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31 books match the query 'African influences'

cover of A Language of Song: Journeys in the Musical World of the African Diaspora

A Language of Song

Journeys in the Musical World of the African Diaspora

Samuel Charters

Duke University Press, 2009

In A Language of Song, Samuel Charters—one of the pioneering collectors of African American music—writes of a trip to West Africa where he found “a gathering of cultures and a continuing history that lay behind the flood of musical expression [he] encountered everywhere . . . from Brazil to Cuba, to Trinidad, to New Orleans, to the Bahamas, to dance halls of west Louisiana and the great churches of Harlem.” In this book, Charters takes readers along to those and other places, including Jamaica and the Georgia Sea Islands, as he recounts experiences from a half-century spent following, documenting, recording, and writing about the Africa-influenced music of the United States, Brazil, and the Caribbean.

Each of the book’s fourteen chapters is a vivid rendering of a particular location that Charters visited. While music is always his focus, the book is filled with details about individuals, history, landscape, and culture. In first-person narratives, Charters relates voyages including a trip to the St. Louis home of the legendary ragtime composer Scott Joplin and the journey to West Africa, where he met a man who performed an hours-long song about the Europeans’ first colonial conquests in Gambia. Throughout the book, Charters traces the persistence of African musical culture despite slavery, as well as the influence of slaves’ songs on subsequent musical forms. In evocative prose, he relates a lifetime of travel and research, listening to brass bands in New Orleans; investigating the emergence of reggae, ska, and rock-steady music in Jamaica’s dancehalls; and exploring the history of Afro-Cuban music through the life of the jazz musician Bebo Valdés. A Language of Song is a unique expedition led by one of music’s most observant and well-traveled explorers.

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cover of Afro-Mexico: Dancing between Myth and Reality

Afro-Mexico

Dancing between Myth and Reality

By Anita González

University of Texas Press, 2010

While Africans and their descendants have lived in Mexico for centuries, many Afro-Mexicans do not consider themselves to be either black or African. For almost a century, Mexico has promoted an ideal of its citizens as having a combination of indigenous and European ancestry. This obscures the presence of African, Asian, and other populations that have contributed to the growth of the nation. However, performance studies—of dance, music, and theatrical events—reveal the influence of African people and their cultural productions on Mexican society.

In this work, Anita González articulates African ethnicity and artistry within the broader panorama of Mexican culture by featuring dance events that are performed either by Afro-Mexicans or by other ethnic Mexican groups about Afro-Mexicans. She illustrates how dance reflects upon social histories and relationships and documents how residents of some sectors of Mexico construct their histories through performance. Festival dances and, sometimes, professional staged dances point to a continuing negotiation among Native American, Spanish, African, and other ethnic identities within the evolving nation of Mexico. These performances embody the mobile histories of ethnic encounters because each dance includes a spectrum of characters based upon local situations and historical memories.

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cover of Afrocentric Idea Revised

Afrocentric Idea Revised

Molefi Asante

Temple University Press, 1998

This new edition of The Afrocentric Idea boldly confronts the contemporary challenges that have been launched against Molefi Kete Asante's philosophical, social, and cultural theory. By rendering  a critique of some post-modern positions as well as the old structured Eurocentric orientations discussed in the first edition, this new edition contains lively engagements with views expressed by Mary Lefkowitz, Paul Gilroy, and Cornel West. Expanding on his core ideas, Asante has cast The Afrocentric Idea in the tradition of provocative critiques of the established social order. This is a fresh and dynamic location of culture within the context of  social change.
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cover of Améfrica in Letters: Literary Interventions from Mexico to the Southern Cone

Améfrica in Letters

Literary Interventions from Mexico to the Southern Cone

Jennifer Carolina Gómez Menjívar

Vanderbilt University Press, 2022

Traditional histories of Black letters in Latin America have delimited their geographic scope to the Caribbean while also omitting intertwined Afro-Indigenous discourses. Inspired by the legacy of Amefrican thinker Lélia Gonzalez, Améfrica in Letters highlights the Black poets, songwriters, novelists, essayists, and bloggers who have created a counter-multiculturalist literary history on the Latin American mainland. To capture a sense of the variety of their contributions, this book spans Mexico, Central America, the Andes, and the Southern Cone—highlighting the transcontinental nature of the legacy of Black writing and its impact beyond national boundaries. The writers examined in the volume engage with regional intellectual frameworks while putting into circulation a demand for a recalibration of the Hispanophone and Lusophone contexts in which they and other Afrodescendants reside.
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cover of Archival Irruptions: Constructing Religion and Criminalizing Obeah in Eighteenth-Century Jamaica

