“This number of ten essays makes a persuasive case for a black Atlantic literary renaissance and its influence on modernist experiences. The chapters stretch and problem present canonical configurations of modernism in methods: through contemplating the centrality of black artists, writers and intellectuals as key actors and middle presences within the improvement of a modernist avant-garde; and by way of interrogating ‘blackness’ as a classy and political class at serious moments in the course of the 20th century. this is often the 1st book-length booklet to discover the time period ‘Afromodernisms’ and the 1st research to handle jointly the cognate fields of modernism and the black Atlantic.”
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Extra info for Afromodernisms: Paris, Harlem, Haiti and the Avant-garde
21. Tyler Stovall, ‘Remaking the French Working Class: The Postwar Exclusion of Colonial Labor’, Representations (November 2003), pp. 52–72; Mary Lewis, ‘Une théorie raciale des valeurs? ), L’Invention des populations: biologie, idéologie et politique (Paris: Odile Jacob, 2000). 22. 3 (1983), pp. 4 (1970), pp. 606–27. 23. On W. E. B. Du Bois see David Levering Lewis, W. E. B. Du Bois: Biography of a Race, 1868–1919 (New York: Henry Holt, 1993); Manning Marable, W. E. B. Du Bois: Black Radical Democrat (Boston: Twayne, 1986).
Whether it be the relationship between black culture and white spectatorship, the politics of art and music, or different views of black empowerment and liberation, all these found expression in the French capital in the year after the Armistice. When one considers the rich history of the African diaspora in modern Paris, ranging from négritude to jazz caves to Présence Africaine to hip-hop, one can look back to the meeting rooms and dance clubs of 1919 for a glimpse of its origins. And if Paris was the capital of the world in 1919, the intersections of black culture and black politics both contributed to its centrality and made blackness a key aspect of modernity in the twentieth century.
When they arrived they found a city where everyone seemingly wanted to hear their music, where jazz was truly le dernier cri. indd 31 15/01/2013 13:51 32 Tyler Stovall In the best known music halls, They are making unheard-of profits [. ] For the first act they bring out A dozen Negroes They are musicians who seem To be afflicted with St Vitus’ dance. The public is stunned by them, Indeed, stupefied (abruti) [. 46 As the song cited above makes clear, Parisian attitudes to the new music were complex and not always favourable.
Afromodernisms: Paris, Harlem, Haiti and the Avant-garde