This text explores how West African standards of aesthetics and sociocultural traits have moved into mainstream American culture and become social norms.

This book provides a sequel to Robert Ford's comprehensive reference work A Blues Bibliography, the second edition of which was published in 2007. Bringing Ford's bibliography of resources up to date, this volume covers works published since 2005, complementing the first volume by extending coverage through twelve years of new publications. As in the previous volume, this work includes entries on the history and background of the blues, instruments, record labels, reference sources, regional variations, and lyric transcriptions and musical analysis. With extensive listings of print and online articles in scholarly and trade journals, books, and recordings, this bibliography offers the most thorough resource for all researchers studying the blues.

This book explores the role of national theatres, national cultural centres, cultural policy, festivals, and the film industry as creative and cultural performances hubs for exercising soft power and cultural diplomacy. It shows how can existing cultural and non-cultural infrastructures, sometimes referred to as the Orange Economy, open opportunities for diplomacy and soft power; ways by which cultural performance and creative practice can be re-centered in post-colonial Africa and in post-global pandemic era; and existing structures that cultural performers, diplomats, administrators, cultural entrepreneurs, and managers can leverage to re-enact cultural performance and creative practice on the continent. This volume is positioned within postcolonial discourse to amplify narratives, experiences and realities that are anti-oppressive especially within critical discourse.

British Dance, Black Routes is an outstanding collection of writings which re-reads the achievements of Black British dance artists, and places them within a broad historical, cultural and artistic context. Until now discussion of choreography by Black dance practitioners has been dominated by the work of African-American artists, facilitated by the civil rights movement. But the work produced by Black British artists has in part been within the context of Britain’s colonial legacy. Ramsay Burt and Christy Adair bring together an array of leading scholars and practitioners to review the singularity and distinctiveness of the work of British-based dancers who are Black and its relation to the specificity of Black British experiences. From sub-Saharan West African and Caribbean dance forms to jazz and hip-hop, British Dance, Black Routes looks afresh at over five decades of artistic production to provide an unparalleled resource for dance students and scholars. Appendix 2 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

What kind of social studies knowledge can stimulate a critical and ethical dialog with the past and present? "Re-Membering" History in Student and Teacher Learning answers this question by explaining and illustrating a process of historical recovery that merges Afrocentric theory and principles of culturally informed curricular practice to reconnect multiple knowledge bases and experiences. In the case studies presented, K-12 practitioners, teacher educators, preservice teachers, and parents use this praxis to produce and then study the use of democratized student texts; they step outside of reproducing standard school experiences to engage in conscious inquiry about their shared present as a continuance of a shared past. This volume exemplifies not only why instructional materials—including most so-called multicultural materials—obstruct democratized knowledge, but also takes the next step to construct and then study how "re-membered" student texts can be used. Case study findings reveal improved student outcomes, enhanced relationships between teachers and families and teachers and students, and a closer connection for children and adults to their heritage.

In Bedford-Stuyvesant, Brooklyn, pianist Randy Weston and bassist Ahmed Abdul-Malik celebrated with song the revolutions spreading across Africa. In Ghana and South Africa, drummer Guy Warren and vocalist Sathima Bea Benjamin fused local musical forms with the dizzying innovations of modern jazz. These four were among hundreds of musicians in the 1950's and '60's who forged connections between jazz and Africa that definitively reshaped both their music and the world. Each artist identified in particular ways with Africa's struggle for liberation and made music dedicated to, or inspired by, demands for independence and self-determination. That music was the wild, boundary-breaking exultation of modern jazz. The result was an abundance of conversation, collaboration, and tension between African and African American musicians during the era of decolonization. This collective biography demonstrates how modern Africa reshaped jazz, how modern jazz helped form a new African identity, and how musical convergences and crossings altered politics and culture on both continents. In a crucial moment when freedom electrified the African diaspora, these black artists sought one another out to create new modes of expression. Documenting individuals and places, from Lagos to Chicago, from New York to Cape Town, Robin Kelley gives us a meditation on modernity: we see innovation not as an imposition from the West but rather as indigenous, multilingual, and messy, the result of innumerable exchanges across a breadth of cultures.

This book presents the theoretical language and methodological tools needed for thinking through issues of global media representation. It brings students of international communication into a conversation about global culture and communication through the presentation of a conceptual language to discuss the 'logics of globalization' (i.e. nationalism, modernism, post-modernism/colonialism, capitalism and terrorism). Anandam Kavoori then uses this language to critically analyze various media texts. The choices of texts are eclectic-representing old and new media-and chosen for the wider 'logic' they help animate. Most importantly, they reorient the study of global media texts from the formal to the popular, examining film, music, gaming, cell phone, travel journalism, and performance texts. The book invites students to understand the complexity of global media representation-at the heart of which is the search for identity.

Navel of the Moon is a coming-of-age tale centering on Vicenta “Vicky” Lumiere, a resident of the Irish Channel neighborhood of New Orleans. By closely observing her neighbors and friends, often with a critical eye and a naïve interpretation, Vicky learns that the world fails to fall into discrete categories of good and evil, and that any attempt to assert authority over chaos is ultimately impossible. The characters that structure Vicky's world are intriguing, beginning with her Mexican grandmother, Mimy, whose claim to be from the "navel of the moon" baffles Vicky. Over the course of one summer, the heroine's attempts to understand the illusive nature of friendship captures the sorrow, the happiness, and the ordinary of one's humanity.

Between 1927 and 1962, the Huffman family, among other friends gathered repeatedly at the Ten Point Deer Club in Issaquena County, Mississippi. For more than three decades Florence photographed the camp and its visitors. In a skillful integration of Alan Huffman's text with his grandmother's vintage photographs, here is a vivid record of the last wooded stronghold of the Mississippi Delta. 100 photos.