Archival Irruptions

Constructing Religion and Criminalizing Obeah in Eighteenth-Century Jamaica

Katharine Gerbner

Duke University Press, 2025

In 1760, following the largest slave revolt in the eighteenth-century British Empire, the Afro-Caribbean word Obeah first appeared in British colonial law. In Archival Irruptions, Katharine Gerbner traces how British authorities in Jamaica came to criminalize Obeah, a practice that was variously seen as a healing method, an Africana religion, a science, and a form of witchcraft. Gerbner shows that in the years directly preceding its criminalization, for enslaved Africans and Maroons, Obeah was a prophetic practice tied to healing and death rites. Drawing on Moravian missionary archives, Gerbner theorizes these descriptions of African religious beliefs, rituals, and concepts as “irruptions”: moments when Africana epistemologies break the narrative of a European-authored archival document. In these irruptions, we see European assertions of authority through the lens of Obeah. Moreover, we find that the modern category of religion is rooted in the histories of slavery, rebellion, and the criminalization of Black religious practices. Gerbner’s search for archival irruptions not only creates an opportunity to write an alternative narration about Obeah; it provides a new methodology for all those conducting archival research.
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cover of Atlas's Bones: The African Foundations of Europe

Atlas's Bones

The African Foundations of Europe

D. Vance Smith

University of Chicago Press, 2025

A major new look at Africa’s influence on European culture and how colonization remade Africa in the image of a medieval Europe.
  
Virgil. Chaucer. Petrarch. These names resonate with many as cornerstones of European culture. Yet, in Atlas’s Bones, D. Vance Smith reveals that much of what is claimed as European culture up to the Middle Ages—its great themes in literature, its sources in political thought, its religious beliefs—originated in the writings of African thinkers like Augustine, Fulgentius, and Martianus Capella, or Europeans who thought extensively about Africa. In fact, a third of Virgil’s Aeneid takes place in Africa. Francis Petrarch believed his most important achievement was his epic Africa; while Geoffrey Chaucer wrote repeatedly about the figures of Scipio Africanus, actually two different men who defeated and destroyed Carthage.
 
Smith tells the story of how Europe created a false “medieval” version of Africa to acquire resources and power during the era of imperialism and colonialism. The first half of the book, “Reading Africa,” traces Egypt’s, Libya’s, and Carthage’s influence on classical and medieval thinking about Africa, highlighting often ignored literary and legendary traditions, for example, that Alexander the Great named himself the son of an African god. The second part, “Writing Africa,” focuses on how the different cultures of the two great African cities—Carthage and Alexandria—shaped modern literary criticism and political theology and examines the cross-influences of modern anthropology, medieval studies, and colonial law.
 
Atlas’s Bones firmly re-establishes the significance of Africa in European intellectual history. It will be essential reading for anyone seeking to understand how much of Africa informs our artistic and cultural world.
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cover of Black Europe and the African Diaspora

Black Europe and the African Diaspora

Edited by Darlene Clark Hine, Trica Danielle Keaton, and Stephen Small

University of Illinois Press, 2009

The presence of Blacks in a number of European societies has drawn increasing interest from scholars, policymakers, and the general public. This interdisciplinary and multi-disciplinary collection penetrates the multifaceted Black presence in Europe, and, in so doing, complicates the notions of race, belonging, desire, and identities assumed and presumed in revealing portraits of Black experiences in a European context. In focusing on contemporary intellectual currents and themes, the contributors theorize and re-imagine a range of historical and contemporary issues related to the broader questions of blackness, diaspora, hegemony, transnationalism, and "Black Europe" itself as lived and perceived realities. 

Contributors are Allison Blakely, Jacqueline Nassy Brown, Tina Campt, Fred Constant, Alessandra Di Maio, Philomena Essed, Terri Francis, Barnor Hesse, Darlene Clark Hine, Dienke Hondius, Eileen Julien, Trica Danielle Keaton, Kwame Nimako, Tiffany Ruby Patterson, T. Denean Sharpley-Whiting, Stephen Small, Tyler Stovall, Alexander G. Weheliye, Gloria Wekker, and Michelle M. Wright.

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cover of Black and Green: Afro-Colombians, Development, and Nature in the Pacific Lowlands

Black and Green

Afro-Colombians, Development, and Nature in the Pacific Lowlands

Kiran Asher

Duke University Press, 2009

In Black and Green, Kiran Asher provides a powerful framework for reconceptualizing the relationship between neoliberal development and social movements. Moving beyond the notion that development is a hegemonic, homogenizing force that victimizes local communities, Asher argues that development processes and social movements shape each other in uneven and paradoxical ways. She bases her argument on ethnographic analysis of the black social movements that emerged from and interacted with political and economic changes in Colombia’s Pacific lowlands, or Chocó region, in the 1990s.

