Umfang:
1 online resource (272 pages).
Ausgabe:
First edition.
ISBN:
9781003046011
,
1003046010
,
9781000549188
,
1000549186
,
9781000549300
,
1000549305
Serie:
Routledge advances in theatre & performance studies
Inhalt:
EDITORIAL NOTES Paul Carter HarrisonINTRODUCTION Theophus "Thee" Smith--PART I: ASHE' CONCEPTUAL FRAME FRONTSIEPIECE: Wangechi Mutu, Riding Death in my SleepCh 1. Pellom McDaniels-- NEW HORIZONS IN AFRO-COSMOLOGY Ch 2. Clyde Taylor...SALT PEANUTS: SOUND AND SENSE IN AFRICAN/AMERCAN ORAL/MUSICAL CREATIVYCh 3. Rowland Abiodun--Ch 4. Maria E. Hamilton Abegunde--PART II: ASHE' CULTURAL FRAMEFRONTSIEPIECE: Eric Waters, Medicine ManCh 5. Michael D. Harris--Ch 6. Michael McMillan-- THE SACRED AND SECULARCh 7. Oliver Lee Jackson--Ch 8. Marta Moreno Vega--PART III: ASHE' AND ARTS DISCIPLINESFRONTIESPIECE: Oliver Lee Jackson, UNTITLED (5.21.95)Ch 9. Paul Carter Harrison--Ch 10. Michael D. Harris--Ch 11. Gregory Tate--GLOSSARYArturo Lindsay--BIOGRAPHIESEditorsMichael D. Harris is an Associate Professor Emeritus of African American Studies at Emory University; he holds a BA in Education, BGSU; MFA in Painting, Howard University; MA in African American Studies, Yale, MA, MPhil, and Ph.D. in History of Art from Yale University. He taught African American Art History and Yoruba Art and Culture.Dr. Harris was named to the list of curators and scholars, "25 Who Made a Difference," in the fall 2001 issue ofInternational Review of African American Art. The list includes David Driskell, James Porter, Samella Lewis, Richard Powell, and Jeff Donaldson, among others.Currently Prof. Harris has a book-length manuscript,Sanctuary: Conjuring an Africana Art Aesthetic in production at Duke University Press. Also, he has written contributions for the African Art textbook,A History of Art in Africa(2000, 2007), and was co-author of the important book, Astonishment and Power (1993), which accompanied the exhibition of the same name at the Smithsonian National Museum of African Art. His recent book,Colored Pictures: Race and Visual Representation, won two national awards. In addition to doing curatorial work at the Harvey B. Gantt Center for African American Art and Culture in Charlotte, Prof. Harris worked as a curatorial consultant for five years at the High Museum in Atlanta, and has worked independently as a curator for the Smithsonian National Museum of African Art, the Smithsonian Traveling Exhibition Service, and the High Museum.Additionally, Prof. Harris is a practicing artist and a long-time member of the artist collective, AfriCOBRA He has exhibited his work across the United States, in Europe, and in the Caribbean and is represented in many public and private collections. He serves on the National Board of the National Conference of Artists, on the Editorial Board of the International Review of African American Art based at Hampton University, and has been a board member for ACASA (Arts Council for the African Studies Association).Paul Carter Harrison is an award-winning playwright/director/theorist who has spent the last 50 years of his prodigious career as artist and scholar pursuing ritual expression in the African Diaspora. Exemplary of the ritual stylization of text and music was the Negro Ensemble Company production of one of his most significant works for stage, The Great Macdaddy garnered an Obie Award in the early Seventies. Also, in the same period, became the author The Drama Of Nommo, a collection of essays that has had a seminal influence in the exploration of ritual stylization for contemporary playwrights and directors in Black Theatre, as well as the volume of defining texts co-edited with playwright Gus Edwards and Producer/Scholar Victor, a volume of collected essays,Black Theatre: Ritual Performance In The African Diasporathat has amplified the aesthetics of Black Theatre practice. The recipient of a Rockefeller Foundation Fellowship for American Playwriting, a National Endowment of the Arts Playwrights Fellowship, and two Meet-the-Composer/Reader's Digest Commissions for the development of his two operettas,Goree CrossingandDoxology Opera: The Doxy Canticles,which was reimagined as a Dance Theatre piece,Doxy Ringshout. He is served for 5 years as a Visiting Artist/Scholar at Emory University, where he guided a research project on Critical Vocabulary for