Slavery Now

2019 ◽  
pp. 72-93
Author(s):  
Monica White Ndounou
Keyword(s):  
United States ◽  
African American ◽  
Identity Formation ◽  
20Th Century ◽  
Black Power ◽  
The United States ◽  
American Identity ◽  
Black Power Movement ◽  
Economic Data ◽  
African American Identity

This chapter insists that films are the most visible monuments to slavery in the United States and that memories of slavery crucially shape African American identity formation. Miniseries like Roots and The Book of Negroes also demonstrate the possibilities of capturing the complexity of slavery from the perspective of enslaved Africans rather than white slavers. Ed Guerrero recognizes that this shift in viewpoint gained mainstream momentum due to the Black Power movement with studios attempting to attract black audiences with cinematic adaptations like Mandingo (1975), Drum (1976) and Roots. Independent filmmaker Haile Gerima filmed Sankofa (1993) over a twenty-year period starting in the 1970s. This chapter shows how post-20th century films about slavery can benefit from cinematic adaptations of the 1970s. It examines the format, economic data, narrative focus, casting, reception, and genre of a sampling of films to demonstrate how exploring or exploiting the perspective of the enslaved may affect subsequent films.

scholarly journals STEREOTYPING AFRICAN AMERICANS’ RACIAL IDENTITY ON VALERIE MARTIN’S PROPERTY

2019 ◽  
Vol 3 (1) ◽  
pp. 69
Author(s):  
Rasiah Rasiah
Keyword(s):  
United States ◽  
African American ◽  
Racial Identity ◽  
African Americans ◽  
The United States ◽  
American Identity ◽  
American Character ◽  
African American Identity ◽  
New Form ◽  
Valerie Martin

This study is intended to analyze the persistence of African American stereotype in the contemporary slavery-themed novel authored by Valerie Martin, Property (2003). Valerie Martin is a white author, who seems to have changed the slavery discourse, but the stereotyping of African Americans is still there and built in a new form of stereotyping. Postcolonial analysis showed that the stereotyping of African Americansas ‘other’ existed in direct stereotyping and indirect stereotyping. Direct stereotyping is that the author directly uses the pejorative language and symbols in forming the African American character, meanwhile indirect stereotyping is the author using the shift of discourse that seemed worthy in describing the African American character, but in the same time it affirms the stereotype of the African American identity as inferior still exists, even in the so-called Post-racial era in the United States. Keywords: Representation, Stereotyping, Identity, Race, African American

The Brewing Storm

2021 ◽  
pp. 73-90
Author(s):  
Douglas W. Shadle
Keyword(s):  
United States ◽  
African American ◽  
The United States ◽  
American Identity ◽  
American Composers ◽  
European Cities ◽  
Black Vernacular ◽  
Vernacular Music ◽  
Instrumental Works ◽  
Open Question

A small number of US-based composers began experimenting with the use of African American vernacular music as the basis for instrumental works around 1880, arguing that this music formed a truly American folk repertoire. Their works found public favor in the United States and, more importantly, in several European cities in the months leading up to Dvořák’s arrival as director of the National Conservatory. Dvořák’s own position in the debate about American national style was an open question until May 1893, when he revealed his belief in the authentic American identity of Black vernacular music, thus affirming the approach of earlier American composers.

“There is no Elsewhere!”: Stories of Race, Decolonization, and Global Connectivity in Göran Hugo Olsson’s Documentaries

2019 ◽  
pp. 169-181
Author(s):  
Lill-Ann Körber
Keyword(s):  
United States ◽  
East Africa ◽  
Black Power ◽  
World Order ◽  
The United States ◽  
Black Power Movement ◽  
Time And Space ◽  
Archival Material ◽  
Found Footage ◽  
Film Maker

This chapter focuses on interviews with Swedish film maker Göran Hugo Olsson, about his films The Black Power Mixtapes 1967-1975 (2011) and Concerning Violence (2014), framed with an introduction and contextualization. Both films are based on found footage and archival material. The chapter deals with “elsewheres” of Nordic film in a geographical and in a temporal sense: What has today’s Sweden got to do with the histories of the Black Power Movement in the United States, addressed in The Black Power Mixtapes 1967-1975, and with decolonization wars and liberation movements in West, southern and East Africa thematized in Concerning Violence? This interconnectedness in time and space is characteristic for Olsson’s films. The chapter asks in which sense does the re-actualization of archival material contribute to a historicization of contemporary issues of (post-) colonialism and racism? In which sense do the films contribute to, or challenge, narratives of Sweden’s exceptional position in an asymmetrical world order?

scholarly journals Black Religion and Black Power: The Nation of Islam’s Internationalism

Genealogy ◽  
2019 ◽  
Vol 3 (3) ◽  
pp. 34
Author(s):  
Bayyinah S. Jeffries
Keyword(s):  
United States ◽  
20Th Century ◽  
Black Power ◽  
White Supremacy ◽  
African Descent ◽  
The United States ◽  
Black American ◽  
Black Religion ◽  
American Muslim ◽  
Race And Religion

The Nation of Islam’s influence has extended beyond the United States. This Black American Muslim movement has used the intersection of race and religion to construct a blueprint of liberation that has bonded people of African descent throughout the Diaspora. Their transnational dimensions and ideas of freedom, justice and equality have worked to challenge global white imperialism and white supremacy throughout the 20th century and beyond.

The Revelation of Race: On Steve Biko

2017 ◽  
Author(s):  
Vincent W. Lloyd
Keyword(s):  
United States ◽  
African American ◽  
South African ◽  
Black Power ◽  
The United States ◽  
Political Practice ◽  
The South ◽  
Political Language ◽  
Apartheid Regime ◽  
Mixed Communities

This chapter focuses on the dramatic change affected by the South African anti-apartheid leader Steve Biko. The apartheid regime had used racial labeling to divide Indian, African, and mixed communities, preventing them from seeing their shared interests. Rather than reading Biko as a secular militant in the black power tradition, this chapter argues that Biko is best understood as rejecting a pragmatic, secularist understanding of politics. Through a seemingly simple practice of re-labeling, grouping all non-whites under the label black, Biko was able to transform not only political language but also political practice and ultimately political possibilities. This transformation is best understood in theological terms, as revelation that solicits fidelity; understood thusly, whiteness is identified with heresy. The chapter concludes by comparing Biko’s work of revelation with the reactionary, secularist racial labeling in the United States context, where words are tied increasingly tightly to worldly referents (“Negro” to “black” to “African American”).

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