Authentic Blackness

Analysis of four Harlem Renaissance texts that challenges our assumptions about the stability of racial identity and investigates the ways those assumptions shape how we have read literature by Black writers.

Authentic Blackness - «Real» Blackness explores and explains the idea of authenticity, of «keeping it real, » as it relates to the multi-faceted meanings of blackness in the United States and the world. Including reflections on hip-hop, comedy, literature, intellectual history, and autobiography, the collection gives both a broad overview of and intervenes in the debates concerning blackness. A comprehensive introductory essay outlines the history of the idea of «authentic blackness, » while other chapters examine the contours of blackness in Canada and Jamaica; the relationship between middle-class status and «real» blackness; the link between «blackness» and hip-hop culture; Dave Chappelle's comedy; and the work of James Baldwin, Countee Cullen, Clarence Major, and John Edgar Wideman as it comments on authenticity in relation to race.

Exploring the interface between the cultural politics of the Black Power and the Black Arts movements and the production of postwar African American popular culture, Amy Ongiri shows how the reliance of Black politics on an oppositional image of African Americans was the formative moment in the construction of "authentic blackness" as a cultural identity. While other books have adopted either a literary approach to the language, poetry, and arts of these movements or a historical analysis of them, Ongiri's captures the cultural and political interconnections of the postwar period by using an interdisciplinary methodology drawn from cinema studies and music theory. She traces the emergence of this Black aesthetic from its origin in the Black Power movement's emphasis on the creation of visual icons and the Black Arts movement's celebration of urban vernacular culture.

New York's urban neighborhoods are full of young would-be emcees who aspire to "keep it real" and restaurants like Sylvia's famous soul food eatery that offer a taste of "authentic" black culture. In these and other venues, authenticity is considered the best way to distinguish the real from the phony, the genuine from the fake. But in Real Black, John L. Jackson Jr. proposes a new model for thinking about these issues--racial sincerity. Jackson argues that authenticity caricatures identity as something imposed on people, imprisoning them within stereotypes--turning them into racial objects and inanimate things, instead of living, breathing human beings. Contending that such assumptions deny people agency--not to mention humanity--in their search for identity, Jackson counterposes sincerity, an internal and more productive analytical model for thinking about race. Moving in and around Harlem and Brooklyn, Jackson offers a kaleidoscope of subjects and stories that directly and indirectly address how race is negotiated in today's world--including tales of name-changing hip-hop emcees, book-vending numerologists, urban conspiracy theorists, corrupt police officers, mixed-race neo-Nazis, and high-school gospel choirs forbidden to catch the Holy Ghost. Enlisting "Anthroman," his cape-crusading critical alter ego, Jackson records and retells these interconnected sagas in virtuosic detail and, in the process, shows us how race is defined and debated, imposed and confounded every single day.

DIVA consideration of the performance of Blackness and race in general, in relation to sexuality and critiques of authenticity./div

Seminar paper from the year 2016 in the subject English Language and Literature Studies - Literature, grade: 1,7, University of Freiburg (Englisches Seminar), course: Black Power, language: English, abstract: The concepts of Essentialism and Post-Blackness are contrary to each other in their perception and construction of Black identity. This essay deals with the concepts of Essentialism and Post-Blackness in comedy, namely in the comedies of Dave Chappelle and Key & Peele. I will argue that, against the claim of Touré that Dave Chappelle's comedy is the best representative of Post-Blackness, Dave Chappelle's sketches show essentialistic representations of Blackness, whereas the comedy of Key & Peele represents Blackness in the light of Post-Blackness. Thus I will claim that there has been a change in the representation of Blackness in the comedies of Black entertainers from essentialism to Post-Blackness and will integrate Paul Gilroy's, Stuart Hall's, Wahneema Lubiano's, Arthur R. McGee's and Touré's views on essentialism and post-blackness.

Posthuman Blackness and the Black Female Imagination examines the future-oriented visions of black subjectivity in works by contemporary black women writers, filmmakers, and musicians, including Toni Morrison, Octavia Butler, Julie Dash, and Janelle Monáe. In this innovative study, Kristen Lillvis supplements historically situated conceptions of blackness with imaginative projections of black futures. This theoretical approach allows her to acknowledge the importance of history without positing a purely historical origin for black identities. The authors considered in this book set their stories in the past yet use their characters, particularly women characters, to show how the potential inherent in the future can inspire black authority and resistance. Lillvis introduces the term “posthuman blackness” to describe the empowered subjectivities black women and men develop through their simultaneous existence within past, present, and future temporalities. This project draws on posthuman theory—an area of study that examines the disrupted unities between biology and technology, the self and the outer world, and, most important for this project, history and potentiality—in its readings of a variety of imaginative works, including works of historical fiction such as Gayl Jones’s Corregidora and Morrison’s Beloved. Reading neo–slave narratives through posthuman theory reveals black identity and culture as temporally flexible, based in the potential of what is to come and the history of what has occurred.

Blackness, as a concept, is extremely fluid: it can refer to cultural and ethnic identity, socio-political status, an aesthetic and embodied way of being, a social and political consciousness, or a diasporic kinship. It is used as a description of skin color ranging from the palest cream to the richest chocolate; as a marker of enslavement, marginalization, criminality, filth, or evil; or as a symbol of pride, beauty, elegance, strength, and depth. Despite the fact that it is elusive and difficult to define, blackness serves as one of the most potent and unifying domains of identity. God and Blackness offers an ethnographic study of blackness as it is understood within a specific community—that of the First Afrikan Church, a middle-class Afrocentric congregation in Atlanta, Georgia. Drawing on nearly two years of participant observation and in‑depth interviews, Andrea C. Abrams examines how this community has employed Afrocentrism and Black theology as a means of negotiating the unreconciled natures of thoughts and ideals that are part of being both black and American. Specifically, Abrams examines the ways in which First Afrikan’s construction of community is influenced by shared understandings of blackness, and probes the means through which individuals negotiate the tensions created by competing constructions of their black identity. Although Afrocentrism operates as the focal point of this discussion, the book examines questions of political identity, religious expression and gender dynamics through the lens of a unique black church.