African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
Based on a conference which took place in Sandton, Johannesburg from 14-15 July 2008., 346 p., This conference is the first of three conferences on the African diaspora with respect to the returnee phenomenon of 'Back to Africa'. Contents: volume 1. Afro-Brazilian returnees and their communities -- volume 2. The ideology and practice of the African returnee phenomenon from the Caribbean and North-America to Africa.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
289 p, explores the multiple ways that Africans have affected political, economic, and cultural life throughout the region. Focusing on areas traditionally associated with Afro-Latin American culture such as Brazil and the Caribbean basin, this innovative work also highlights places such as Rio de La Plata and Central America, where the African legacy has been important but little studied.
The first Africans came to America in August, so obviously, it's our entire history - in so far as the celebration or acknowledgement was. It has to do with [Jonathan Jackson], George Jackson and prisons. I believe in a time when the United States has more people in prison than any other industrialized nation, the prediction that if the current rate of incarceration stays the way it is now, one in three men will be incarcerated or on parole in 2020, which is not very far. I think it is contingent on us to look at that - the re-enslavement of African Americans continuing. I think this benefit for Haiti is important, because of what Haiti represents - a nearby island that had a successful slave rebellion, it has always suffered from intrusions from America from as far back as the 1800s, so I think joining together the national and international struggles is important. It is important for African Americans to look at themselves locally, nationally and internationally - to see ourselves in the world. Black August 2003 offers an opportunity to do that.
209 p., Explores the representation of black masculinities in Claude McKay's novels, Home to Harlem (1928), Banjo (1929) and Banana Bottom (1933). I use the trope of marronage to theorize McKay's representations of black male subjectivities across a range of African diasporan spaces in the Caribbean, the USA and Europe, arguing that McKay's male characters negotiate these diasporan spaces with the complex consciousness and proclivities of maroons. Through the trope of marronage, the project will demonstrate how McKay's male characters use their maroon conditions to map, explore and define a black diasporan experience -- one, moreover, that is shaped by "creolizations"-- the various pushes and pulls of multiple forms of psychological and cultural crossover. The Introduction places marronage in its historical and cultural contexts and defines who the Maroons were and what particular characteristics managed their existence. The trope of marronage, as an organizing frame for McKay's texts, is intricately tied to the understanding of how "creolization," a term that is integrally associated with the Caribbean experience of hybridity, as both an experience and a concept, structures McKay's sensibility and representations.
220 p., Employs a black feminist diaspora literary lens to identify, define, trace, and speak to the African Diaspora as it functions in black women's diaspora fiction and informs our understanding of black women's diaspora identity. Considers three authors and novels by women of, in, and across the African Diaspora. The study centers on Sandra Jackson-Opoku's The River Where Blood Is Born as a primary site of analysis of diaspora formation and theorization, Dionne Brand's At the Full and Change of the Moon and Maryse Condé's Desirada as comparative textual and theoretical sites.
196 p., Argues that practitioners of Palo Monte/Mayombe in the city of Santiago de Cuba construct a religious genealogy inclusive of spirits to affirm their sense of an "African" identity in contemporary Cuba. Demonstrates that these practitioners' sense of being African includes an understanding that they are the ritual descendants and stewards of the blended spiritual knowledge created by sixteenth and seventeenth century AmerIndian Taíno and Kongolese inhabitants of eastern/Oriente, Cuba.
400 p., This dissertation explores the spread and articulation of Garveyism--the political movement spearheaded by Jamaican activist Marcus Garvey--across Africa, the greater Caribbean, and the United States in the years following the First World War. Scholarship on Garveyism has remained fixed within a conceptual framework that views the movement synonymously with the rise and fall of Garvey's organization, the Universal Negro Improvement Association (UNIA), and which focuses predominantly on the activities of the organization in the United States. This study argues that Garveyism is more fully rendered as a global endeavor of network-building, consciousness-raising, and activism that extended beyond the operational parameters of the UNIA, influenced a diverse array of regionally-constituted political projects, and nurtured the flowering of a profoundly "Garveyist" period in the history of the African diaspora.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
359 p., Rather than hewing to labor uprisings in the 1930s as the generative moment for West Indian nationhood, the author begins with political and social conflicts from the late nineteenth century to argue that efforts to create a federation in the British Caribbean were much more than merely an imperial or regional nation-building project. This manuscript highlights the significant connections between Caribbean federation and other anticolonial struggles of the black diaspora.
78 p., Examines the ways in which the African American identity articulates and constructs itself through dance. Norman Bryson, an art historian, suggests that approaches from art history, film and comparative literature are as well applicable to the field of dance research. Therefore, as his main critical lens and a theoretical foundation, the author adopts the analytical approach developed by Erwin Panofsky, an art historian and a proponent of integrated critical approach, much like the one suggested by Bryson. Demonstrates that Erwin Panofsky's iconology, when applied as a research method, can make valuable contributions to the field of Dance Studies. Uses Katherine Dunham's original recordings of diaspora dances of the Caribbean and her modern dance choreography titled L'Ag'Ya to look for evidence for the paradigm shift from "primitive" to "diaspora" in representation of Black identity in dance also with the aim of detecting the elements that produce cultural difference in dance.
