The Barnes Foundation: Pioneer Patron of Black Artists

1982 ◽  
Vol 51 (1) ◽  
pp. 40
Author(s):  
Vincent Jubilee
Keyword(s):  
Black Artists ◽  
Barnes Foundation

The Market Theatre of Johannesburg in the New South Africa

2002 ◽  
Vol 18 (4) ◽  
pp. 359-374
Author(s):  
Hilary Burns
Keyword(s):  
South Africa ◽  
New South ◽  
Black Consciousness ◽  
Black Artists ◽  
The Past ◽  
Form Part ◽  
Incumbent Regime ◽  
Apartheid Regime ◽  
Black Consciousness Movement

The Market Theatre of Johannesburg opened in 1976, the year of the Soweto Uprising – the beginning of the end for the oppressive apartheid regime. Founded by Barney Simon, Mannie Manim, and a group of white actors, the theatre's policy, in line with the advice to white liberals from the Black Consciousness Movement, was to raise the awareness of its mainly white audiences about the oppression of apartheid and their own social, political, and economic privileges. The theatre went on through the late 'seventies and 'eighties to attract international acclaim for productions developed in collaboration with black artists that reflected the struggle against the incumbent regime, including such classics as The Island, Sizwe Bansi is Dead, and Woza Albert! How has the Market fared with the emergence of the new South Africa in the 'nineties? Has it built on the past? Has it reflected the changes? What is happening at the theatre today? Actress, writer, and director Hilary Burns went to Johannesburg in November 2000 to find out. She worked in various departments of the theatre, attended productions, and interviewed theatre artists and members of the audience. This article will form part of her book, The Cultural Precinct, inspired by this experience to explore how the theatres born in the protest era have responded to the challenges of the new society.

Coming in From the Cold: Some Black Artists Are Embraced

2012 ◽  
pp. 171-218
Keyword(s):  
Black Artists

Black Artists Make the Scene in Los Angeles

Art Journal ◽  
2018 ◽  
Vol 77 (2) ◽  
pp. 100-102
Author(s):  
Bridget R. Cooks
Keyword(s):  
Los Angeles ◽  
Black Artists

Gwendolyn Bennett's “The Ebony Flute”

PMLA ◽  
2013 ◽  
Vol 128 (3) ◽  
pp. 744-755
Author(s):  
Belinda Wheeler
Keyword(s):  
Short Stories ◽  
African American ◽  
Coming Out ◽  
Harlem Renaissance ◽  
Detailed Examination ◽  
Langston Hughes ◽  
Black Artists ◽  
Assistant Editor ◽  
Cover Art ◽  
The Harlem Renaissance

IntroductionGwendolyn Bennett (1902-81) is often mentioned in books that discuss the harlem renaissance, and some of her poems Occasionally appear in poetry anthologies; but much of her career has been overlooked. Along with many of her friends, including Jessie Redmond Fauset, Langston Hughes, and Countee Cullen, Bennett was featured at the National Urban League's Civic Club Dinner in March 1924, an event that would later be “widely hailed as a ‘coming out party’ for young black artists, writers, and intellectuals whose work would come to define the Harlem Renaissance” (McHenry 383n100). In the next five years Bennett published over forty poems, short stories, and reviews in leading African American magazines and anthologies, such as Cullen's Caroling Dusk (1927) and William Stanley Braithwaite's Anthology of Magazine Verse for 1927; she created magazine cover art that adorned two leading African American periodicals, the National Association for the Advancement of Colored People's Crisis: A Record of the Darker Races and the National Urban League's Opportunity: Journal of Negro Life; she worked as an editor or assistant editor of several magazines, including Opportunity, Black Opals, and Fire!; and she wrote a renowned literary column, “The Ebony Flute.” Many scholars, such as Cary Wintz, Abby Arthur Johnson and Ronald Maberry Johnson, and Elizabeth McHenry, recognized the importance of Bennett's column to the Harlem Renaissance in their respective studies, but their emphasis on a larger Harlem Renaissance discussion did not afford a detailed examination of her column.

