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fraudulent, outdated, absurd, or otherwise damaging mindsets and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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