Gonzalo Aguirre Beltrán was born and received his primary and secondary schooling in Veracruz, where there was a strong African influence, before studying medicine in Mexico City. In the 1920s and 1930s intellectuals such as José Vasconcelos undertook pioneering studies of Indians in Mexico, whose culture and history had largely been viewed with disdain until then. The studies resurrected a degree of interest in and dignity for Indian heritage. Although Vasconcelos argued that much of indigenous culture should be subsumed in a larger Mexican culture, Aguirre Beltrán believed that indigenous cultures were worthy of study for their own sake. After graduating from the University of Mexico with a medical degree, Aguirre Beltrán returned to Veracruz, where he held a post in public health that further sparked his interest in Indian ethnicity and history. In 1940 he published two studies on the ethnohistory of colonial and precolonial Indians in ...
A member of the Igbo ethnic group, Elechi Amadi was born in a small southeastern Nigerian village near Port Harcourt. In 1959 he graduated with a degree in physics and mathematics from the University College of Ibadan, a prestigious college attended by other well-known Nigerian writers, such as Chinua Achebe, John Pepper Clark, Christopher Okigbo, and Wole Soyinka. After working as a land surveyor, Amadi taught science for three years at missionary schools in Ahoada and Oba. In 1963 he joined the Nigerian Army; he taught the Ikwerri dialect of Igbo at a military school in Zaria.
His first book, The Concubine, blended acute psychological detail and precise observation to tell the story of a young village woman's battle with spiritual forces. The book's publication in 1966 coincided with the proclamation of an independent state—Biafra—in Igbo-dominated southeastern Nigeria Amadi s allegiance to the Federal ...
trademark, stereotype, cultural icon to many whites, and racist caricature to many African Americans. For Chris Rutt and Charles Underwood, Aunt Jemima was the perfect symbol for their experiment with the first packaged pancake mix. These white entrepreneurs attended a vaudeville show in 1889, featuring black-faced comedians in a New Orleans-style cakewalk tune entitled “Aunt Jemima.” Emblazoned on the posters announcing the act grinned the familiar image of mammy. Rutt appropriated the name and image, for who could better sell processed foods to American housewives than mammy, ready to save them from kitchen drudgery? Barbara Christian's Black Women Novelists (1980) analyzes how Jemima kept particular images about white women intact. African American writers used the stereotype subversively, as described by Trudier Harris in From Mammies to Militants (1982).
Jemima, the offshoot of irascible mammy, was sweet, jolly, even-tempered, and polite. Jemima, Hebrew for ...
Adeyemi Bukola Oyeniyi
Nigerian historian and educational administrator, was born to Samuel Akindeji Fajembola, an Ibadan man, and Mosebolatan Fajembola, an Ijesa woman, on 28 January 1933 in Ilesa, Osun State, Nigeria. Samuel Akindeji Fajembola was a manager with John Holt & Co., a merchant company, based in Liverpool, England; Mosebolatan Fajembola was one of the first female professional teachers to be trained in southwestern Nigeria. Awe had her early education at Holy Trinity School, Omofe, Ilesa; Saint James’s School, Oke-Bola, Ibadan; C.M.S Girls’ School, Lagos; and Saint Anne’s School, Ibadan, between 1941 and 1951. Between 1952 and 1954, she attended the Perse School for Girls in Cambridge, England, and received an MA from the University of St. Andrews, Scotland, in 1958. Between 1958 and 1960 she did postgraduate work for a doctoral degree at Somerville College the oldest of the University of Oxford s female colleges She was ...
Malian diplomat, ethnographer, devout Muslim, and defender of traditional African culture, was born in 1901 in Bandiagara, Mali, capital of the Toucouleur Empire of the Macina Fulani, which was founded by the Tidjaniya jihadist al-Hajj ʿUmar Tal. At the time of Bâ’s birth, the French had been in control of Bandiagara for nearly a decade. His father, Hampâté, a Fulani militant from Fakala, died two years after Bâ was born. His mother, Kadidja Pâté, was the daughter of Pâté Poullou, a close personal companion of al-Hajj ʿUmar Tal. After her husband’s death, Kadidja remarried Tidjani Amadou Ali Thiam, a Toucouleur Fulani and Louta chief, who became Bâ’s adoptive father. At an early age, Bâ became intimate with Tierno Bokar Tall, the renowned “sage of Bandiagara,” who was his lifelong teacher, spiritual guide, and personal mentor. In 1912 Bâ was enrolled in the French colonialist School of the Hostages remaining ...
William E. Lightfoot
Piedmont-style guitarist, was born near Collettsville in the African American community of Franklin, an Appalachian hollow not far from the John's River in upper Caldwell County, North Carolina. Her grandfather Alexander Reid and father Boone Reid, both born in Franklin, played the banjo in the old-time clawhammer manner, with Boone going on to become an accomplished musician who also played fiddle, harmonica, and guitar, on which he used a two-finger-style approach. Boone Reid had absorbed many kinds of music of the mid-to-late nineteenth century, including Anglo-American dance tunes, lyric folksongs, ballads, rags, religious music, and published pieces that had drifted into folk tradition—popular Tin Pan Alley songs old minstrel tunes and Victorian parlor music Boone and his wife Sallie who sang instilled their love of music in their eight children a process that led eventually to the formation of a Reid family string band that played after ...
