While the field of aesthetics has long been dominated by European philosophy, recent inquiries have expanded the arena to accommodate different cultures as well as different definitions. In this volume, scholars and teachers in the fields of African and African American studies advance the debate over the nature of African aesthetics, approaching the subject from a broad range of disciplines. Dance, music, art, theatre, and literature are examined in order to appreciate and delineate the specific (...) qualities and aspects of African aesthetics; additionally, theoretical concepts and issues are discussed to define more clearly the meaning of an "African aesthetic.". (shrink)

In Cameroon, a monumental "statue of liberty" is made from scrap metal. In Congo, a thriving popular music incorporates piercing screams and carnal dances. When these and other instantiations of the aesthetics of Africa and its diasporas are taken into account, how are ideas of beauty reconfigured? Scholars and artists take up that question in this invigorating, lavishly illustrated collection, which includes more than one hundred color images. Exploring sculpture, music, fiction, food, photography, fashion, and urban design, the contributors (...) engage with and depart from canonical aesthetic theories as they demonstrate that beauty cannot be understood apart from ugliness. Highlighting how ideas of beauty are manifest and how they mutate, travel, and combine across time and distance, continental and diasporic writers examine the work of a Senegalese sculptor inspired by Leni Riefenstahl's photographs of Nuba warriors; a rich Afro-Brazilian aesthetic incorporating aspects of African, Jamaican, and American cultures; and African Americans' Africanization of the Santería movement in the United States. They consider the fraught, intricate spaces of the urban landscape in postcolonial South Africa; the intense pleasures of eating on Réunion; and the shockingly graphic images on painted plywood boards advertising "morality" plays along the streets of Ghana. And they analyze the increasingly ritualized wedding feasts in Cameroon as well as the limits of an explicitly "African" aesthetics. Two short stories by the Mozambican writer Mia Couto gesture toward what beauty might be in the context of political failure and postcolonial disillusionment. Together the essays suggest that beauty is in some sense future-oriented and that taking beauty in Africa and its diasporas seriously is a way of rekindling hope. Contributors. Rita Barnard, Kamari Maxine Clarke, Mia Couto, Mark Gevisser, Simon Gikandi, Michelle Gilbert, Isabel Hofmeyr, William Kentridge, Dominique Malaquais, Achille Mbembe, Cheryl-Ann Michael, Celestin Monga, Sarah Nuttall, Patricia Pinho, Rodney Place, Els van der Plas, Pippa Stein, Françoise Vergès. (shrink)

An artistic discussion on the critical potential of African American expressive culture In a major reassessment of African American culture, Phillip Brian Harper intervenes in the ongoing debate about the “proper” depiction of black people. He advocates for African American aesthetic abstractionism—a representational mode whereby an artwork, rather than striving for realist verisimilitude, vigorously asserts its essentially artificial character. Maintaining that realist representation reaffirms the very social facts that it might have been understood to challenge, Harper contends (...) that abstractionism shows up the actual constructedness of those facts, thereby subjecting them to critical scrutiny and making them amenable to transformation. Arguing against the need for “positive” representations, Abstractionist Aesthetics displaces realism as the primary mode of African American representational aesthetics, re-centers literature as a principal site of African American cultural politics, and elevates experimental prose within the domain of African American literature. Drawing on examples across a variety of artistic production, including the visual work of Fred Wilson and Kara Walker, the music of Billie Holiday and Cecil Taylor, and the prose and verse writings of Ntozake Shange, Alice Walker, and John Keene, this book poses urgent questions about how racial blackness is made to assume certain social meanings. In the process, African American aesthetics are upended, rendering abstractionism as the most powerful modality for Black representation. (shrink)

