This book studies how four representative African American poets of
the 1960s, Langston Hughes, Umbra's David Henderson, and the Black
Arts Movement's Sonia Sanchez, and Amiri Baraka engage, in the
tradition of griots, in poetic dialogues with aesthetics, music,
politics, and Black History. In so doing they narrate, using jazz
as meta-language, genealogies, etymologies, cultural legacies, and
Black (hi)stories. In intersecting and complementary ways, Hughes,
Henderson, Sanchez, and Baraka fashioned their griotism from
theorizations of artistry as political engagement, and, in turn,
formulated a Black aesthetic based on jazz performativity-on a
series of jazz-infused iterations that form a complex pattern of
literary, musical, historical, and political moments in constant
cross-fertilizing dialogues with one another. This form of poetic
call-and-response becomes a definitional literary template for
these poets, as it allows both the possibility of intergenerational
dialogues between poets and musicians and dialogic potential
between song and politics, between Africa and Black America,
between vernacular continuums, in their poems.
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