The Pacific region had yet to be overrun by drug traffickers, guerrillas, and paramilitary forces in the early 1990s. It was better known as the largest area of black culture in the country (90 percent of the region’s population is Afro-Colombian) and as a supplier of natural resources, including timber, gold, platinum, and silver. Colombia’s Law 70, passed in 1993, promised ethnic and cultural rights, collective land ownership, and socioeconomic development to Afro-Colombian communities. At the same time that various constituencies sought to interpret and implement Law 70, the state was moving ahead with large-scale development initiatives intended to modernize the economically backward coastal lowlands. Meanwhile national and international conservation organizations were attempting to protect the region’s rich biodiversity. Asher explores this juxtaposition of black rights, economic development, and conservation—and the tensions it catalyzed. She analyzes the meanings attached to “culture,” “nature,” and “development” by the Colombian state and Afro-Colombian social movements, including women’s groups. In so doing, she shows that the appropriation of development and conservation discourses by the social movements had a paradoxical effect. It legitimized the presence of state, development, and conservation agencies in the Pacific region even as it influenced those agencies’ visions and plans.

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cover of Caribbean and Atlantic Diaspora Dance: Igniting Citizenship

Caribbean and Atlantic Diaspora Dance

Igniting Citizenship

Yvonne Daniel

University of Illinois Press, 2011

In Caribbean and Atlantic Diaspora Dance: Igniting Citizenship, Yvonne Daniel provides a sweeping cultural and historical examination of diaspora dance genres. In discussing relationships among African, Caribbean, and other diasporic dances, Daniel investigates social dances brought to the islands by Europeans and Africans, including quadrilles and drum-dances as well as popular dances that followed, such as Carnival parading, Pan-Caribbean danzas,rumba, merengue, mambo, reggae, and zouk. Daniel reviews sacred dance and closely documents combat dances, such as Martinican ladja, Trinidadian kalinda, and Cuban juego de maní. In drawing on scores of performers and consultants from the region as well as on her own professional dance experience and acumen, Daniel adeptly places Caribbean dance in the context of cultural and economic globalization, connecting local practices to transnational and global processes and emphasizing the important role of dance in critical regional tourism.
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cover of Clear Word and Third Sight: Folk Groundings and Diasporic Consciousness in African Caribbean Writing

Clear Word and Third Sight

Folk Groundings and Diasporic Consciousness in African Caribbean Writing

Catherine A. John

Duke University Press, 2003

Clear Word and Third Sight examines the strands of a collective African diasporic consciousness represented in the work of a number of Black Caribbean writers. Catherine A. John shows how a shared consciousness, or “third sight,” is rooted in both pre- and postcolonial cultural practices and disseminated through a rich oral tradition. This consciousness has served diasporic communities by creating an alternate philosophical “worldsense” linking those of African descent across space and time.

Contesting popular discourses about what constitutes culture and maintaining that neglected strains in negritude discourse provide a crucial philosophical perspective on the connections between folk practices, cultural memory, and collective consciousness, John examines the diasporic principles in the work of the negritude writers Léon Damas, Aimé Césaire, and Léopold Senghor. She traces the manifestations and reworkings of their ideas in Afro-Caribbean writing from the eastern and French Caribbean, as well as the Caribbean diaspora in the United States. The authors she discusses include Jamaica Kincaid, Earl Lovelace, Simone Schwarz-Bart, Audre Lorde, Paule Marshall, and Edouard Glissant, among others. John argues that by incorporating what she calls folk groundings—such as poems, folktales, proverbs, and songs—into their work, Afro-Caribbean writers invoke a psychospiritual consciousness which combines old and new strategies for addressing the ongoing postcolonial struggle.

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cover of Embodying Black Religions in Africa and Its Diasporas

Embodying Black Religions in Africa and Its Diasporas

Yolanda Covington-Ward and Jeanette S. Jouili, editors

Duke University Press, 2021

The contributors to Embodying Black Religions in Africa and Its Diasporas investigate the complex intersections between the body, religious expression, and the construction and transformation of social relationships and political and economic power. Among other topics, the essays examine the dynamics of religious and racial identity among Brazilian Neo-Pentecostals; the significance of cloth coverings in Islamic practice in northern Nigeria; the ethics of socially engaged hip-hop lyrics by Black Muslim artists in Britain; ritual dance performances among Mama Tchamba devotees in Togo; and how Ifá practitioners from Mexico, Colombia, Venezuela, Trinidad, and the United States join together in a shared spiritual ethnicity. From possession and spirit-induced trembling to dance, the contributors outline how embodied religious practices are central to expressing and shaping interiority and spiritual lives, national and ethnic belonging, ways of knowing and techniques of healing, and sexual and gender politics. In this way, the body is a crucial site of religiously motivated social action for people of African descent.

Contributors. Rachel Cantave, Youssef Carter, N. Fadeke Castor, Yolanda Covington-Ward, Casey Golomski, Elyan Jeanine Hill, Nathanael J. Homewood, Jeanette S. Jouili, Bertin M. Louis Jr., Camee Maddox-Wingfield, Aaron Montoya, Jacob K. Olupona, Elisha P. Renne
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cover of Extraordinary Measures: Afrocentric Modernism and 20th-Century American Poetry

Extraordinary Measures

Afrocentric Modernism and 20th-Century American Poetry

Lorenzo Thomas

University of Alabama Press, 2000

This broad overview by an established poet and cultural critic reveals the rich tapestry of African American poetry as it has emerged over the past century.

