scholarly journals THE BLACK ATLANTIC TRADITION AND THE AFRICAN-AMERICAN NOVEL: SIGNIFYIN(G) AND THE FIGURE OF ESU ELEGBARA IN RALPH W. ELLISON’S INVISIBLE MAN

2020 ◽  
Vol 2 (2) ◽  
Author(s):  
Lahoussine Hamdoune
Keyword(s):  
African American ◽  
Black Atlantic ◽  
West African ◽  
Integrative Model ◽  
Invisible Man ◽  
American Novel ◽  
Religious Texts ◽  
Black Vernacular ◽  
Functional Aspects ◽  
American Model

By exploring the black Atlantic tradition, the present article aims to demonstrate that the narrator’s grandfather in Ralph Ellison’s novel Invisible Man is not only an emblem of the black vernacular, but a correlative of the West African god and trickster Esu Elegbara. Likewise, the black characters, Tarp, Clifton, and Rinehart, function as interpreters of the grandfather’s ‘double-voiced’ text viewed as metaphoric of the black vernacular and evocative of Ifa, the ‘ambiguous’ West African religious texts. The first part of this article presents the main tenets of the black Atlantic tradition constituting the approach to be deployed. This is an integrative model comprising West African mythology and the African-American model of “Signifyin(g).” The second part examines the ways whereby the protagonist is guided into establishing linkage with the black vernacular. After examining those linguistic and functional aspects demonstrating the correlation between the grandfather and Esu, I will consider Tarp’s and Clifton’s Signifyin(g) strategies meant to enhance the protagonist’s interpretive ability. I will subsequently investigate Rinehart’s masquerading tricks inspiring both the protagonist’s subversion of fix identities and his positive reception of the ambivalence of his grandfather’s ‘Signification.’ Such interpretive enterprise ultimately brings about the protagonist’s emancipation from the alienating discourse of “Progress” and his realization of self-identification and self-expression through the black vernacular. <p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0620/a.php" alt="Hit counter" /></p>

Black Muslimness Mobilized

2019 ◽  
Vol 36 (1) ◽  
Author(s):  
Youssef J. Carter
Keyword(s):  
United States ◽  
South Carolina ◽  
Religious Study ◽  
The United States ◽  
Black Atlantic ◽  
West African ◽  
Religious Leader ◽  
American Muslims ◽  
The Rich ◽  
Sufi Order

The Mustafawi Tariqa is a transnational Sufi Order that was initiated in 1966 by the late Cheikh Mustafa Gueye Haydara (d. 1989) in Thiès, Senegal. Yet, only since 1994 has this specific Sufi network reached westward across the water, bringing American Muslims—many of whom are converts—into the larger network. In the United States, the majority of students who have entered the Tariqa and have declared allegiance (bayah) to Shaykh Arona Rashid Faye Al-Faqir are African-Americans who have inserted themselves religiously, culturally, and pedagogically into a West African Sufi tradition which emphasizes religious study and the practice of dhikr (remembrance of God). Shaykh Arona Faye is a Senegalese religious leader who relocated to the southeastern region of the United States from West Africa to spread the religion of Islam and expose American Muslims to the rich West African tradition of spiritual purification and Islamic piety. At the same time, many of those who are African-American members of this tradition have made it a point to travel to Senegal themselves to strengthen transatlantic ties with West African compatriots and visit sacred burial sites in the small city of Thiès. I examine how two sites of pilgrimage for the Mustafawi—Moncks Corner, South Carolina and Thiès, Senegal—play a part in the infrastructure of Black Atlantic Sufi network. Moncks Corner is the central site in which access to the Tariqa’s most charismatic living shaykh, Shaykh Arona Faye, has worked for the past two decades teaching and mentoring those on the Path. On the other hand, Thiès is the location where the Tariqa’s founder is buried and travelers visit the town in order to pay homage to his memory. I show how these sites catalyze mobility and operate as spaces of spiritual refuge for visitors in both local and regional contexts by looking at how a local zawiyah produces movement in relation to a broader tariqa. By looking at pilgrimage and knowledge transmission, I argue that the manner in which esoteric approaches to spiritual care and the embodiment of higher Islamic ethics via the West African Sufi methodology of the Mustafawi informs the manner in which Muslims of varying African descent inhabit a broader diasporic identification of “Black Muslimness.”