In Cameroon, a monumental “statue of liberty” is made from scrap metal. In Congo, a thriving popular music incorporates piercing screams and carnal dances. When these and other instantiations of the aesthetics of Africa and its diasporas are taken into account, how are ideas of beauty reconfigured? Scholars and artists take up that question in this invigorating, lavishly illustrated collection, which includes more than one hundred color images. Exploring sculpture, music, fiction, food, photography, fashion, and urban design, the contributors (...) engage with and depart from canonical aesthetic theories as they demonstrate that beauty cannot be understood apart from ugliness. Highlighting how ideas of beauty are manifest and how they mutate, travel, and combine across time and distance, continental and diasporic writers examine the work of a Senegalese sculptor inspired by Leni Riefenstahl’s photographs of Nuba warriors; a rich Afro-Brazilian aesthetic incorporating aspects of African, Jamaican, and American cultures; and African Americans’ Africanization of the Santería movement in the United States. They consider the fraught, intricate spaces of the urban landscape in postcolonial South Africa; the intense pleasures of eating on Réunion; and the shockingly graphic images on painted plywood boards advertising “morality” plays along the streets of Ghana. And they analyze the increasingly ritualized wedding feasts in Cameroon as well as the limits of an explicitly “African” aesthetics. Two short stories by the Mozambican writer Mia Couto gesture toward what beauty might be in the context of political failure and postcolonial disillusionment. Together the essays suggest that beauty is in some sense future-oriented and that taking beauty in Africa and its diasporas seriously is a way of rekindling hope. Contributors. Rita Barnard, Kamari Maxine Clarke, Mia Couto, Mark Gevisser, Simon Gikandi, Michelle Gilbert, Isabel Hofmeyr, William Kentridge, Dominique Malaquais, Achille Mbembe, Cheryl-Ann Michael, Celestin Monga, Sarah Nuttall, Patricia Pinho, Rodney Place, Els van der Plas, Pippa Stein, Françoise Vergès. (shrink)

The question of racial identity in the process and outcome of aesthetic surgery is gaining increasing attention in bioethical discourse. This paper attempts an ethical examination of the racial identity issues involved in aesthetic surgery. Dominant moral values in Western culture are explored in the evaluation of aesthetic surgery. The paper argues that African values are yet to receive the universal attention they arguably deserve especially in the rethinking of values underlying aesthetic surgery as racial transformation. Through a consideration (...) of some moral-aesthetic values in the Yorùbá-African culture, this paper further re-evaluates the ethics of aesthetic surgery. The paper contends against the propagation of aesthetic surgery as a new form of bolstering racial divides and identity in the evolving cosmopolitan age. The position defended in the paper is that some values from Yorùbá-African culture are useful in the consideration of the ethics of aesthetic surgery and more importantly, in avoiding the racial identity bias embedded in aesthetic surgery. The paper concludes that if due consideration is perhaps given to some African moral-aesthetic values in the global aesthetic surgery industry, some of the evolving moral and racial complexities would be better mediated. (shrink)

Introduction -- Biographical details -- The nature of the philosophic enterprise: initial issues -- Contemporary scholarship on arts -- Artistic expression in Africa -- Philosophy and artistic expression in Africa -- Arts, memory and identity -- Conclusion.

What Makes That Black? The African American Aesthetic in American Expressive Culture delineates the African-American aesthetic in both the African-American culture and the artistic cultural formation of the United States. It presents a definition of the African-American aesthetic using a typology of seventy-four tenets-markers that expand the aesthetic's definition to include its artistic structure, cultural function, and consciousness.¿The book is both anecdotal and scholarly, creating an accessible dialogue in a research area sometimes burdened by excessive scholarly (...) nomenclature. The power of story (art) reaches into cognitive spaces and impact understandings unreachable by linear academic argument. ¿Physical features such as images, links to visual media, glossary, bibliography, and index make the project easier for teachers/students to use.¿The book approaches the African-American Aesthetic from wide-ranging sources, cross-referencing literature, dance, oration, music, dress, sub-Saharan African aesthetics, scholarly text, visual arts, athletics, children's games, and anecdotal accounts. (shrink)

This essay considers the recuperation of beauty as a productive critical strategy in discussions of African American dance. I argue that black performance in general, and African American concert dance in particular, seeks to create aesthetic sites that allow black Americans to participate in discourses of recognition and appreciation to include concepts of beauty. In this, I suggest that beauty may indeed produce social change for its attendant audiences. I also propose that interrogating the notion of beauty may (...) allow for social change among audiences that include dance theorists and philosophers. Through a case-study consideration of work by three African American choreographers, Donald Byrd (b. 1949), Ulysses Dove (1947 – 1996), and Abdel Salaam (b. 1949), I ultimately hope to suggest critical possibilities aligning dance performance with particular aesthetic theory relevant to its documentation and interpretation. (shrink)

