The 7th Lawrence R. Schehr Memorial Award Winning Essay

2021 ◽  
Vol 46 (1) ◽  
pp. 1-25
Author(s):  
Katelyn Knox
Keyword(s):  
African American ◽  
Popular Music ◽  
Black Male ◽  
Black Masculinity ◽  
Young Black Male ◽  
Award Winning ◽  
African American Communities ◽  
The Rich ◽  
Memorial Award ◽  
Musical Elements

Popular music abounds in Afropean literature, yet to date scholars have primarily read novels’ musical elements through author biography. In this article, I focus narrowly on the rich musical peritexts and musico-literary intermediality of two novels by Insa Sané: Du plomb dans le crâne (2008) and Daddy est mort…: Retour à Sarcelles (2010). In addition to the abundant diegetic musical references, both novels also feature two structural musical layers. I argue that these three musical elements constitute critical sites through which the novels’ narratives, which center around young, black, male protagonists who seek to escape vicious circles of violence through recognition, emerge. Ultimately, these novels’ musical elements situate the narratives’ discussions of black masculinity within much broader conversations transpiring between French and African American communities, thereby providing a much larger cultural genealogy to supplement the characters’ fraught literal ones.

scholarly journals Nobody Knows My Name: The Masquerade of Mourning in the Early 1980s Artistic Productions of Michael Jackson and Prince

2017 ◽  
Vol 1 (1) ◽  
pp. 628-645 ◽  
Author(s):  
Anna Pochmara ◽  
Justyna Wierzchowska
Keyword(s):  
African American ◽  
Black Male ◽  
Black Masculinity ◽  
First Century ◽  
Cultural Representations ◽  
Male Body ◽  
Peter Pan ◽  
Cultural Scripts ◽  
Flexible Approach ◽  
Cultural Displacement

AbstractThe article analyses Michael Jackson’s album Thriller and Prince’s movie Purple Rain. We explore their camp aesthetics and their recasting of the cultural representations of the black male. Jackson’s and Prince’s performative personas are both liberatory and burdened with the received cultural scripts of black masculinity. We claim that their employment of camp is political rather than escapist and depoliticized. Camp serves them as a platform to mourn the cultural displacement of the black male body in a postslavery America. In particular, the two artists distance themselves from the extensive ideological and physical pressures exerted on the black male body in the early 1980s. As a result, their performances are complexly de-Oedipalized. Prince in Purple Rain refuses to assume the patriarchal position of the Father. Analogously, Jackson fashions himself as a Peter Pan-like eternal adolescent who never makes his final identification as either heterosexual or LGBTQ desiring agent. In the coda to the article, we reach beyond the 1980s to explore a more flexible approach to camp in the artistic output of twenty-first-century African American performers of Queercore and Afrofuturist scenes, which were partially enabled by Jackson’s and Prince’s performances.

Savior of the Race: The Messianic Burdens of Black Masculinity

Exchange ◽  
2013 ◽  
Vol 42 (1) ◽  
pp. 51-67 ◽  
Author(s):  
Ronald B. Neal
Keyword(s):  
African American ◽  
African Americans ◽  
North America ◽  
Oral Tradition ◽  
Black Masculinity ◽  
Protestant Christianity ◽  
African American Communities

Abstract This paper is concerned with the messianic construction of manhood within African American communities in North America and its normative imprint in shaping and measuring masculinity among African Americans. In this essay, messianic manhood is treated as a utopian construction of masculinity that is found in liberal and conservative constructions of Protestant Christianity. In examining this tradition of manhood, representative messianic men are interrogated who have participated in and have been shaped by this tradition. Overall, messianic manhood is inconceivable apart from an oral tradition of preaching and singing where the person of Jesus is understood as Lord, savior, and ally of the oppressed.

INCARCERATION, TRANSFORMATION AND AWARENESS IN THE AFRICAN AMERICAN NOVEL

2016 ◽  
Vol 3 (1) ◽  
pp. 62-78
Author(s):  
Mariam Youssef
Keyword(s):  
African American ◽  
Black Male ◽  
Richard Wright ◽  
Black Masculinity ◽  
James Baldwin ◽  
The Novel ◽  
American Novel ◽  
American Novels ◽  
Ernest Gaines ◽  
Male Incarceration

 This article examines the theme of black male incarceration in the African American novel. Black male incarcerated characters are frequently presented as the most socially aware characters in the novel, in spite of their isolation. In different African American novels, black male incarcerated characters experience a transformation as a result of their incarceration that leads to a heightened awareness of their marginalisation as black men. Because of their compromised agency in incarceration, these characters are not able to express black masculinity in traditional ways. Using novels by Richard Wright, James Baldwin, John A. Williams and Ernest Gaines, I argue that black male incarcerated characters use their heightened awareness as an alternative method of expressing black masculinity.

