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F15 Berrey - AMCULT 103 / HISTORY 197 - Say it Loud: Black Culture in America

Ma Rainey. Archibald Motley, Jr. James Baldwin. Marvin Gaye. Shonda Rhimes (Scandal). LeBron James. Each of these individuals has been a critical part of an American cultural landscape in the twentieth and twenty-first centuries. The cultural work of each is also intertwined with larger political and social issues around race and the African American experience. In this seminar, we will analyze Black expressive culture (such as in music, art, literature, and television) and Black everyday culture (such as through hair, fashion, sports, and language). Focusing primarily on the twentieth century, we will situate Black culture within a historical context that includes segregation, discrimination, and racial violence, as well as organized protest, civil rights, and the politics of the hip-hop era. We will also regularly consider contemporary issues, including concerns tied to sports, student life, television, Detroit, and Ferguson, Missouri. In our explorations of the past and present, we will seek answers to two broad questions: What is the relationship between Black culture and the Black historical experience? What is the relationship between “Black” culture and “American” culture?

Kara Walker<br><em>One of five prints from the suite "The Means to an End--A Shadow Drama in Five Acts"</em><br>1995<br>aquatint and etching | light cream Somerset Satin wove paper<br>Museum purchase made possible by the Jean Paul Slusser Memorial Fund<br>1996/2.4.1
Kara Walker<br><em>One of five prints from the suite "The Means to an End--A Shadow Drama in Five Acts"</em><br>1995<br>aquatint and etching | light cream Somerset Satin wove paper<br>Museum purchase made possible by the Jean Paul Slusser Memorial Fund<br>1996/2.4.3
Kara Walker<br><em>One of five prints from the suite "The Means to an End--A Shadow Drama in Five Acts"</em><br>1995<br>aquatint and etching | light cream Somerset Satin wove paper<br>Museum purchase made possible by the Jean Paul Slusser Memorial Fund<br>1996/2.4.4
Kara Walker<br><em>One of five prints from the suite "The Means to an End--A Shadow Drama in Five Acts"</em><br>1995<br>aquatint and etching | light cream Somerset Satin wove paper<br>Museum purchase made possible by the Jean Paul Slusser Memorial Fund<br>1996/2.4.2
Kara Walker<br><em>One of five prints from the suite "The Means to an End--A Shadow Drama in Five Acts"</em><br>1995<br>aquatint and etching | light cream Somerset Satin wove paper<br>Museum purchase made possible by the Jean Paul Slusser Memorial Fund<br>1996/2.4.5
An assemblage of found objects: a salvaged wood frame with wood inlay letters spelling &quot;COLORED,&quot; four portrait photographs of African American females (two photogaphs on either side of a printed poem), nine thread samples under photographs, and one hand mirror hanging on a decorative brass hook to the viewer&#39;s right of the frame. The poem reads:&nbsp;<br />
&quot;Light is Alright<br />
Yellow is Mellow<br />
Brown, Stick Around<br />
Black, Get Back<br />
(but black don&#39;t crack)&quot;<br />
<br />
The wood has a strong smell, may have been treated with molasses.<br />
<br />
&nbsp;
Betye Saar<br><em>Colored</em><br>2002<br>photographs, paper, thread, wood <br>Museum purchase made possible by Dr. James and Vivian Curtis and the W. Hawkins Ferry Fund<br>2003/1.406
This print has rows of stencilled black text in all capital letters on white background. In pencil, the print is signed and dated (l.r.) "Glenn Lignon '92" and numbered (l.l.) "27/45". 
Glenn Ligon<br><em>Untitled </em><br>1992<br>etching, aquatint, spitbite, sugarlift | Rives BFK paper<br>Museum Purchase<br>1993/2.13.1
This print has rows of stencilled black text in all capital letters on black background. In pencil, the print is signed and dated (l.r.) "Glenn Lignon '92" and numbered (l.l.) "27/45". 
Glenn Ligon<br><em>Untitled </em><br>1992<br>etching, aquatint, spitbite, sugarlift | Rives BFK paper<br>Museum Purchase<br>1993/2.13.3
This print has rows of stencilled black text in all capital letters on white background. In pencil, the print is signed and dated (l.r.) "Glenn Lignon '92" and numbered (l.l.) "27/45". 
Glenn Ligon<br><em>Untitled</em><br>1992<br>etching, aquatint, spitbite, sugarlift | Rives BFK paper<br>Museum Purchase<br>1993/2.13.2
This print is composed of sets of faces in three registers.  Along the top, in a black stripe, is a repeated, closely cropped image of a woman's face looking to the left.  In the middle left are five repeated images in shades of brown of a woman's face looking right, toward the face of a man in black.  Along the bottom are three large images of a woman's face in green, brown and blue.
Elizabeth Catlett<br><em>Malcolm X Speaks for Us</em><br>1969<br>linoleum cut | paper<br>Gift of Elizabeth Catlett<br>2006/1.96
A black and white photograph of four people lying on the ground. One person's face is covered by an American flag, while the man behind her has his face covered by a hat. The group appears to be asleep. The feet and shoes of other people standing around the group of four is visible in the background. The print is signed (l.r.) "Edward Roberson" in pen.
Edward (Robbie) Roberson<br><em>Tired Marchers Sleep on the Streets—"We were tired, we were tired.", Selma, Alabama </em><br>1963<br>inkjet print | paper<br>Gift of Detroit Focus 2000, and partial purchase with funds from the Jean Paul Slusser Memorial Fund<br>2003/2.69.28
This work shows a black and white photograph of a crowd of people outdoors, with trees in the background. On the left is a uniformed policeman holding a dog on a leash in one hand and a club in the other. In the center area there is a man, with his back to the viewer, who is being attacked by two dogs. One, controlled by another policeman, is ripping his clothing and the other, with teeth bared, is attacking his right hand. In the crowd there are men watching the attack and looking at the policemen.
Andy Warhol<br><em>Birmingham Race Riot</em><br>1964<br>screenprint | paper<br>Gift of Graham and Marianne Smith<br>1986/1.194.5

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Activism — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
African american culture — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
African american history — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
American culture — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
Americas — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
Black american culture — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
Black u.s. history — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
Civil rights — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
Human rights — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
Identity — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
Insiders and outsiders — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
Nation and nationalism — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
North america — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
Political movements — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
Politics — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
Protests — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
Race and ethnicity — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
Radicalism — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
Rebellion — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
Social criticism — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
Social inclusion and exclusion — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
Social justice — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
U.s. culture — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
United states — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)
University class selection — by seth@whirl-i-gig.com (February 13 2017 @ 12:04 pm)

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Last Updated

January 22, 2019 3:42 p.m.

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