Douglas was among the first African American artists to blend African art with modern abstraction. Douglas produced illustrations for such magazines as The Crisis, Survey Graphic and Opportunity along with co-founding the short-lived Fire!! A Quarterly Journal Devoted to the Younger Negro Artists. He also illustrated books by several well-known literary figures, including Alain Locke, James Weldon Johnson, Langston Hughes, Countee Cullen, and Claude McKay. He is recognized for several public murals, including the Birth o’ the Blues at the Sherman Hotel in Chicago, Evolution of Negro Dance at the Harlem YMCA, and Aspects of Negro Life at the 135th Street Branch of the New York Public Library. As a professor of fine art Douglas encouraged generations of African American artists to create their own modern Black aesthetic.

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A History of African American Artists from 1792 to the Present.

African American Review ◽

10.2307/3042098 ◽

1996 ◽

Vol 30 (1) ◽

pp. 115

Author(s):

Barbara Chase-Riboud ◽

Romare Bearden ◽

Harry Henderson

Keyword(s):

African American ◽

History Of ◽

American Artists ◽

African American Artists

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Asian American Theater and Drama from the 1960s to the 1990s

Oxford Research Encyclopedia of Literature ◽

10.1093/acrefore/9780190201098.013.891 ◽

2019 ◽

Author(s):

Esther Kim Lee

Keyword(s):

Los Angeles ◽

Asian American ◽

Solo Performance ◽

Frank Chin ◽

American Drama ◽

American Theater ◽

Theater Companies ◽

1960S And 1970S ◽

Art And Activism ◽

The 1960S

Asian American theater was created in the 1960s and the 1970s as a national movement by actors, playwrights, designers, directors, and producers who wanted to promote the inclusion and representation of Asian Americans in American culture. At the beginning of the 1960s, the concept of “Asian American theatre” did not exist, and “Asian American drama” was not a known genre. Instead, there were “oriental” actors who wanted to play non-stereotypical roles and to fight the practice of yellowface, a makeup convention in which white actors alter their face to look Asian. The “oriental” actors had a two-pronged agenda of art and activism to be taken seriously for their talent and experience. The first Asian American theater company, the East West Players, was founded in 1965 by actors in Los Angeles to further the agenda. In the 1970s, other Asian American theater companies and groups emerged around the country, and original Asian American plays began to be produced. Playwrights such as Frank Chin, Wakako Yamauchi, and Philip Kan Gotanda had their first plays produced at Asian American theater companies founded in the 1960s and 1970s. In the 1980s, Asian American plays began to be produced in mainstream theater, which includes Broadway, off-Broadway, and regional theaters. The success of David Henry Hwang’s M. Butterfly, which received the 1988 Tony Award for Best Play, brought much attention to Asian American drama, and a number of plays were produced and published subsequently. Playwrights such as Velina Hasu Houston, Elizabeth Wong, and Jeannie Barroga had their plays produced at major theater companies, and Asian American theater companies continued to support new playwrights. In nontraditional theater venues, multimedia and avant-garde artists such as Jessica Hagedorn and Ping Chong were active in creating original performance pieces. Additionally, solo performance became a major performance genre for Asian American artists who wanted to use their body and voice to tell their own stories. Dan Kwong, Denise Uyehara, and Brenda Wong Aoki were forerunners in launching the genre of Asian American solo performance. A number of Asian American actors such as B. D. Wong, John Lone, and Mia Katigbak also received significant opportunities and recognition, but their two-pronged agenda of art and activism remained relevant and urgent. In the early 1990s, Asian American actors led the protest of the Broadway production of the mega-musical Miss Saigon that featured a white actor in yellowface makeup in the original London production. The protest galvanized Asian American theater artists around the country and inspired a new generation of writers, actors, designers, directors, and producers to create what would become one of the fastest growing sectors of American theater.

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