African-American Aesthetics

International Journal of Radical Critique is a peer-reviewed open-access journal of radical inquiry edited by international academics and intellectuals. IJRC publishes speculative interventions of analytical rigor and encourages philosophical, sociological, cultural, political, and media studies that provide revolutionary appraisals of historical and contemporary social issues.

In this paper, I argue that it is productive to read Rancière’s theory of political practice – what he calls “disagreement” – with and against Kodwo Eshun’s theorization of hip hop. Thinking disagreement through hip hop helps flesh out how, exactly, disagreement works, particularly at the level of individual embodiment and consciousness. While Rancière himself gives us many examples of interruptions to the political body , I am interested in examining how these interruptions work in, on, and through individual bodies. (...) How is it that we become aware of the ways that distributions of sensibility – particularly hegemonic ones, which are most likely to be normalized and imperceptible by virtue of their ubiquity – structure our corporeal schemas? How does one’s corporeal schema reinforce or interrupt dominant distributions of sensibility? Can we stage an interruption of our own corporeal schemas, and if so, how? (shrink)

Is power the ability to influence something or someone? Does power have anything to do with authority or control? Is power given by others or earned by the individual? I begin this article with the word and idea of power because some of the chapters in this book focus on power dynamics and all of the authors in this volume discuss how landscapes are perceived in the past or in the present. In this chapter, I will explore landscapes as more (...) than just places affected by people, but made of living species – plants, trees, birds, animals, fish, and so forth, while recognizing that it is people who bring social and symbolic meaning to these places. Therefore, I see power in who transformed the plantation from a “natural landscape” to “cultural landscape” as the central component in understanding black cultural production in the 19th century. Taking my lead from the work of cultural geographers, landscape historians, and landscape architects, I wanted to examine the transformative process in cultural landscapes and perhaps tease out who ultimately shapes these cultural locations. (shrink)

I am interested in looking at Krumpin’ through what I am calling the “politics of submergence.” If my world is chaotic, if my Blackness is my murderer, can I be expected to create beauty? Can my art be transformative? My paper argues that Krumpin’ is in fact transformative, not to the extent that it perpetuates hope, but maintains its social pessimism. In accepting both the conditions that have sustained the racial marginalization of African descended people, and the impotence of this (...) marginalized group to change the systemic social structures that continue racial subordination in the United States, Krumpin’ announces a reflective mode of racial identity and cultural existence that attends to the suffering of African-descended people in American ghettos. (shrink)

Historically, for Black writers, literary fiction has been a site for transforming the discursive disciplinary spaces of political oppression. From 19th century “slave narratives” to the 20th century, Black novelists have created an impressive literary counter-canon in advancing liberatory struggles. W.E.B. Du Bois argued that “all art is political.” Many Black writers have used fiction to create spaces for political and social freedom—from the early work of Harriet Wilson’s Our Nig; or, Sketches from the Life of a Free Black (1859)—to (...) the enduring works of the Harlem Renaissance (Toomer, Hurston, and Schuyler)—to the great revolutionary Black literature after WWII (Wright, Baldwin, Williams)—to contemporary Black writers (Toni Morrison, Edward Jones, Samuel Delany)—Black fictive space continues to be a necessary site for resistance. Black literary fiction is a vast counter-canon to mainstream literature which unquestioningly reinforces global white supremacy, capitalistic political oppressions, and the dominance/subordinance relations upon which they depend. (shrink)

In this timely book, Eddie S. Glaude Jr., one of our nation’s rising young African American intellectuals, makes an impassioned plea for black America to address its social problems by recourse to experience and with an eye set on the promise and potential of the future, rather than the fixed ideas and categories of the past. Central to Glaude’s mission is a rehabilitation of philosopher John Dewey, whose ideas, he argues, can be fruitfully applied to a renewal of African American (...) politics. According to Glaude, Dewey’s pragmatism, when attentive to the darker dimensions of life—or what we often speak of as the blues—can address many of the conceptual problems that plague contemporary African American discourse. How blacks think about themselves, how they imagine their own history, and how they conceive of their own actions can be rendered in ways that escape bad ways of thinking that assume a tendentious political unity among African Americans simply because they are black, or that short-circuit imaginative responses to problems confronting actual black people. Drawing deeply on black religious thought and literature, In a Shade of Blue seeks to dislodge such crude and simplistic thinking, and replace it with a deeper understanding of and appreciation for black life in all its variety and intricacy. Only when black political leaders acknowledge such complexity, Glaude argues, can the real-life sufferings of many African Americans be remedied. Heady, inspirational, and brimming with practical wisdom, In a Shade of Blue is a remarkable work of political commentary on a scale rarely seen today. To follow its trajectory is to learn how African Americans arrived at this critical moment in their history and to envision where they might head in the twenty-first century. (shrink)

During the 1960s the Cuban Revolution was a seminal influence on black Americans. In July 1959, LeRoi Jones (later Amiri Baraka) and Harold Cruse traveled to Cuba, where they witnessed the Rebel Army becoming the new Cuban government. That trip shaped Cruse's and Jones' ideas about the relationship between First World protest and Third World revolution. Jones' participation in the Black Arts Movement and Cruse's ideas in Rebellion or Revolution? and The Crisis of the Negro Intellectual were informed by their (...) comparison of African Americans to colonized peoples and their assertions that cultural production was central to the forging of oppositional identities. Consideration of their political and cultural activism lends critical insight into the U. S. Third World Left, a group of African-American, U. S. Latino/a, and U. S. Asian writers, artists and activists who created cultural, material and ideological links to the Third World in order to challenge U. S. economic, racial and cultural hierarchies. (shrink)

Portrays men and women who have embodied black beauty, from Harry Belafonte and Dorothy Dandridge to Muhammad Ali and Lauryn Hill, and discusses the roles of black actors and models in establishing trends.