In the 1930s Duke Ellington presented his music as a celebration of black culture. Pieces such as “Black and Tan Fantasy” and “Take the ‘A’ Train” were inspired by, in his words “The music of my race is something more than the American idiom. It is the result of our transplantation to the American soil, it was our reaction to plantation days, to the life we lived. What we could not say openly we expressed in music. The characteristic, melancholic music of my race has been forged from the very white heat of our sorrow and from our gropings” (Lambert, 22 as quoted in Hersch, ‘Let Freedom Ring!’ 98).
The musical styles of each are the results of the collision of traditionally African rhythms and musical techniques with European classical and popular music genre. Each are adored American styles of music. Miles Davis “So What” and Robert Johnson’s “Cross Roads Blues” have some similarities and some differences. Miles Davis “So What” is Modal Jazz, used whole band tenor Saxophone, Alto Saxophone, Piano, Drums, trumpet, bass, and emphasis on melody and rhythms whereas Robert Johnson’s “Cross Roads Blues” is Delta Blues, used only slide guitar and vocals in his track (solo), and defining Racism, phobia and violence. The precise origins of each jazz - blues are quite covered.
African writers and intellectuals revolted against the oppression meted out to them and their nation by western opportunistic colonial system. They joined forces to erase the stigma attached to the black world and attempted to redefine and re-establish their identity. The French writer Jean Paul Sartre anticipated in Black Orpheus (1959) that an aggressive intellectual revolution has to take place among African people to pave the way for the dawn of the true African identity because “The Negro cannot deny that he is black nor claim for himself an abstract, colorless humanity: he is black. He picks up the word ―black that they had thrown at him like a stone; he asserts his blackness, facing the white man with pride.” Such an intellectual revolution
Since the beginning of American history, African Americans have had to deal with outright mistreatment and inferiority within society. During slavery, African Americans were completely stripped of their basic civil rights and liberties; they were not considered to be human. During the Civil Rights Movement, although African Americans had gained their freedom nearly a century ago, they still were not treated with dignity and respect, forced to advocate for the rights given to them as citizens of the United States. Because of the racism African Americans experienced, leaders such as David Walker and Martin Luther King organized efforts to help African Americans gain more respect and inclusion in American society. Both leaders had significant influence during the time in which they lived, directly addressing the oppressors and their actions against African Americans.
The Thirteenth through Fifteenth Amendments A Compromise Between Slave Tradition and the United States Mei Harter English Language Arts 8A Mrs. Finkell 15 February 2018 Do you know how many painful practices that slaves had, before the rise of the Thirteenth through the Fifteenth Amendments? In America’s history, the color of a man defined how he would live. This rule was treacherous for the slaves, who were mostly made up of the African American race. As a result, many slaves were ripped away from their families. They were forced to walk in chains; slaves were sold, starved, and left to die.
Introduction: During the 1800’s, Slavery was an immense problem in the United States. Slaves were people who were harshly forced to work against their will and were often deprived of their basic human rights. Forced marriages, child soldiers, and servants were all considered part of enslaved workers. As a consequence to the abolition people found guilty were severely punished by the law. Slavery in the US was firstly introduced in 1619 when tobacco and crops had to be grown effectively.
As I will study Afrofuturism and music in the 21st century, it is important to look at the historical and musical background of Afrofuturism in the 20th century in order to get a good image of the history of Afrofuturism. There are different musical genres and artists that can be associated with this term. I will give some examples of musical genres and artists that were involved in the Afrofuturistic music. Jazz is the first musical genre that will be discussed. Jazz is often associated with blackness and slavery.
The poet thus symbolizes the drum with the traditional African life while Piano with that of European culture. The paper will attempt to give the detailed analysis of the poem to highlight the cultural dichotomy of the native Africans by presenting the vivid picture of traditional African lifestyle and the problems faced by them after the mingling of European culture and
George Clinton refers to these qualities specifically in his Mothership Connection album, by referencing the great pyramids and singing of "partying on the mothership" (Clinton 1). This call to celebration in Egypt pays testament to the African country's natural beauty, resources, intellectual contributions, and architectural wonders. Many musical works lament the removal of black people from this nurturing environment, such as the popular spiritual "Sometimes I Feel Like A Motherless Child". Additionally, slavery-era artwork displayed a longing to reach home, as coded quilts used special patterns to disguise geographic locations to freedom, symbolizing the seen and unseen worlds (Anderson & Jones 27). The Atlantic slave trade lead to feelings of otherworldliness and alienation, which led to imaginings about alternate
During this time period, racism plagued society and divided a “united” nation. Malcolm X used examples of the grievances placed upon the African American population as a whole, while MLK used more specific examples. For instance, Malcolm X continually mentioned the “22 million Afro-Americans” that are denied their basic human rights. He did this to convey the message that