From early 20th-century writings to present-day poetry slams, African American poetry exhibits an impressive range of style and substance. Lorenzo Thomas has written an important new history of the genre that offers a critical reassessment of its development in the 20th century within the contexts of modernism and the troubled racial history of the United States.

Basing his study on literary history, cultural criticism, and close readings, Thomas revives and appraises the writings of a number of this century's most important African American poets, including Margaret Walker, Amiri Baraka, Askia M. Toure, Harryette Mullen, and Kalamu ya Salaam. Thomas analyzes the work of Fenton Johnson within the context of emerging race consciousness in Chicago, contributes to critical appraisals of William Stanley Braithwaite and Melvin B. Tolson, and examines the Black Arts Movement of the 1960s and 1970s. Throughout the book, Thomas demonstrates the continuity within the Afrocentric tradition while acknowledging the wide range of stylistic approaches and ideological stances that the tradition embraces.

By reassessing the African American poetry tradition, Thomas effectively reassesses the history of all 20th-century American literature by exploring avenues of debate that have not yet received sufficient attention. Written with intelligence and humor, his book is itself an extraordinary measure that reflects years of scholarship and opens up African American poetry to a wider audience.
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cover of Forms of Worship: How Orisa Worship Became Religion in Nigeria and Brazil

Forms of Worship

How Orisa Worship Became Religion in Nigeria and Brazil

Ayodeji Ogunnaike

Duke University Press, 2026

The worship of Yoruba deities known as oriṣa is commonly understood as an indigenous African religion, but Ayodeji Ogunnaike argues that these traditions initially differed from the modern Western concept of religion. In Forms of Worship, Ogunnaike analyzes how the configuration of oriṣa worship has changed across the Yoruba diaspora and homeland. As the meaning of the Yoruba word ẹsin, usually translated as “religion,” is closer to “form of worship,” he examines how reorienting understandings of oriṣa traditions as multiple forms of worship changes how religious identity, practice, and dynamics can be understood in contemporary and historical perspectives. By developing indigenous models for religious phenomena, Ogunnaike accounts for Yoruba cultural dynamics, including the high degree of religious harmony, syncretism, and interaction prevalent both in Nigeria and Brazil. Furthermore, he tracks the subtle and largely unperceived shift in oriṣa worship toward a more modern, closed, and rigid conception of religion and its resulting complications. Forms of Worship demonstrates how the advent of Western religious rigidity regarding practice and identity has led to rising religious tensions and fragmentation.
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cover of Frankie and Johnny: Race, Gender, and the Work of African American Folklore in 1930s America

Frankie and Johnny

Race, Gender, and the Work of African American Folklore in 1930s America

By Stacy I. Morgan

University of Texas Press, 2017

Winner, Wayland D. Hand Prize, American Folklore Society, 2018

Originating in a homicide in St. Louis in 1899, the ballad of “Frankie and Johnny” became one of America’s most familiar songs during the first half of the twentieth century. It crossed lines of race, class, and artistic genres, taking form in such varied expressions as a folk song performed by Huddie Ledbetter (Lead Belly); a ballet choreographed by Ruth Page and Bentley Stone under New Deal sponsorship; a mural in the Missouri State Capitol by Thomas Hart Benton; a play by John Huston; a motion picture, She Done Him Wrong, that made Mae West a national celebrity; and an anti-lynching poem by Sterling Brown.

In this innovative book, Stacy I. Morgan explores why African American folklore—and “Frankie and Johnny” in particular—became prized source material for artists of diverse political and aesthetic sensibilities. He looks at a confluence of factors, including the Harlem Renaissance, the Great Depression, and resurgent nationalism, that led those creators to engage with this ubiquitous song. Morgan’s research uncovers the wide range of work that artists called upon African American folklore to perform in the 1930s, as it alternately reinforced and challenged norms of race, gender, and appropriate subjects for artistic expression. He demonstrates that the folklorists and creative artists of that generation forged a new national culture in which African American folk songs featured centrally not only in folk and popular culture but in the fine arts as well.

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cover of Mama Africa: Reinventing Blackness in Bahia

Mama Africa

Reinventing Blackness in Bahia

Patricia de Santana Pinho

Duke University Press, 2010

Often called the “most African” part of Brazil, the northeastern state of Bahia has the country’s largest Afro-descendant population and a black culture renowned for its vibrancy. In Mama Africa, Patricia de Santana Pinho examines the meanings of Africa in Bahian constructions of blackness. Combining insights from anthropology, sociology, and cultural studies, Pinho considers how Afro-Bahian cultural groups, known as blocos afro, conceive of Africanness, blackness, and themselves in relation to both. Mama Africa is a translated, updated, and expanded edition of an award-winning book published in Brazil in 2004. Central to the book, and to Bahian constructions of blackness, is what Pinho calls “the myth of Mama Africa,” the idea that Africa exists as a nurturing spirit inside every black person.