Cinema is neither neutral nor a universal medium. Particularly in African contexts, cinema contributes to European exceptionalism, imposes European values as the norm, and acts as an instrument of cultural and psychological control. It seems that African cinema is ontologically, politically, and aesthetically Eurocentric. By introducing an intercultural philosophical approach to the realm of cinema, we aim to move away from Eurocentrism in African cinema towards a more intercultural and dialogical orientation as an input for the liberation (...) of humanity. Based on findings from a dramaturgical analysis of five films, we argue that African cinema shows a deficiency in communicating liberation and it often fails to portray African people’s values, will, and interests as it has been alienated from its nature and purpose. Overall, African cinema seems to be either in a state of assimilation or confusion. By exploring aesthetics of liberation in African cinema and art (as described in African and intercultural philosophy,) we search for alternative film aesthetics and a mode of filmmaking that seeks to liberate the image and the minds of the filmmakers and spectators of African cinema. Inspired by Kimmerle’s aesthetic-ethic alternative ‘Living (with) art’, we propose an alternative for critical filmmaking based on aesthetics of liberation with an intercultural orientation: Living cinema. Living cinema is a dialogical and liberational cinema with aesthetics of liberation at its core. Based on aesthetic-ethic principles of African philosophy and interculturality, the liberating function of living cinema can be found in reconnecting the aesthetics and filmmaking with African values. Simultaneously, it might be contributing to the liberation of world cinema as it has an impact on both the hegemonic and the suppressed cinema. (shrink)

In _African Somaesthetics: Cultures, Feminisms, Politics_, Catherine F. Botha brings together original research on the body in African cultures, interrogating the possible contribution of a somaesthetic approach in the context of colonization, decolonization, and globalization in Africa.

Groundwork for the intellectual life: ontology, imagination, and praxis -- Radical knowledge: toward a critical contextual ontology of intellectual practice -- Embodied knowledge: intellectual practices as ways of life -- Radical world-building: notes toward a critical contextual aesthetic -- Geographies of the imagination: figurations of the aesthetic at the intersection of African and global arts -- Theses on the intellectual imagination.

In the tradition of African musicologists who have pioneered serious scholarly study of African music, notably J.H. Kwabena Nketia, this extended essay considers the subject of aesthetic value in African music, in particular, in the Ewe and Akan (Ghanaian) traditions. It examines African - as compared with Western - ideas about musical experience and its appeal; and music in relation to values, morality and human emotion.

I articulate an African view of personhood that combines beauty and goodness–aesthetic and moral features. I discuss the idea of communalism, which provides the social and moral values and belief system that give meaning to this view of personhood. I use ideas from some African ethnic traditions, or some people’s account of these traditions, as examples to illustrate this view. The similarities in these examples from different ethnic traditions indicate that it is reasonable to characterize this view as (...) a common theme that may plausibly represent many African cultures. This essay does not seek to provide an anthropological descriptive view, but a plausible philosophical stance on how we ought to understand the idea of personhood in African cultures. I do not suggest that all African cultures or traditions have exactly the same view or that they hold this view in the same way, extent or degree. Obviously, there may be minor differences that do not alter the essence of the view. Many of the authors quoted in this paper who have written on African philosophy use the phrase, ‘African culture’, ‘African tradition’, ‘African view’ or ‘African society’. Thus, it has become commonplace in African philosophical circles that when the prefix ‘African’ is used in the literature on African philosophy, it does not imply that Africa is a monolith or that its traditions are static. There is a recognition that some traditions have changed or are changing. The use of ‘African tradition’ usually indicates a generalizing theoretical abstraction about some enduring and dominant similar themes or ideas in many African traditions. It is also meant to contrast ‘African’ with ‘Western’ traditions, and to also respond to Western critiques of Africa as a group. It is used in a similar way in which the prefix ‘Western’ is used in the literature. This notion of ‘Western’, which is replete in the literature, does not suggest the West is a monolith, but rather, a reference to some similar dominant themes in Western thought. (shrink)

In this book, Maduabuchi Dukor presents a comprehensive interpretation of African Philosophy that is informed by the idea that everything in the universe includes a 'spiritual' dimension, what he calls theistic humanism. Imperceptible agents such as God, lesser divinities, and ancestors, as well as forces such as witchcraft and magic, play prominent roles in Dukor's accounts of not just metaphysics, but also ethics, aesthetic, and epistemics. By highlighting the diversity in intellectual world currents philosophy stimulates intercultural dialogue, African (...) Philosophy in the Global Village. Theistic Panpsychic Rationality, Axiology and Science is a response to major contemporary socio-cultural challenges in the global village. (shrink)

The history of the human world has reached a stage where no philosophical community can any longer philosophize in isolation from other philosophical communities. The African philosophical community is not an exception and neither is any other philosophical community. There is a widespread notion in the West that philosophy originated in Greece and found its way throughout Europe, from where it migrated to Africa. This book argues that Philosophy did not migrate to African from anywhere but that it (...) is radically native to all communities. The chapters cover the erasure of African philosophy, African philosophical departures, the threat that Christianity has posed to African philosophy, African legal philosophy, African musical aesthetics and connections with classical philosophy. Arguing that the landscape of philosophy has a place not only for Africans but also for all human beings and that African philosophers are among the architects of this landscape, this book is an important read for scholars and students of African philosophy. (shrink)

A collection of historical and contemporary writings that chronicle the development of the African critical response to attempts to ascribe a peculiar nature to the African character, and the debate in contemporary African philosophy on issues such as magic, witchcraft, aesthetics, and morality. Other topics include contemporary thought in French speaking Africa, and African traditional thought and Western science. Each selection is preceded by a synopsis. No index. Annotation copyright by Book News, Inc., Portland, OR.

