By Harry Justin Elam Jr., Kennell Jackson
--Kimberly Benston, writer of Performing Blackness
"Black Cultural site visitors is not anything lower than our generation's manifesto on black functionality and pop culture. With a exclusive roster of individuals and subject matters ranging throughout educational disciplines and the humanities (including observation on movie, song, literature, theater, tv, and visible cultures), this quantity isn't just required examining for students desirous about some of the dimensions of black functionality, it's also a well timed and useful educating instrument. It captures the buzz and highbrow innovation of a box that has come of age. Kudos!"
--Dwight A. McBride, writer of Why I Hate Abercrombie & Fitch
"The explosion of curiosity in black pop culture reports some time past fifteen years has left an important desire for a reader that displays this new scholarly power. Black Cultural site visitors solutions that need."
--Mark Anthony Neal, writer of Songs within the Key of Black Life
"A progressive anthology that might be extensively learn and taught. It crisscrosses continents and cultures and examines confluences and impacts of black pop culture -- track, dance, theatre, tv, style and picture. It additionally provides a brand new size to present discussions of racial, ethnic, and nationwide identity."
--Horace Porter, writer of The Making of a Black Scholar
Read Online or Download Black Cultural Traffic: Crossroads in Global Performance and Popular Culture PDF
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Additional resources for Black Cultural Traffic: Crossroads in Global Performance and Popular Culture
Even when pressed in interviews, the practi tioners of the concert party were reluctant to put themselves within a hard black-white polarity. E. Patrick Johnson's "Performing Blackness Down Under: Gospel Music in Australia" is an ethnographic account of an all white, atheist, a cappella gospel group in Sydney and their adoption of gospel music. Like Cole, Johnson brings fascinating interviews with the performers into the interpretation of their work. Using a variety of theo- Introduction retical assists, Johnson brings into view how they see their affiliation to black gospel.
After slavery ended in 1865, black entertainment challenged the hegemony of white minstrelsy, by often "corking-up," too, and following minstrel themes. Intense cultural traffic began again in the I890S-I920s, though the back drop for the traffic is violence and repression in both the New World and Old World black communities. Tom Fletcher, the entertainer cum black performance historian, argues that this is a period of great expansion, with some African American singing groups even touring South Africa.
For such an ambitious, pressurized presentation, Elam's critique is helpful. A simi lar response could be made for Jennifer Devere Brody's "Moving Viola tions: Globalization and Feminism in Set It Off" It is a rigorous scrutiny of this 1996 film, with a sense of its similarities with and differences from 1970s black exploitation films and its fit in the current issues of black women's history. Brody brings the film to life owing to her critical acumen and constant reference to a broader theoretical literature.
Black Cultural Traffic: Crossroads in Global Performance and Popular Culture by Harry Justin Elam Jr., Kennell Jackson