Traveling with Trained Man

Transfers ◽  
2020 ◽  
Vol 10 (2-3) ◽  
pp. 83-102
Author(s):  
Katie Maher
Keyword(s):  
Aboriginal People ◽  
Colonial History ◽  
Black Artists ◽  
Shared Spaces ◽  
History Of

This article considers the railways as a decolonial option for moving toward mobility justice. It views the photographic artwork Trained Man by Ngalkban Australian artist Darren Siwes through a mobilities lens, considering how the artist plays with time and attends to space, making visible what colonial projects of protection and assimilation have attempted to erase. Attending to the truths and imaginaries that reside and move with Trained Man, it draws on the work of Aboriginal and Black artists, scholars, and activists to trace Australia’s past and present colonial history of training Aboriginal people into whiteness. It considers the railways as carrying “two lines of destiny” with potential moving in both colonial and decolonial directions. The article concludes by suggesting that shared spaces such as the railways open possibilities for mobilizing the decolonial project.

Educating from Difference: Perspectives on Black Cultural Art Educators’ Experiences with Culturally Responsive Teaching

2021 ◽  
Vol 56 (3) ◽  
pp. 353-380
Author(s):  
Collette Murray
Keyword(s):  
Critical Race Theory ◽  
Inclusive Education ◽  
African Diaspora ◽  
Culturally Responsive Teaching ◽  
Culturally Responsive ◽  
Responsive Teaching ◽  
Structured Interviews ◽  
Art Educators ◽  
Black Artists ◽  
Surrounding Areas

Since the 2009 Ontario Ministry’s Equity and Inclusive Education strategy called for the implementation of culturally responsive pedagogy across the board, the voice of the Black creative and content in arts curriculum remains invisible. This primary research centers on the perspectives of African, Caribbean, and Black artists called on for the first time to discuss the successes and challenges of teaching culturally responsive arts in diverse Ontario classrooms. This qualitative study uses critical race theory to examine their experiences of working in Greater Toronto schools and surrounding areas in Ontario, Canada. Using cultural arts from across the African diaspora as a tool, their artistic work is situated within culturally relevant pedagogy, which is an alternative approach to centering on identity, cultural frames of reference, and critical student learning. Yet, as these Black Canadian artists garner successful impacts from culturally responsive teaching in classroom space, they identify simultaneous challenges of institutional unpreparedness, anti-Black racism, cultural appropriation, and legitimizing their cultural artistry to school administration. Semi-structured interviews include rich narratives from artists specializing in contemporary and traditional expressions of orality, visual arts, dance, and drumming/percussion from the African diaspora. While navigating instances of unbelonging, recommendations are proposed to improve the understanding of the artists’ role and improve Canadian educational institutions’ relationship with Black creatives in inclusive education.

African-American Shakespeares: Loving Blackness as Political Resistance

2019 ◽  
pp. 67-75
Author(s):  
Jason M. Demeter
Keyword(s):  
African American ◽  
American Literature ◽  
Cultural Values ◽  
African American Literature ◽  
James Baldwin ◽  
Political Resistance ◽  
Literary Canon ◽  
Richard Iii ◽  
Black Artists ◽  
Henry Iv

Can a Shakespeare course effectively historicize and challenge Shakespeare’s deployment in U.S. educational contexts “as an instrument of white racial consolidation and non-white marginalization”? Demeter offers a concise summary of Shakespeare’s positioning as the pinnacle of “universal” white, Western cultural values before detailing a course that combines Richard III, Henry IV Part I, and Othello with responses to Shakespeare’s works by black artists such as James Baldwin, August Wilson, Toni Morrison, and Djanet Sears. Though he hoped that placing African-American literature and Shakespeare “on equal footing” would provoke critical interrogations of Shakespeare’s privileged place in the literary canon, Demeter finds Shakespeare’s whiteness and universality difficult myths to dismantle, and offers his ambivalent experience as a way to frame key questions about the relation between Shakespeare pedagogy and social justice.

