From "30 Americans" to "Angry White Boy," from "Bamboozled" to
"The Boondocks," from "Chappelle's Show" to "The Colored Museum,"
this collection of twenty-one essays takes an interdisciplinary
look at the flowering of satire and its influence in defining new
roles in black identity. As a mode of expression for a generation
of writers, comedians, cartoonists, musicians, filmmakers, and
visual/conceptual artists, satire enables collective questioning of
many of the fundamental presumptions about black identity in the
wake of the civil rights movement. Whether taking place in popular
and controversial television shows, in a provocative series of
short internet films, in prize-winning novels and plays, in comic
strips, or in conceptual hip hop albums, this satirical impulse has
found a receptive audience both within and outside the black
community.
Such works have been variously called "post-black," "post-soul,"
and examples of a "New Black Aesthetic." Whatever the label, this
collection bears witness to a noteworthy shift regarding the ways
in which African American satirists feel constrained by
conventional obligations when treating issues of racial identity,
historical memory, and material representation of blackness.
Among the artists examined in this collection are Paul Beatty,
Dave Chappelle, Trey Ellis, Percival Everett, Donald Glover (a.k.a.
Childish Gambino), Spike Lee, Aaron McGruder, Lynn Nottage, ZZ
Packer, Suzan Lori-Parks, Mickalene Thomas, Toure, Kara Walker, and
George C. Wolfe. The essays intentionally seek out interconnections
among various forms of artistic expression. Contributors look at
the ways in which contemporary African American satire engages in a
broad ranging critique that exposes fraudulent, outdated, absurd,
or otherwise damaging mindsets and behaviors both within and
outside the African American community."
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