“Who Are You America but Me?”

2017 ◽  
Author(s):  
Jeffrey Helgeson
Keyword(s):  
United States ◽  
African American ◽  
Black Identity ◽  
The United States ◽  
Public Debate ◽  
World's Fair ◽  
Chicago Renaissance ◽  
American Artists ◽  
African American Artists ◽  
Racial Progress

This chapter considers the 1940 American Negro Exposition in Chicago, the first black-organized world's fair that sought to showcase African American artists on a national stage. It delineates the diversity of voices and competing visions of racial progress that defined the character of the Black Chicago Renaissance. Historians have described the exposition as a failure; the event did not attract mass audiences, and it did not create a broader public debate about the meanings of black identity, legacies of slavery, or contemporary discrimination in the United States. Yet, by examining the exposition as presented, rather than what it failed to be, the chapter uncovers important and sometimes surprising influences on the fair's messages.

Escaping the Folk

2018 ◽  
pp. 148-172
Author(s):  
Kevin D. Greene
Keyword(s):  
United States ◽  
African American ◽  
Black Identity ◽  
Music History ◽  
The United States ◽  
First Century ◽  
Large Field ◽  
Pop Music ◽  
Predominately White ◽  
Black Experience

Since 1955, when a Belgian jazz writer helped scribe the first book investigating Big Bill’s life and music, dozens of artists, scholars, journalists, and enthusiasts have left a long trail of written work dedicated to Broonzy and his past. Well into the twenty-first century, this trend continues. These brokers of Broonzy’s life, music, and public memory have shaped and reshaped his story reflecting each respective generation’s own understandings of race, celebrity, blues music, and the black experience in the United States, among other themes. In a sense, Broonzy has become a cipher for unlocking important questions about authenticity, folklore, black identity, music history, and more to a large field of predominately white authors. For nearly sixty-five years, Big Bill and his history pop up along a long trajectory of studies that have viewed him as an object of intrigue and mystery rather than how he wanted to be remembered. Big Bill was an African American, pre-war, pop music celebrity who built and reached the height of that celebrity recording and performing for black audiences. Unearthing his vague, working class past has prevented history from accepting Big Bill for what he was—an agent of black modernity.

Strategies for Visualizing Cultural Capital

2020 ◽  
pp. 115-141
Author(s):  
Amy M. Mooney
Keyword(s):  
African American ◽  
Social Change ◽  
Civil Rights ◽  
Cultural Capital ◽  
Black Identity ◽  
Black Press ◽  
New Negro ◽  
Black Entrepreneurs ◽  
American Artists ◽  
African American Artists

This chapter examines the ways in which the portrait was utilized as a tool for social change as it presented the accumulation of knowledge, skills, and consciousness of Chicago’s black entrepreneurs and became a distinctive form of cultural capital. Positioning themselves as models for emulation, Robert S. Abbott, Jesse Binga, and Anthony Overton generated public campaigns that visualized the dignity, style, and progressiveness essential to the conceptualization of the New Negro. They worked to establish an ethic of representation that countered the unconscionable effacement of civil rights. By patronizing African American artists and publishing their portraits in Chicago’s burgeoning black press, they lent their likenesses toward the formation of a modern collective black identity.

Religion, Race, and Humanism

2018 ◽  
Author(s):  
Anthony B. Pinn
Keyword(s):  
United States ◽  
African American ◽  
African Americans ◽  
Richard Wright ◽  
Institutional Development ◽  
The United States ◽  
Unitarian Universalist ◽  
Racial Injustice ◽  
History Of ◽  
Lorraine Hansberry

This chapter explores the history of humanism within African American communities. It positions humanist thinking and humanism-inspired activism as a significant way in which people of African descent in the United States have addressed issues of racial injustice. Beginning with critiques of theism found within the blues, moving through developments such as the literature produced by Richard Wright, Lorraine Hansberry, and others, to political activists such as W. E. B. DuBois and A. Philip Randolph, to organized humanism in the form of African American involvement in the Unitarian Universalist Association, African Americans for Humanism, and so on, this chapter presents the historical and institutional development of African American humanism.

White Supremacy and Counseling Psychology: A Critical–Conceptual Framework

2019 ◽  
Vol 47 (4) ◽  
pp. 478-529 ◽  
Author(s):  
Patrick R. Grzanka ◽  
Kirsten A. Gonzalez ◽  
Lisa B. Spanierman
Keyword(s):  
United States ◽  
Social Justice ◽  
Counseling Psychology ◽  
White Supremacy ◽  
Theoretical Perspective ◽  
The United States ◽  
Helping Professions ◽  
White Clients ◽  
Racial Progress ◽  
Counseling Psychologists

The mainstreaming of White nationalism in the United States and worldwide suggests an urgent need for counseling psychologists to take stock of what tools they have (and do not have) to combat White supremacy. We review the rise of social justice issues in the field of counseling psychology and allied helping professions and point to the limits of existing paradigms to address the challenge of White supremacy. We introduce transnationalism as an important theoretical perspective with which to conceptualize global racisms, and identify White racial affect, intersectionality, and allyship as three key domains of antiracist action research. Finally, we suggest three steps for sharpening counseling psychologists’ approaches to social justice: rejecting racial progress narratives, engaging in social justice-oriented practice with White clients, and centering White supremacy as a key problem for the field of counseling psychology and allied helping professions.

When Pushkin's Blackness Was in Vogue: Rediscovering the Racialization of Russia's Preeminent Poet and His Descendants

Slavic Review ◽  
2021 ◽  
Vol 80 (2) ◽  
pp. 245-257
Author(s):  
Korey Garibaldi ◽  
Emily Wang
Keyword(s):  
United States ◽  
Twentieth Century ◽  
African American ◽  
American Literature ◽  
Henry James ◽  
African American Literature ◽  
The United States ◽  
African Heritage ◽  
Queen Of Spades ◽  
Racially Ambiguous

This essay investigates interconnections between the novelist, Henry James, Ivan Turgenev, and Aleksandr Pushkin and identifies the racial subtext of these associations. Several scholars have connected Pushkin and James. But none of this scholarship has speculated on whether it was the poet's African heritage that was at the root of hidden connections between these authors. Moreover, though most scholarship on Pushkin's reception in the United States focuses on twentieth-century African American literature, his African heritage was publicized much earlier. In fact, nineteenth-century commentators on both sides of the Atlantic frequently discussed Pushkin's racial heritage as a canonical European writer of African descent. This essay recovers how Henry James used Pushkin's daughter, the morganatic Countess Merenberg, as a model for the racially ambiguous “morganatic” Baroness Münster in The Europeans (1878). A decade later, James seems to have invoked the Countess Merenberg once more in his rewriting of Pushkin's “The Queen of Spades” (1833) in The Aspern Papers (1888). While James publicly attributed Byron and Shelley as inspirations, the discourse surrounding the African heritage of Pushkin and his heirs helps explain why the novelist minimized and erased the racial lineage at the center of The Europeans and The Aspern Papers.

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