No More Silent Victims: Agency, Authority and Artistry in the Black Woman’s Story in Revenge (1992)

2019 ◽  
pp. 123-144
Author(s):  
Celeste-Marie Bernier ◽  
Alan Rice ◽  
Lubaina Himid ◽  
Hannah Durkin
Keyword(s):  
The Other ◽  
Art Making ◽  
Black Artists ◽  
History Of ◽  
The Subject ◽  
The Aesthetic

“I was trying to write myself, paint myself, and my compatriots, my fellow black artists, if you like, into the history of British painting’, Lubaina Himid writes of the aesthetic, political, ideological and cultural philosophies undergirding her series, Revenge (1992), which is the subject of this chapter. Warring against the iconographic and invisibilising stranglehold exerted by white western male artists in particular, she says, ‘I’m trying to make a comment about how European artists ... have hijacked some of our African and Caribbean imagery, our bodies and all the rest of it’. Staging her own acts and arts of revenge against white western strategies of appropriating and objectifying Blackwomen’s bodies and art-making traditions, she exults in her successes by declaring that ‘I’ve hijacked some stuff back’. ‘The old solutions did not seem to allow for creative imaginings nor did they enable the black woman’s story to take its place amongst the other voices’, she concedes. Himid diagnoses a situation in which ‘old solutions’ or dominant representational modes are responsible for denying as well as distorting ‘the black woman’s story’. Working to do justice not to one but to many Blackwomen’s stories, she cuts to the heart of the matter: ‘Her story is complex and constantly interwoven through the whole, yet is often told simply and by others as that of a silent victim’.

Harlem Nightclubs

2018 ◽  
Author(s):  
Melissa Templeton
Keyword(s):  
New York ◽  
African American ◽  
York City ◽  
Black Identity ◽  
Big Band ◽  
Artistic Creation ◽  
Black Artists ◽  
Lindy Hop ◽  
Tap Dance ◽  
Social Dances

In the 1920s and 1930s, Harlem became a major hub of New York City nightlife and a prolific space for African American artistic creation. It was in Harlem’s nightclubs (also known as cabarets) that big band jazz became a sensation and where theatrical dance forms like tap dance, and social dances like the lindy hop and the Charleston, gained widespread popularity. These artistic developments contributed to an emerging modern black identity among the intellectuals and artists of the Harlem Renaissance. While the artists in these nightclubs tended to be African American, the more elaborate and expensive clubs catered almost exclusively to white patrons; black artists were often faced with the challenge of catering to white expectations while creatively developing their own art. The music and dance that emerged in these nightclubs also became the inspiration of many black modernist authors.

Ainslie, Bill (1934–1989)

2018 ◽  
Author(s):  
Jessica Stephenson
Keyword(s):  
South Africa ◽  
South African ◽  
Eastern Cape ◽  
African Art ◽  
Art Programs ◽  
Non Profit ◽  
Black Artists ◽  
The Social ◽  
1960S And 1970S ◽  
The 1960S

Born in 1934 in Bedford, Eastern Cape, South Africa, William (Bill) Stewart Ainslie was a painter and educator, and the founder of a number of visual art programs and workshops that countered discriminatory racial and educational policies in apartheid-era South Africa. These programs encouraged students to work in abstract and other modernist idioms not practiced in the country at the time. Until his untimely death at age 55, Ainslie melded his career as an artist with his vision of art as a means to combat apartheid. In the 1960s and 1970s, Ainslie fostered the only multiracial art programs in the country, culminating in a formal art school, the non-profit Johannesburg Art Foundation (1982). He helped found the Federated Union of Black Artists (FUBA) and the art schools Fuba Academy (1978), Funda Center (1983) (funda means "learn" in Xhosa), and the Alexandra Arts Centre (1986). The generation of modern African artists and educators trained at these institutions shaped the course of art after apartheid. Ainslie also organized short-term workshops, most notably the Thupelo Art Workshop (thupelo means "to teach by example" in Southern Sotho) in 1983. Thupelo linked local and international artists and focused on abstraction, a radical departure from the social realist style expected of politically engaged South African art of the 1980s.

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