Pinho explores how Bahian cultural production influences and is influenced by black diasporic cultures and the idealization of Africa—to the extent that Bahia draws African American tourists wanting to learn about their heritage. Analyzing the conceptions of blackness produced by the blocos afro, she describes how Africa is re-inscribed on the body through clothes, hairstyles, and jewelry; once demeaned, blackness is reclaimed as a source of beauty and pride. Turning to the body’s interior, Pinho explains that the myth of Mama Africa implies that black appearances have corresponding black essences. Musical and dance abilities are seen as naturally belonging to black people, and these traits are often believed to be transmitted by blood. Pinho argues that such essentialized ideas of blackness render black culture increasingly vulnerable to exploitation by the state and commercial interests. She contends that the myth of Mama Africa, while informing oppositional black identities, overlaps with a constraining notion of Bahianness promoted by the government and the tourist industry.

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cover of Mayaya Rising: Black Female Icons in Latin American and Caribbean Literature and Culture

Mayaya Rising

Black Female Icons in Latin American and Caribbean Literature and Culture

Dawn Duke

Bucknell University Press, 2023

Who are the Black heroines of Latin America and the Caribbean? Where do we turn for models of transcendence among women of African ancestry in the region? In answer to the historical dearth of such exemplars, Mayaya Rising explores and celebrates the work of writers who intentionally center powerful female cultural archetypes. In this inventive analysis, Duke proposes three case studies and a corresponding womanist methodology through which to study and rediscover these figures. The musical Cuban-Dominican sisters and former slaves Teodora and Micaela Ginés inspired Aida Cartagena Portalatin’s epic poem Yania tierra; the Nicaraguan matriarch of the May Pole, “Miss Lizzie,” figures prominently in four anthologies from the country’s Bluefields region; and the iconic palenqueras of Cartagena, Colombia are magnified in the work of poets María Teresa Ramírez Neiva and Mirian Díaz Pérez. In elevating these figures and foregrounding these works, Duke restores and repairs the scholarly record.
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cover of Moving Home: Gender, Place, and Travel Writing in the Early Black Atlantic

Moving Home

Gender, Place, and Travel Writing in the Early Black Atlantic

Sandra Gunning

Duke University Press, 2021

In Moving Home, Sandra Gunning examines nineteenth-century African diasporic travel writing to expand and complicate understandings of the Black Atlantic. Gunning draws on the writing of missionaries, abolitionists, entrepreneurs, and explorers whose work challenges the assumptions that travel writing is primarily associated with leisure or scientific research. For instance, Yoruba ex-slave turned Anglican bishop Samuel Ajayi Crowther played a role in the Christianization of colonial Nigeria. Sarah Forbes Bonetta, a formerly enslaved girl "gifted" to Queen Victoria, traveled the African colonies as the wife of a prominent colonial figure and under the protection of her benefactress. Alongside Nancy Gardiner Prince, Martin R. Delany, Robert Campbell, and others, these writers used their mobility as African diasporic and colonial subjects to explore the Atlantic world and beyond while they negotiated the complex intersections between nation and empire. Rather than categorizing them as merely precursors of Pan-Africanist traditions, Gunning traces their successes and frustrations to capture a sense of the historical and geographical specificities that shaped their careers.
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cover of Negritude Women

Negritude Women

T. Denean Sharpley-Whiting

University of Minnesota Press, 2002

Rediscovers the crucial role that women played in the influential Negritude movement.

The Negritude movement, which signaled the awakening of a pan-African consciousness among black French intellectuals, has been understood almost exclusively in terms of the contributions of its male founders: Aimé Césaire, Léopold Sédar Senghor, and Léon G. Damas. This masculine genealogy has completely overshadowed the central role played by French-speaking black women in its creation and evolution. In Negritude Women, T. Denean Sharpley-Whiting offers a long-overdue corrective, revealing the contributions made by the women who were not merely integral to the success of the movement, but often in its vanguard.