Explores the interplay between artistic values and social, political, and moral concerns in writings by African American and Native American women.

This collection of meditations reformulates the experience of African studies as a concern with three thematics: Africa's place within today's intellectual, economic, and cultural configurations; the main axes that structure disciplinary practices concerned with African difference; and the possibility of understanding being-in-the-world with reference to alienation, creativity, and friendship. *** This book is highly innovative in its re-evaluation of alterity. It marshalls a broad range of theories from Adorno to Marx to Walter Benjamin, all the while "grounding" it (...) in African politics and aesthetics through the lens of Yacouba Konate. A veritable tour de force, if ever there was one. - Kgomotso Masemola, Associate Professor of English, U. of South Africa (Series: Thinking Africa). (shrink)

Critiques -- Methodology -- Moral epistemology -- Aesthetics.

Long touted in literary and historical works, the Mississippi River remains an iconic presence in the American landscape. Whether referred to as ‘Old Man River’ or the ‘Big Muddy,’ the Mississippi River represents imageries ranging from pastoral and Acadian to turbulent and unpredictable. But these imageries – revealed through the cultural production of artists, writers and even filmmakers – did not adequately reflect the experiences of everyone living and working along the river. The African-American community and its relationship to (...) the Mississippi River down the ages is occluded by these discourses. In focusing on this alternate history, namely the African-American experience with the Mississippi River, the overarching framework of this paper will consist of three lenses on the river as: refuge, labor, and cultural icon. From the moment of their arrival, the intersection of their lives with the Mississippi River reveals a history where the river offers freedom, oppression, escape, sustenance, renewal, disease and displacement. From this largely unexplored perspective, distinctions of race and class are exposed and reinforced. Although rivers have long been included in the historical record, whether through a geographical, spiritual, aesthetic or recreational perspective, the juncture where human lives intersect with rivers, constructing memory and identity, remains overlooked despite a plethora of cultural artifacts such as song, prose and poetry that distinguish experiences. These cultural artifacts, in turn, differentiate reciprocal relationships with the river based on race and class. For the African-American community, the Mississippi River alternated between liberator and oppressor, informing the social construct of an identity that was at times lamented, celebrated, demeaned and feared. But how did these linkages with the river not only influence a distinct collective memory but also nurture a culture with certain understandings and perspectives about the river? And if so, what have been their ramifications? Through an examination of folklore, song and first-person accounts, these questions will be addressed as multiple narratives persist, offering a history that makes more explicit the distinctive experiences of the African-American communities in their engagement with the Mississippi River. (shrink)

