“This selection of ten essays makes a persuasive case for a black Atlantic literary renaissance and its effect on modernist stories. The chapters stretch and problem present canonical configurations of modernism in methods: via contemplating the centrality of black artists, writers and intellectuals as key actors and center presences within the improvement of a modernist avant-garde; and through interrogating ‘blackness’ as a cultured and political class at severe moments in the course of the 20th century. this can be the 1st book-length e-book to discover the time period ‘Afromodernisms’ and the 1st learn to handle jointly the cognate fields of modernism and the black Atlantic.”
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Extra resources for Afromodernisms: Paris, Harlem, Haiti and the Avant-garde
In 1919 Blaise Diagne was the leading black politician in France’s African colonies and the first to gain a seat in the French National Assembly. 32 In January Du Bois approached Diagne and other black members of the National Assembly to win their support for the Congress and plead with them to use their influence to gain the approval of Clemenceau. He wrote an appeal, ‘Memorandum to M. Diagne and others on a Pan-African Congress to be held in Paris in February, 1919’, which he published in The Crisis in March: Gentlemen I BEG hereby to lay before you certain tentative suggestions as to a PanAfrican Congress to be held in Paris in February, 1919 [.
29 Once in Paris, Du Bois set to work organising the Congress. There was certainly no lack of interest in the project back home: the black American press reported extensively and favourably on Du Bois’s trip to France and his plans for the meeting. The NAACP made it clear that freedom for blacks in Africa was a major concern, and on 9 January sponsored a mass meeting to demand self-determination for the peoples of the mother continent. Other African American organisations, notably Marcus Garvey’s Universal Negro Improvement Association (UNIA), organised support for African liberation at the end of the war.
88. 65. Langston Hughes, The Big Sea (New York: Hill and Wang, 1979), p. 162. indd 42 15/01/2013 13:51 Chapter 2 Futurist Responses to African American Culture Przemysław Stroz˙ek At the beginning of the twentieth century the first signs of African American culture in the form of dances – ragtime, the cakewalk, jazz, the Charleston – appeared in Europe as a new, original form of entertainment, and music craze, notably in the Parisian salons. At the time when avant-garde tendencies and a passion for primitivism were fuelling new artistic movements from cubism and Futurism to surrealism, it was only one term, ‘jazz’, that emerged to describe this experimental art and important cultural phenomenon.