scholarly journals Representations of Black Masculinity in Oscar Micheaux’s Silent Film Within Our Gates

2020 ◽  
Vol 17 (1) ◽  
pp. 31-37
Author(s):  
Fatma Chenini
Keyword(s):  
African American ◽  
Popular Culture ◽  
Black Male ◽  
Black Masculinity ◽  
Silent Film ◽  
One Dimensional ◽  
Male Characters ◽  
Oscar Micheaux ◽  
Do So

AbstractMy paper focuses on studying the representations of black masculinity in the Harlem Renaissance’s discourse, and investigates how these representations challenged the limited, reductive and one-dimensional stereotypes which were adopted and further disseminated by the popular culture of the time. To do so, I will analyze a number of black male characters depicted in the silent film, Within Our Gates (1920), of the African American filmmaker Oscar Micheaux.

Reducing Police Brutality in African American Communities: Potential Roles for Social Workers in Congregations

2020 ◽  
Vol 47 (3) ◽  
pp. 66-84
Author(s):  
Betty Wilson ◽  
Terry A. Wolfer
Keyword(s):  
African American ◽  
African Americans ◽  
Social Workers ◽  
General Public ◽  
Public Awareness ◽  
Police Brutality ◽  
Religious Congregations ◽  
Predominantly Black ◽  
African American Communities ◽  
White Congregations

In the last decade, there have been a shocking number of police killings of unarmed African Americans, and advancements in technology have made these incidents more visible to the general public. The increasing public awareness of police brutality in African American communities creates a critical and urgent need to understand and improve police-community relationships. Congregational social workers (and other social workers who are part of religious congregations) have a potentially significant role in addressing the problem of police brutality. This manuscript explores and describes possible contributions by social workers, with differential consideration for those in predominantly Black or White congregations.

The origins of syncopation in American popular music

Popular Music ◽  
2021 ◽  
Vol 40 (1) ◽  
pp. 18-41
Author(s):  
David Temperley
Keyword(s):  
African American ◽  
Popular Music ◽  
20Th Century ◽  
19Th Century ◽  
Vocal Music ◽  
Piano Music ◽  
Historical Process ◽  
American Popular Music ◽  
The 19Th Century ◽  
Fourth Position

AbstractThe origins of syncopation in 20th-century American popular music have been a source of controversy. I offer a new account of this historical process. I distinguish between second-position syncopation, an accent on the second quarter of a half-note or quarter-note unit, and fourth-position syncopation, an accent on the fourth quarter of such a unit. Unlike second-position syncopation, fourth-position syncopation tends to have an anticipatory character. In an earlier study I presented evidence suggesting British roots for second-position syncopation. in contrast, fourth-position syncopation – the focus of the current study – seems to have had no presence in published 19th-century vocal music, British or American. It first appears in notation in ragtime songs and piano music at the very end of the 19th century; it was also used in recordings by African-American singers before it was widely notated.

scholarly journals Shift in racial communities impacted by COVID-19 in California

2020 ◽  
pp. jech-2020-215148
Author(s):  
Raphael E Cuomo
Keyword(s):  
African American ◽  
Asian American ◽  
Linear Trend ◽  
Correlation Coefficients ◽  
Longitudinal Distribution ◽  
County Level ◽  
White American ◽  
First Case ◽  
Exponential Trend ◽  
African American Communities

IntroductionSince the first case of COVID-19 was recorded in California, the geospatial distribution of disease cases has fluctuated over time. Given documented racial disparities in other parts of the country, longitudinal convergence of COVID-19 rates around race groups warrants assessment.MethodsCounty-level cases for COVID-19 were collected from the Johns Hopkins University, and racial distributions were collected from the American Community Survey. Pearson’s correlation coefficients were computed for each day since COVID-19 was first reported in California, and the longitudinal distribution of each race-specific set of correlation coefficients was assessed for stationarity, linear trend and exponential trend.ResultsEarlier in the outbreak, the distribution of COVID-19 was most highly correlated with Asian American communities; after approximately 100 days, the distribution of COVID-19 most closely resembled that of African American communities. For every day in this dataset, the county-level distribution of COVID-19 was negatively correlated with the distribution of White American communities in California.DiscussionThe geospatial distribution of COVID-19 in California has increasingly resembled that of African American communities within the state. Further study should be conducted to characterise potentially disproportionate impacts of the COVID-19 pandemic across race groups.

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