Olusola O. Isola
Nigerian musician and composer, was born on 17 May 1935 in Jos, Plateau State, in the northeast of Nigeria. He is of the Yoruba ethnic group and was born into a family of music teachers and composers. His father, Theophilus Abiodun Bankole, was a prominent organist and choirmaster at Saint Luke’s Anglican Church, Jos. His mother was a music tutor at Queen’s School, Ede (now in Ibadan, southwest Nigeria), one of the elite female secondary schools in Nigeria. She was also an active musician. Bankole’s maternal grandfather, Akinje George, was the organist and choirmaster at the First Baptist Church, Lagos.
In 1941 when Bankole was six years old his father noticed that he had music talent and sent him to live with his grandfather who gave him initial lessons in piano and harmonium As a boy soprano in the choir at Cathedral Church of Christ in Lagos Bankole showed ...
Tiffany M. Gill
Black is beautiful This familiar cry of the Black Power movement was revolutionary in its celebration of the culture style politics and physical attributes of peoples of African descent Symbols of the black is beautiful aesthetic most notably the Afro not only conjured up ideas about black beauty but also highlighted its contentious relationship with black politics and identity This tension between beauty standards and black politics and identity however did not first emerge in the late twentieth century with the Afro or the Black Power movement In fact blacks particularly black women have been struggling to navigate the paradoxical political nature of black identity and beauty since their enslavement in the Americas Despite this strained relationship black women have actively sought to define beauty in their lives and in the process created and sustained one of the most resilient and successful black controlled enterprises in America the black beauty ...
While Louise Bennett was not the first writer to use Jamaican dialect, the facility with which she reproduces it in her writing and performances has marked her as a pioneer. Born in Kingston, Jamaica, Bennett was the daughter of baker Augustus Cornelius Bennett, who died when she was seven years old, and dressmaker Kerene Robinson. Bennett, known as Miss Lou, studied social work and Jamaican folklore at Friends' College, Highgate, Jamaica. In 1945 she received a British Council Scholarship to the Royal Academy of Dramatic Arts in London, England.
Bennett began writing in dialect in the late 1930s, inspired by the language she heard spoken by Jamaicans on the streets of Kingston. Soon after she began writing, she staged public performances of her poems. In 1942 her first collection of poetry, Dialect Verses, was published. Starting in 1943 Bennett contributed a weekly column to ...
Barry Lee Pearson
During the first decade of the twentieth century, a new African American social song form called blues spread throughout the South and along the Mississippi and Ohio Rivers. This form was similar to other nineteenth-century music, including spirituals, work songs, hollers, ballads, and reels, but the term “blues”—meaning a type of vocal song with instrumental accompaniment for dancing—arose after 1900. Rooted in oral tradition, blues by 1912 had entered popular culture through sheet music. W.C. Handy (1873–1958), one of the first professionally trained musicians to transcribe blues into printed notation and composer of such works as Memphis Blues (1911) and St. Louis Blues (1914), became its first popularizer and spokesperson. In 1920, Crazy Blues by Mamie Smith (1883–1946 convinced the recording industry that selling African American music performed by African American artists to African American consumers could be profitable ...
Ignacio Villa, known by his stage name, Bola de Nieve, was born and grew up in a poor neighborhood in Guanabacoa, Cuba. His parents introduced him to Afro-Cuban music when he was a child, and he was exposed to European classical music in his formal studies. His classical training began when he studied privately with Gerado Guanche. Later Villa enrolled in the Conservatorio de José Mateu, where he studied mandolin and flute as well as piano.
At home Villa absorbed many elements of traditional Afro-Cuban music through his contact with Rumba and other rhythms and dances. It has been suggested that his parents participated in African-based religions and that young Ignacio had been educated in the music and practices of Afro-Cuban religion as well.
As a boy Villa helped support his family by performing in house for neighborhood audiences His professional career began in the 1920s ...
John Edgar Tidwell
Sterling Allen Brown was born on 1 May 1901 into what some have called the “smug” or even “affected” respectability of Washington's African American middle class. He grew up in the Washington world of racial segregation, which engendered a contradiction between full citizenship and marginalized existence. The son of a distinguished pastor and theologian, Brown graduated with honors from the prestigious Dunbar High School in 1918. That fall, he entered Williams College on a scholarship set aside for minority students. By the time he left in 1922, he had performed spectacularly: election to Phi Beta Kappa in his junior year, the Graves Prize for his essay “The Comic Spirit in Shakespeare and Molière”, the only student awarded “Final Honors” in English, and cum laude graduation with an AB degree.
At Harvard University from 1922 to 1923 Brown took an MA degree in English In retrospect he ...