Through such disparate tactics as Lacascade’s use of Creole expressions in her French prose writings, the literary salon and journal founded by the Martinique-born Nardal sisters, and Roussy-Césaire’s revolutionary blend of surrealism and Negritude in the pages of Tropiques, the journal she founded with her husband, these four remarkable women made vital contributions. In exploring their influence on the development of themes central to Negritude-black humanism, the affirmation of black peoples and their cultures, and the rehabilitation of Africa-Sharpley-Whiting provides the movement’s first genuinely inclusive history.
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cover of Obeah, Orisa, and Religious Identity in Trinidad, Volume I, Obeah: Africans in the White Colonial Imagination, Volume 1

Obeah, Orisa, and Religious Identity in Trinidad, Volume I, Obeah

Africans in the White Colonial Imagination, Volume 1

Tracey E. Hucks

Duke University Press, 2022

Obeah, Orisa, and Religious Identity in Trinidad is an expansive two-volume examination of social imaginaries concerning Obeah and Yoruba-Orisa from colonialism to the present. Analyzing their entangled histories and systems of devotion, Tracey E. Hucks and Dianne M. Stewart articulate how these religions were criminalized during slavery and colonialism yet still demonstrated autonomous modes of expression and self-defense. In Volume I, Obeah, Hucks traces the history of African religious repression in colonial Trinidad through the late nineteenth century. Drawing on sources ranging from colonial records, laws, and legal transcripts to travel diaries, literary fiction, and written correspondence, she documents the persecution and violent penalization of African religious practices encoded under the legal classification of “obeah.” A cult of antiblack fixation emerged as white settlers defined themselves in opposition to Obeah, which they imagined as terrifying African witchcraft. These preoccupations revealed the fears that bound whites to one another. At the same time, persons accused of obeah sought legal vindication and marshaled their own spiritual and medicinal technologies to fortify the cultural heritages, religious identities, and life systems of African-diasporic communities in Trinidad.
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cover of Obeah, Orisa, and Religious Identity in Trinidad, Volume II, Orisa: Africana Nations and the Power of Black Sacred Imagination, Volume 2

Obeah, Orisa, and Religious Identity in Trinidad, Volume II, Orisa

Africana Nations and the Power of Black Sacred Imagination, Volume 2

Dianne M. Stewart

Duke University Press, 2022

Obeah, Orisa, and Religious Identity in Trinidad is an expansive two-volume examination of social imaginaries concerning Obeah and Yoruba-Orisa from colonialism to the present. Analyzing their entangled histories and systems of devotion, Tracey E. Hucks and Dianne M. Stewart articulate how these religions were criminalized during slavery and colonialism yet still demonstrated autonomous modes of expression and self-defense. In Volume II, Orisa, Stewart scrutinizes the West African heritage and religious imagination of Yoruba-Orisa devotees in Trinidad from the mid-nineteenth century to the present and explores their meaning-making traditions in the wake of slavery and colonialism. She investigates the pivotal periods of nineteenth-century liberated African resettlement, the twentieth-century Black Power movement, and subsequent campaigns for the civil right to religious freedom in Trinidad. Disrupting syncretism frameworks, Stewart probes the salience of Africa as a religious symbol and the prominence of Africana nations and religious nationalisms in projects of black belonging and identity formation, including those of Orisa mothers. Contributing to global womanist thought and activism, Yoruba-Orisa spiritual mothers disclose the fullness of the black religious imagination’s affective, hermeneutic, and political capacities.
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cover of Postcolonial Imperialism: Critique of the Society of Dazzlements

Postcolonial Imperialism

Critique of the Society of Dazzlements

Joseph Tonda. Translated by Cheryl Smeall

Duke University Press, 2026

Postcolonial Imperialism considers the inability to distinguish between reality and fiction as a key condition of contemporary life. If postcolonial theory has highlighted how white colonizers created images of racialized Others which project their own self-hatred or disavowal, Joseph Tonda here shows how these images have in turn colonized Western imaginaries. He argues that the Global North’s obsession with its own phantoms takes a newly powerful form in the dazzling images of postcolonial screens. With examples ranging from Nicki Minaj to Osama Bin Laden and child soldier Johnny Mad Dog, Tonda reflects on power by analyzing the dazzlements of both Central Africa and the West, showing how African life prefigures Western experiences. Translated from its original French, Postcolonial Imperialism is a prescient critique of authoritarian attempts to enforce alternate realities, and of the many ways screens can distort our vision.
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cover of Queering Black Atlantic Religions: Transcorporeality in Candomblé, Santería, and Vodou

Queering Black Atlantic Religions

Transcorporeality in Candomblé, Santería, and Vodou

Roberto Strongman

Duke University Press, 2019

In Queering Black Atlantic Religions Roberto Strongman examines Haitian Vodou, Cuban Lucumí/Santería, and Brazilian Candomblé to demonstrate how religious rituals of trance possession allow humans to understand themselves as embodiments of the divine. In these rituals, the commingling of humans and the divine produces gender identities that are independent of biological sex. As opposed to the Cartesian view of the spirit as locked within the body, the body in Afro-diasporic religions is an open receptacle. Showing how trance possession is a primary aspect of almost all Afro-diasporic cultural production, Strongman articulates transcorporeality as a black, trans-Atlantic understanding of the human psyche, soul, and gender as multiple, removable, and external to the body.
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cover of Remapping Black Germany: New Perspectives on Afro-German History, Politics, and Culture

Remapping Black Germany

New Perspectives on Afro-German History, Politics, and Culture

Sara Lennox

University of Massachusetts Press, 2016

In 1984 at the Free University of Berlin, the African American poet Audre Lorde asked her Black, German-speaking women students about their identities. The women revealed that they had no common term to describe themselves and had until then lacked a way to identify their shared interests and concerns. Out of Lorde's seminar emerged both the term “Afro-German” (or “Black German”) and the 1986 publication of the volume that appeared in English translation as Showing Our Colors: Afro-German Women Speak Out. The book launched a movement that has since catalyzed activism and scholarship in Germany.