African Diasporic Expressivity which culminated in a National Endowment for the Humanities Summer Faculty Institute and led to this anthology volume. Pellom McDaniels IIIPrior to becoming a highly esteemed scholar, McDaniels had been a reliable force as a Defensive Lineman in the National Football League (NFL). Following a successful career (1991-98) a trait of relentless pursuit he exhibited in his scholarship, McDaniels retired from the NFL and began his pursuit of a graduate degree atEmory Universityin Atlanta, Georgia where he received both a Master of Arts and a Ph.D. in American Studies. He then went on to become an Assistant Professor in History at the University of Missouri - Kansas City. He then returned to Emory where he became an Assistant Professor of African American Studies and faculty curator of the African American collection in the Manuscript, Archives, and Rare Book Library at Emory University.In 2014, he was instrumental in writing and winning an NEH (National Endowment of the Humanities) grant to support a 3 week Summer Institute at Emory campus for College and University Teachers under the rubric of Black Aesthetics and African Centered Expressions: Sacred Systems in the Nexus between Cultural Studies, Religion, and Philosophy, and served as the bulwark co-chairman along with Paul Carter Harrison. He soon after became a Professor andCuratorof African American Collections at Emory University's Rose Library. In 2015, McDaniels became one of the six recipients of the 2015Silver Anniversary Awards, presented annually by theNCAAto outstanding former student-athletes on the 25th anniversary of the end of their college sports careers. The award is based on both athletic and professional success. An accomplished poet and essayist, his publications included: "The Prince of Jockeys: The Life of Isaac Burns Murphy" (2013);So, You Want to be Pro(2000),My Own Harlem(1998); "We're American Too: The Negro Leagues and the Philosophy of Resistance" inBaseball and Philosophy: Thinking Outside the Batter's Box(2004); reviews in Hampton University'sInternational Review of African American Artrelated to the work of artistsKadir NelsonandHale Woodruff.McDaniels, who passed suddenly in 2020, was an adherent of theBaháʼí Faith, utilizing its teachings and principles to perform acts of service, promote education and value for culture, and engage in community-outreach endeavors. ContributorsMaria Hamilton Abegunde is a Cave Canem, Sacatar, and Ragdale fellow. She is the founding director of The Graduate Mentoring Center and a visiting faculty member in African American and African Diaspora Studies at Indiana University, Bloomington. Excerpts ofThe Ariran's Last Life, her ancestral memory work about the Middle Passage,have been published inBest African American Fiction, The Kenyon Review, and Trouble the Waters: Tales from the Deep Blue. Her work has also been published in The Massachusetts Review, Tupelo Quarterly, Jane's Stories, Rhino, and COGzine. Rowland Abiodun is John C. Newton Professor of Art, the History of Art, and Black Studies at Amherst College, Amherst, Massachusetts. He is the author ofYoruba Art and Language: Seeking the African in African Art(2014),What Follows Six Is More than Seven: Understanding African Art(1995); co-author ofYoruba: Nine Centuries of African Art and Thought(1989),Yoruba Art and Aesthetics(1991), andCloth Only Wears to Shreds: Yoruba Textiles and Photographs from the Beier Collection(2004); and co-editor ofIfá Divination: Knowledge, Power and Performance, 2016 andThe Yoruba Artist: New Theoretical Perspectives on African Arts(1994). Oliver Lee Jackson, a retired Professor of Art at State University of California, Sacramento, is an expressionistic visual artist whose oil work on canvas, sculptures carved in marble, or metals processed in printmaking the results are grounded in figuration, though not in pursuit of Black Body representation. In the late Sixties, Jackson spearheaded the multi-arts activities of The Black Arts Group (BAG), an arts collective in St. Louis along with his closest collaborator, Composer/Arranger, Julius Hemphill.
Weitere Ausg.:
ISBN 9780367464790
Weitere Ausg.:
ISBN 9780367498627
Weitere Ausg.:
Erscheint auch als Druck-Ausgabe ISBN 9780367464790
Sprache:
Englisch
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