Lisa Clayton Robinson
Through his long career as a writer, anthologist, critic, scholar, and educator, Sterling Allen Brown became one of the most influential individuals in the field of African American literary studies. He was born into Washington, D.C.'s educated black middle class. His father, an ex-slave, was a prominent pastor and professor of religion at Howard University, and his mother had been valedictorian of her class at Fisk University. Brown attended the well-known Dunbar High School, where Jessie Fauset and Angelina Weld Grimké were among his teachers, and graduated with honors in 1918. He then accepted a scholarship to Williams College in Williamstown, Massachusetts. At Williams, Brown was elected to Phi Beta Kappa, earned the distinction of being the only student awarded final honors in English, and graduated with a bachelor's degree cum laude in 1922 From there he went to Harvard University to pursue a master ...
Lydia Cabrera, along with Fernando Ortiz, is widely considered one of the two most important twentieth century researchers and writers on Afro-Cuban culture. She wrote more than a dozen volumes of investigative work on the subject, including her pioneering El monte (1954), subtitled “Notes on the Religion, the Magic, the Superstitions and the Folklore of Creole Negroes and the Cuban People,” and Reglas de congo (1980), a book on Bantu (known as congo in Cuba) rituals. According to Ana María Simo, author of Lydia Cabrera: An Intimate Portrait, Cabrera's “is the most important and complete body of work on Afro-Cuban religions” of its time. Cabrera also wrote four volumes of short stories inspired by Afro-Cuban legends and beliefs. Her fiction is rich in metaphor and symbolism and has been compared stylistically with the writings of Spanish poet and playwright Federico García Lorca ...
The Caribbean region is more often stereotyped and dismissed in Britain than taken seriously as a location for art production, and has only ever reached small audiences, despite some significant exhibitions and critical attention.
There is little consensus on what defines a coherent category of Caribbean art in terms of its geographical boundaries and cultural character and given its growing diaspora The region s Anglophone countries have contributed the most to art exhibitions staged in the United Kingdom the consequence of a shared colonial history and of migration Throughout the post Second World War period many artists from the Caribbean engaged in struggles for acceptance within the history of ...
Alice Ross and Mark H. Zanger
The Caribbean influence on American food has been continual for hundreds of years, initially in coastal areas of similar climate, from Texas to the Carolinas. The early Spanish involvement in the Caribbean brought Caribbean foods to Europe and Africa, from whence they quickly returned to North America. Spanish gold shipments attracted other Europeans to the area and brought about the colonization of eastern North America. Cheap Caribbean sugar, coffee, cocoa, and spices have influenced the palates and tables of all Americans. The peoples of the Caribbean islands have developed multicultural cuisines that have been affecting American cooking at all levels since colonial times.
Influence of the Caribbean on contemporary American food may predate Columbus, because there is some possibility that Caribbean Indians reached Florida and introduced tropical tubers, or chilies. The chain of influence began in 1492 as the varieties of maize beans chilies squash peanuts and cassava collected ...
Edison Carneiro was born and lived in Brazil's northeastern state of Bahia. Unlike many mestiços (people of indigenous and European descent) from his generation who denied their African origins, Carneiro dedicated his studies to the customs and traditions of the descendants of Africans in Brazil, particularly regarding religious ritual. This was pioneering work at the time, when African religions were still repressed by the Brazilian government. Carneiro is considered to be the first person to systematically record the practices, beliefs, and history of the Afro-Brazilian people. Among the rituals developed by Afro-Brazilians, Carneiro identified the Nagô rituals as the only authentic variant of the Afro-Brazilian religion of Candomblé, as opposed to the Bantu rituals. In his search for the pure African religion, he considered the Bantu sect to be a degenerated form of African religion.
Carneiro combined his studies with a strong political activism He participated in the ...
While a student at Howard University in Washington, D.C., in the 1930s, Elizabeth Catlett first encountered African sculptural art and the contemporary work of Mexican muralists. These two art traditions inform most of Catlett's oeuvre. Her sculpted figures have the same voluminous, rounded forms of the people portrayed in the murals of Mexican artists such as Diego Rivera. At the same time, the faces of Catlett's sculpted figures have an owl-like, lunar quality that seems to be derived from African mask design. This stylized facial quality can also be observed in some of Catlett's graphic work, especially in her lithographs. In her linocuts, on the other hand, the faces and bodies of figures are rendered in a more realistic manner; these linocuts are stylistically related to the work of printmakers at the Taller de Gráfica Popular in Mexico City, where Catlett studied from 1946 to 1947 She combined ...
Freida High (Wasikhongo Tesfagiorgis)
I don’t have anything against men but, since I am a woman, I know more about women and I know how they feel. Many artists are always doing men. I think that somebody ought to do women. Artists do work with women, with the beauty of their bodies and the refinement of middle-class women, but I think there is a need to express something about the working-class Black woman and that’s what I do.
(Gladstone, p. 33)
As a reputed sculptor and printmaker whose career began in the 1940s, Elizabeth Catlett is a major figure in modern American and Mexican art. Catlett’s work embraces the human condition, revealing a deep passion for dignifying humanity, especially working-class women and, in particular, African American and Mexican women. Titles of her sculpture suggest this interest: Black Woman Speaks (1970), Mother and Child (1940, 1993), Mujer (1964 ...