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A 2008 cover of The New Yorker featured a much-discussed Black
Power parody of Michelle and Barack Obama. The image put a
spotlight on how easy it is to flatten the Black Power movement as
we imagine new types of blackness. Margo Natalie Crawford argues
that we have misread the Black Arts Movement's call for blackness.
We have failed to see the movement's anticipation of the "new
black" and "post-black." Black Post-Blackness compares the black
avant-garde of the 1960s and 1970s Black Arts Movement with the
most innovative spins of twenty-first century black aesthetics.
Crawford zooms in on the 1970s second wave of the Black Arts
Movement and shows the connections between this final wave of the
Black Arts movement and the early years of twenty-first century
black aesthetics. She uncovers the circle of black post-blackness
that pivots on the power of anticipation, abstraction, mixed media,
the global South, satire, public interiority, and the fantastic.
Contributors to this issue of Nka complicate the key paradigms that
have shaped the theories and cultural productions of the African
diaspora by offering a critical and nuanced analysis of global
black consciousness. Literary scholars, historians, visual art
critics, and diaspora theorists explore the confluence between
theories of African diaspora and theories of decolonization. They
examine the intersections of visual art, literature, film, and
other cultural productions alongside the crosscurrents that shaped
the transnational flow of black consciousness. The contributors
revisit major black and Pan-African intellectual movements and
festivals in the 1960s and 1970s, including the Dakar Festival of
World Negro Arts held in Dakar in 1966, the Pan-African Cultural
Festival in 1969 in Algiers, and FESTAC 1977 in Lagos, Nigeria.
Throughout this issue, the contributors examine both the problem
and promise of mobilizing "blackness" as a unifying concept.
Contributors: Hisham Aidi, Souleymane Bachir Diagne, Ahmed
Bedjaoui, Margo Natalie Crawford, Romi Crawford, Lydie Diakhate,
Manthia Diawara, Amanda Gilvin, Salah M. Hassan, Shannen Hill,
Tsitsi Jaji, Barbara Murray, Zita Nunes, Ugochukwu-Smooth C. Nzewi,
Richard J. Powell, Holiday Powers, Shana L. Redmond, Penny M. Von
Eschen, Dagmawi Woubshet
A 2008 cover of The New Yorker featured a much-discussed Black
Power parody of Michelle and Barack Obama. The image put a
spotlight on how easy it is to flatten the Black Power movement as
we imagine new types of blackness. Margo Natalie Crawford argues
that we have misread the Black Arts Movement's call for blackness.
We have failed to see the movement's anticipation of the "new
black" and "post-black." Black Post-Blackness compares the black
avant-garde of the 1960s and 1970s Black Arts Movement with the
most innovative spins of twenty-first century black aesthetics.
Crawford zooms in on the 1970s second wave of the Black Arts
Movement and shows the connections between this final wave of the
Black Arts movement and the early years of twenty-first century
black aesthetics. She uncovers the circle of black post-blackness
that pivots on the power of anticipation, abstraction, mixed media,
the global South, satire, public interiority, and the fantastic.
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