Remapping Black Germany collects thirteen pieces that consider the wide array of issues facing Black German groups and individuals across turbulent periods, spanning the German colonial period, National Socialism, divided Germany, and the enormous outpouring of Black German creativity after 1986.

In addition to the editor, the contributors include Robert Bernasconi, Tina Campt, Maria I. Diedrich, Maureen Maisha Eggers, Fatima El-Tayeb, Heide Fehrenbach, Dirk Göttsche, Felicitas Jaima, Katja Kinder, Tobias Nagl, Katharina Oguntoye, Peggy Piesche, Christian Rogowski, and Nicola Lauré al-Samarai.

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cover of Spiritual Citizenship: Transnational Pathways from Black Power to Ifá in Trinidad

Spiritual Citizenship

Transnational Pathways from Black Power to Ifá in Trinidad

N. Fadeke Castor

Duke University Press, 2017

In Spiritual Citizenship N. Fadeke Castor employs the titular concept to illuminate how Ifá/Orisha practices informed by Yoruba cosmology shape local, national, and transnational belonging in African diasporic communities in Trinidad and beyond. Drawing on almost two decades of fieldwork in Trinidad, Castor outlines how the political activism and social upheaval of the 1970s set the stage for African diasporic religions to enter mainstream Trinidadian society. She establishes how the postcolonial performance of Ifá/Orisha practices in Trinidad fosters a sense of belonging that invigorates its practitioners to work toward freedom, equality, and social justice. Demonstrating how spirituality is inextricable from the political project of black liberation, Castor illustrates the ways in which Ifá/Orisha beliefs and practices offer Trinidadians the means to strengthen belonging throughout the diaspora, access past generations, heal historical wounds, and envision a decolonial future.
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cover of The African Presence in Santo Domingo

The African Presence in Santo Domingo

Carlos Andujar

Michigan State University Press, 2012

Throughout its long and often tumultuous history, “La Hispanola” has taken on various cultural identities to meet the expectations—and especially the demands—of those who governed it. The island shared by the Dominican Republic and Haiti saw its first great shift with the arrival of Spanish colonists, who eliminated the indigenous population and established a pattern of indifference or hostility to diversity there. This enlightening book explores the Dominican Republic through the lens of its African descendants, beginning with the rise of the black slave trade in fifteenth- and sixteenth-century West Africa, and continuing on to slavery as it existed on the island. An engaging history that vividly details black life in the Dominican Republic, the book investigates the slave rebellions and evaluates the numerous contributions of black slaves to Dominican culture.

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cover of The Black Aesthetic Unbound: Theorizing the Dilemma of Eighteenth-Century African American Literature

The Black Aesthetic Unbound

Theorizing the Dilemma of Eighteenth-Century African American Literature

April C. E. Langley

The Ohio State University Press, 2007

During the era of the slave trade, more than 12 million Africans were brought as slaves to the Americas. Their memories, ideas, beliefs, and practices would forever reshape its history and cultures. April C. E. Langley’s The Black Aesthetic Unbound exposes the dilemma of the literal, metaphorical, and rhetorical question, "What is African in African American literature?" Confronting the undeniable imprints of West African culture and consciousness in early black writing such as Olaudah Equiano’s The Interesting Narrative or Phillis Wheatley’s poetry, the author conceives eighteenth-century Black Experience to be literally and figuratively encompassing and inextricably linked to Africa, Europe, and America.

Consequently, this book has three aims: to locate the eighteenth century as the genesis of the cultural and historical movements which mark twentieth-century black aestheticism—known as the Black Aesthetic; to analyze problematic associations of African identity as manifested in an essentialized Afro-America; and to study the relationship between specific West African modes of thought and expression and the emergence of a black aesthetic in eighteenth-century North America. By exploring how Senegalese, Igbo, and other West African traditions provide striking new lenses for reading poetry and prose by six significant writers, Langley offers a fresh perspective on this important era in our literary history. Ultimately, the author confronts the difficult dilemma of how to use diasporic, syncretic, and vernacular theories of Black culture to think through the massive cultural transformations wrought by the Middle Passage.
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cover of The Gospel of John Marrant: Conjuring Christianity in the Black Atlantic

