Locke 1928

"A tiny, fastidiously dressed man emerged from Black Philadelphia around the turn of the century to mentor a generation of young artists including Langston Hughes, Zora Neale Hurston, and Jacob Lawrence and call them the New Negro--the creative African Americans whose art, literature, music, and drama would inspire Black people to greatness. [The author] offers the definitive biography of the father of the Harlem Renaissance, based on the extant primary sources of his life and on interviews with those who knew him personally"--Amazon.com.

An evocative and epic story, Nick Tabor's Africatown charts the fraught history of America from those who were brought here as slaves but nevertheless established a home for themselves and their descendants, a community which often thrived despite persistent racism and environmental pollution. In 1860, a ship called the Clotilda was smuggled through the Alabama Gulf Coast, carrying the last group of enslaved people ever brought to the U.S. from West Africa. Five years later, the shipmates were emancipated, but they had no way of getting back home. Instead they created their own community outside the city of Mobile, where they spoke Yoruba and appointed their own leaders, a story chronicled in Zora Neale Hurston’s Barracoon. That community, Africatown, has endured to the present day, and many of the community residents are the shipmates’ direct descendants. After many decades of neglect and a Jim Crow legal system that targeted the area for industrialization, the community is struggling to survive. Many community members believe the pollution from the heavy industry surrounding their homes has caused a cancer epidemic among residents, and companies are eyeing even more land for development. At the same time, after the discovery of the remains of the Clotilda in the riverbed nearby, a renewed effort is underway to create a living memorial to the community and the lives of the slaves who founded it.

A fresh perspective on the influential critic, offering new ways of understanding the art of the Harlem Renaissance Alain Locke (1885-1954), leading theorist of the Harlem Renaissance, maintained a lifelong commitment to the visual arts. Offering an in-depth study of Locke's writings and art world interventions, Kobena Mercer focuses on the importance of cross-cultural entanglement. This distinctive approach reveals Locke's vision of modern art as a dynamic space where images and ideas generate new forms under the fluid conditions of diaspora. Positioning the philosopher as an advocate for an Afromodern aesthetic that drew from both formal experiments in Europe and the iconic legacy of the African past, Mercer shows how Aaron Douglas, Loïs Mailou Jones, and other New Negro artists acknowledged the diaspora's rupture with the ancestral past as a prelude to the rebirth of identity. In his 1940 picture book, The Negro in Art, Locke also explored the different ways black and white artists approached the black image. Mercer's reading highlights the global mobility of black images as they travel across national and ethnic frontiers. Finally, Mercer examines how Locke's investment in art was shaped by gay male aestheticism. Black male nudes, including works by Richmond Barthé and Carl Van Vechten, thus reveal the significance of queer practices in modernism's cross-cultural genesis Published in association with the Hutchins Center for African & African American Research, Harvard University

Black Intellectual Thought in Education celebrates the exceptional academic contributions of African-American education scholars Anna Julia Cooper, Carter G. Woodson, and Alain Leroy Locke to the causes of social science, education, and democracy in America. By focusing on the lives and projects of these three figures specifically, it offers a powerful counter-narrative to the dominant, established discourse in education and critical social theory--helping to better serve the population that critical theory seeks to advocate. Rather than attempting to "rescue" a few African American scholars from obscurity or marginalization, this powerful volume instead highlights ideas that must be probed and critically examined in order to deal with prevailing contemporary educational issues. Cooper, Woodson, and Locke’s history of engagement with race, democracy, education, gender and life is a dynamic, demanding, and authentic narrative for those engaged with these important issues.

The Inka Empire stretched over much of the length and breadth of the South American Andes, encompassed elaborately planned cities linked by a complex network of roads and messengers, and created astonishing works of architecture and artistry and a compelling mythology—all without the aid of a graphic writing system. Instead, the Inkas' records consisted of devices made of knotted and dyed strings—called khipu—on which they recorded information pertaining to the organization and history of their empire. Despite more than a century of research on these remarkable devices, the khipu remain largely undeciphered. In this benchmark book, twelve international scholars tackle the most vexed question in khipu studies: how did the Inkas record and transmit narrative records by means of knotted strings? The authors approach the problem from a variety of angles. Several essays mine Spanish colonial sources for details about the kinds of narrative encoded in the khipu. Others look at the uses to which khipu were put before and after the Conquest, as well as their current use in some contemporary Andean communities. Still others analyze the formal characteristics of khipu and seek to explain how they encode various kinds of numerical and narrative data.

This book explores the transformative energy and excitement that African Americans expressed in aesthetic and civic currents that percolated during the opening of the 20th century and proved to be a force in the modernization of America. This engaging reference text represents the voices of the era in poetry and prose, in full or excerpted from anecdotes, editorials, essays, manifestoes, orations, and reminiscences, with appearances by major figures and often overlooked contributors to the Harlem Renaissance. Organized topically and, within topics, chronologically, the volume reaches beyond the typical representation of the spirit and substance of the movement, examinations of which are typically confined to the New York City community and from U.S. entry into World War I in 1917 to the depths of the Great Depression in 1935. It carries readers from the opening of the Harlem Renaissance, which began at the top of the 20th century, to its heights in the 1920s and '30s and through to its artistic and literary echoes in the shadows of World War II (1939–1945).

From Black to Schwarz explores the long and varied history of the exchanges between African America and Germany with a particular focus on cultural interplay. Covering a wide range of media of expression - music, performance, film, scholarship, literature, visual arts, reviews - the essays collected in this volume trace and analyze a cultural interaction, collaboration and mutual transformation that began in the eighteenth century, literally boomed during the Harlem Renaissance/Weimar Republic, could not even be liquidated by the Third Reich's `Degenerate Art' campaigns, and, with new media available to further exchanges, is still increasingly empowering and inspiring participants on both sides of the Atlantic.