Part I Philosophic Traditions Introduction to Part I 3 1 Philosophy and the Afro-American Experience 7 CORNEL WEST 2 African-American Existential Philosophy 33 LEWIS R. GORDON 3 African-American Philosophy: A Caribbean Perspective 48 PAGET HENRY 4 Modernisms in Black 67 FRANK M. KIRKLAND 5 The Crisis of the Black Intellectual 87 HORTENSE J. SPILLERS Part II The Moral and Political Legacy of Slavery Introduction to Part II 107 6 Kant and Knowledge of Disappearing Expression 110 RONALD A. T. (...) JUDY 7 Social Contract Theory, Slavery, and the Antebellum Courts 125 ANITA L. ALLEN AND THADDEUS POPE 8 The Morality of Reparations II 134 BERNARD R. BOXILL Part III Africa and Diaspora Thought Introduction to Part III 151 9 “Afrocentricity‘: Critical Considerations 155 LUCIUS T. OUTLAW, JR. 10 African Retentions 168 TOMMY L. LOTT 11 African Philosophy at the Turn of the Century 190 ALBERT G. MOSLEY Part IV Gender, Race, and Racism Introduction to Part IV 199 12 Some Group Matters: Intersectionality, Situated Standpoints, and Black Feminist Thought 205 PATRICIA HILL COLLINS 13 Radicalizing Feminisms from “The Movement Era‘ 230 JOY A. JAMES 14 Philosophy and Racial Paradigms 239 NAOMI ZACK 15 Racial Classification and Public Policy 255 DAVID THEO GOLDBERG 16 White Supremacy 269 CHARLES W. MILLS Part V Legal and Social Philosophy Introduction to Part V 285 17 Self-Respect, Fairness, and Living Morally 293 LAURENCE M. THOMAS 18 The Legacy of Plessy v. Ferguson 306 MICHELE MOODY-ADAMS 19 Some Reflections on the Brown Decision and Its Aftermath 313 HOWARD McGARY 20 Contesting the Ambivalence and Hostility to Affirmative Action within the Black Community 324 LUKE C. HARRIS 21 Subsistence Welfare Benefits as Property Interests: Legal Theories and Moral Considerations 333 RUDOLPH V. VANTERPOOL 22 Racism and Health Care: A Medical Ethics Issue 349 ANNETTE DULA 23 Racialized Punishment and Prison Abolition 360 ANGELA Y. DAVIS Part VI Aesthetic and Cultural Values Introduction to Part VI 373 24 The Harlem Renaissance and Philosophy 381 LEONARD HARRIS 25 Critical Theory, Aesthetics, and Black Modernity 386 LORENZO C. SIMPSON 26 Black Cinema and Aesthetics 399 CLYDE R. TAYLOR 27 Thanatic Pornography, Interracial Rape, and the Ku Klux Klan 407 T. DENEAN SHARPLEY-WHITING 28 Lynching and Burning Rituals in African-American Literature 413 TRUDIER HARRIS-LOPEZ 29 Rap as Art and Philosophy 419 RICHARD SHUSTERMAN 30 Microphone Commandos: Rap Music and Political Ideology 429 BILL E. LAWSON 31 Sports, Political Philosophy, and the African American 436 GERALD EARLY. (shrink)

ABSTRACT This article argues that the aesthetic practices of black women stand-ups in South Africa take up the concrete ways black people all over the world use performances, within theatrical or everyday practices, to create, shape, and transform their worlds. Reading stand-up as a genre of diaspora culture meant to contend with issues of antiblack racism, economic and social marginalization, and the legacy of colonialism, this article examines the ways humor and comedy manifest transnational intimacies and affinities via the circulation (...) of black women's comic culture. Black women's stand-up comedy enables us to orient our understanding of the inextricable link between aesthetic choices and diaspora as the locus of the production of blackness, and as a particular sensibility rooted in the struggle against colonialism, antiblack racism, and the struggle for human rights and recognition. (shrink)

ASHÉ: Ritual Poetics in African Diasporic is a collection of interdisciplinary essays contributed by international scholars and practitioners. Having distinguished themselves across such disciplines as Anthropology, Art, Music, Literature, Dance, Philosophy, Religion, and Theology and conjoined to construct a defining approach to the study of Aesthetics throughout the African Diaspora with the Humanities at the core, this collection of essays will break new ground in the study of Black Aesthetics. This book will be of great interest (...) to scholars, practitioners, and students interested in tracing African heritage identities throughout the African Diaspora through close examination of a variety of discourses directly connected to expressive elements of cultural production and religious rituals. (shrink)

ASHÉ: Ritual Poetics in African Diasporic is a collection of interdisciplinary essays contributed by international scholars and practitioners. Having distinguished themselves across such disciplines as Anthropology, Art, Music, Literature, Dance, Philosophy, Religion, and Theology and conjoined to construct a defining approach to the study of Aesthetics throughout the African Diaspora with the Humanities at the core, this collection of essays will break new ground in the study of Black Aesthetics. This book will be of great interest (...) to scholars, practitioners, and students interested in tracing African heritage identities throughout the African Diaspora through close examination of a variety of discourses directly connected to expressive elements of cultural production and religious rituals. (shrink)

This article examines Djanet Sears’ Afrika Solo (1990), the first published play by an African Canadian woman, as an example of African diasporic writing in Canada. Now one of Canada's most celebrated playwrights, and a leading figure in the recent popularity and success of African Canadian theatre in the last decade, Sears began her dramatic exploration of African Canadian identity in her semi-autobiographical play Afrika Solo, first produced in 1987. As I intend to argue, the play's (...) musical score and its use of stage space problematizes the notion of static cultural origins often associated with the Canadian multicultural discourse of hyphenated identities by pointing to the many cross-cultural and transnational sites that shape constructions of African Canadian identity. In so doing, the play develops an innovative diasporic aesthetic that can be placed within a larger cultural tradition of African diasporic representation theorized by Rinaldo Walcott, Paul Gilroy, and Dionne Brand. (shrink)