The Gospel of John Marrant

Conjuring Christianity in the Black Atlantic

Alphonso F. Saville IV

Duke University Press, 2024

The Reverend John Marrant (1755–91) was North America’s first Black ordained minister and one of America’s earliest Black authors and preachers. In The Gospel of John Marrant, Alphonso F. Saville IV examines how Protestantism and West African indigenous religious practices deeply informed his life and ministry. Saville follows Marrant from his time evangelizing the Cherokee in Georgia to meeting with Black Freemasons in Boston to engaging with diasporic communities along the Eastern Seaboard and in England. Using the Black folk magic tradition of conjure as a lens for understanding Marrant’s religious imagination, Saville outlines the importance of Africana religious and cultural themes, symbols, and cosmologies in the biblical interpretation and ritual culture of early Black North American Christian communities. Marrant’s life and work, Saville contends, reveal the diverse religious cultures that contributed to the formation of African American Christianity and its evolution into a prominent institution during the colonial and early history of the United States. In so doing, he demonstrates the need to recenter both religion and Africa in the study of African American cultural and intellectual history.
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cover of The Making of Brazil's Black Mecca: Bahia Reconsidered

The Making of Brazil's Black Mecca

Bahia Reconsidered

Scott Ickes

Michigan State University Press, 2018

One of the few interdisciplinary volumes on Bahia available, The Making of Brazil’s Black Mecca: Bahia Reconsidered contains contributions covering a wide chronological and topical range by scholars whose work has made important contributions to the field of Bahian studies over the last two decades. The authors interrogate and problematize the idea of Bahia as a Black Mecca, or a haven where Brazilians of African descent can embrace their cultural and spiritual African heritage without fear of discrimination. In the first section, leading historians create a century-long historical narrative of the emergence of these discourses, their limitations, and their inability to effect meaningful structural change. The chapters by social scientists in the second section present critical reflections and insights, some provocative, on deficiencies and problematic biases built into current research paradigms on blackness in Bahia. As a whole the text provides a series of insights into the ways that inequality has been structured in Bahia since the final days of slavery.
 
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cover of The Sorcery of Color: Identity, Race, and Gender in Brazil

The Sorcery of Color

Identity, Race, and Gender in Brazil

Elisa Larkin Nascimento

Temple University Press, 2009

Originally published in 2003 in Portuguese, The Sorcery of Color argues that there are longstanding and deeply-rooted relationships between racial and gender inequalities in Brazil. In this pioneering book, Elisa Larkin Nascimento examines the social and cultural movements that have attempted, since the early twentieth century, to challenge and eradicate these conjoined inequalities.

The book's title describes the social sleight-of-hand that disguises the realities of Brazilian racial inequity. According to Nascimento, anyone who speaks of racism—or merely refers to another person as black—traditionally is seen as racist. The only acceptably non-racist attitude is silence. At the same time, Afro-Brazilian culture and history have been so overshadowed by the idea of a general "Brazilian identity" that to call attention to them is also to risk being labeled racist.

Incorporating leading international scholarship on Pan Africanism and Afrocentric philosophy with the writing of Brazilian scholars, Nascimento presents a compelling feminist argument against the prevailing policy that denies the importance of race in favor of a purposefully vague concept of ethnicity confused with color.

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cover of Tropical Travels: Brazilian Popular Performance, Transnational Encounters, and the Construction of Race

Tropical Travels

Brazilian Popular Performance, Transnational Encounters, and the Construction of Race

By Lisa Shaw

University of Texas Press, 2018

Brazilian popular culture, including music, dance, theater, and film, played a key role in transnational performance circuits—inter-American and transatlantic—from the latter nineteenth century to the middle of the twentieth century. Brazilian performers both drew inspiration from and provided models for cultural production in France, Portugal, Argentina, the United States, and elsewhere. These transnational exchanges also helped construct new ideas about, and representations of, “racial” identity in Brazil. Tropical Travels fruitfully examines how perceptions of “race” were negotiated within popular performance in Rio de Janeiro and how these issues engaged with wider transnational trends during the period.

Lisa Shaw analyzes how local cultural forms were shaped by contact with imported performance traditions and transnational vogues in Brazil, as well as by the movement of Brazilian performers overseas. She focuses specifically on samba and the maxixe in Paris between 1910 and 1922, teatro de revista (the Brazilian equivalent of vaudeville) in Rio in the long 1920s, and a popular Brazilian female archetype, the baiana, who moved to and fro across national borders and oceans. Shaw demonstrates that these transnational encounters generated redefinitions of Brazilian identity through the performance of “race” and ethnicity in popular culture. Shifting the traditional focus of Atlantic studies from the northern to the southern hemisphere, Tropical Travels also contributes to a fuller understanding of inter-hemispheric cultural influences within the Americas.

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cover of Walls That Speak: The Murals of John Thomas Biggers

Walls That Speak

The Murals of John Thomas Biggers

Olive Jensen Theisen

University of North Texas Press, 2010

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