African American Journalists in World War II West Africa: The NNPA Commission Tour of 1944–1945

2021 ◽  
pp. 002190962110549
Author(s):  
Oliver Coates
Keyword(s):  
African American ◽  
World War Ii ◽  
West Africa ◽  
American West ◽  
West African ◽  
Gold Coast ◽  
Washington Dc ◽  
World War ◽  
History Of ◽  
Political Economic

The National Negro Publishers Association (NNPA) Commission to West Africa in 1944–1945 represents a major episode in the history of World War II Africa, as well as in American–West Africa relations. Three African American reporters toured the Gold Coast, Sierra Leone, Nigeria, Liberia, and the Congo between November 1944 and February 1945, before returning to Washington, DC to report to President Roosevelt. They documented their tour in the pages of the Baltimore Afro-American, the Chicago Defender, and the Norfolk Journal and Guide. Their Americans’ visit had a significant impact in wartime West Africa and was widely documented in the African press. This article examines the NNPA tour geographically, before analyzing American reporters’ interactions with West Africans, and assessing African responses to the tour. Drawing on both African American and West African newspapers, it situates the NNPA tour within the history of World War II West Africa, and in terms of African print culture. It argues that the NNPA tour became the focus of West African hopes for future political, economic, and intellectual relations with African Americans, while revealing how the NNPA reporters engaged African audiences during their tour.

“A Book One Can with Complete Confidence Call Important”: Albert Erskine, Ralph Ellison, and the Publishing of Invisible Man

2021 ◽  
pp. 1-29
Author(s):  
DANIEL ROBERT KING
Keyword(s):  
African American ◽  
Publishing House ◽  
Ralph Ellison ◽  
Literary Work ◽  
Library Of Congress ◽  
University Of Virginia ◽  
Invisible Man ◽  
International Publishing ◽  
American Author ◽  
The University

In this article I examine the editing and publishing of Ralph Ellison's Invisible Man by Albert Erskine. Over the course of the piece, I deploy letters, drafts, and other material drawn from both Ellison's archive in the Library of Congress and Erskine's own archive at the University of Virginia to unpack how Erskine, as a white editor at a powerful international publishing house, conceived of his role in shepherding to market and marketing what he saw as a major literary work by an African American author.

From the Bamboula to the Baby Dolls

Walking Raddy ◽  
2018 ◽  
pp. 89-108
Author(s):  
Jennifer Atkins
Keyword(s):  
African American ◽  
New Orleans ◽  
Cultural Practices ◽  
West African ◽  
African American Community ◽  
Cultural Tradition ◽  
African Dance ◽  
Twentieth Century Music ◽  
West African Dance ◽  
Baby Doll

Baby Dolls embodied the rambunctious, ambulatory dance practices of New Orleans' African-American community, playing with ragtime dancing, a style in conversation with early twentieth century music. Baby Doll dancing referenced their contemporary situation, empowering them through ribald street jaunts full of dynamism, while also relating to other cultural practices like jazz funerals and connecting them to a historical legacy that traced back to Congo Square (and earlier). Essential to Congo Square, where the Bamboula dance featured prominently, was that West African dance aesthetics persevered but also blended with sociocultural ideas influenced by its New Orleans context. Improvisation was key. Dancing, whether in Congo Square or ragtime style, highlighted spontaneity and a spirited—even competitive—style that cultivated agency while acknowledging a communal presence. These moments (and movement) were vibrant, illuminating Baby Dolls as innovators within a rich, cultural tradition that left troubles behind as liveliness surged through their dancing processions.

‘Our Technology Was Vernacular’: Radical Technicities in African American Experimental Writing

2020 ◽  
pp. 214-264
Author(s):  
Eric B. White
Keyword(s):  
African American ◽  
Civil Rights ◽  
Langston Hughes ◽  
Experimental Writing ◽  
Amiri Baraka ◽  
Black Vernacular ◽  
Spatial Practice ◽  
Industrial Modernity ◽  
Black Life ◽  
Definition Of

Chapter 5 focuses on technicities of African American vanguardists, including Langston Hughes, Gwendolyn Bennett, Ralph Ellison and Amiri Baraka. These writers joined the civil rights lawyer and writer Pauli Murray in recognising illegal rail travel and other appropriations of infrastructure as signifyin(g) spatial practices. Building on research by sociologists, historians of technology and literary critics, the chapter uses a techno-bathetic framework to explore how railroads became signifyin(g) machines for the everyday technicities of black life throughout the twentieth century. The long-running crises sparked by the Scottsboro trials encouraged African American avant-gardes to formulate a vernacular, counter-servile technicity that served as a hinge between rhetorical and spatial practice. When Ellison claimed that ‘[o]ur technology was vernacular’, the shared valences he identifies between language, technology and strategies of adaptation and appropriation elides closely with Rayvon Fouché’s conception of ‘black vernacular technological creativity’ and Henry Louis Gates, Jr’s definition of motivated signifyin(g). African American vanguardists dragged the invisible and over-determined rail networks, and the spaces that framed them, back into plain sight, and made them the targets of sustained attack. The chapter argues that by doing so, these writers practiced a nuanced vernacular technicity articulated across the longue durée of industrial modernity.

Sign in / Sign up

Export Citation Format

Share Document