African American School Attendance in the 19th Century: Education in a Rural Northern Community, 1850-1880

1995 ◽  
Vol 64 (1) ◽  
pp. 42
Author(s):  
Ernestine K. Enomoto ◽  
David L. Angus
Keyword(s):  
African American ◽  
19Th Century ◽  
School Attendance ◽  
American School ◽  
The 19Th Century ◽  
Northern Community

The origins of syncopation in American popular music

Popular Music ◽  
2021 ◽  
Vol 40 (1) ◽  
pp. 18-41
Author(s):  
David Temperley
Keyword(s):  
African American ◽  
Popular Music ◽  
20Th Century ◽  
19Th Century ◽  
Vocal Music ◽  
Piano Music ◽  
Historical Process ◽  
American Popular Music ◽  
The 19Th Century ◽  
Fourth Position

AbstractThe origins of syncopation in 20th-century American popular music have been a source of controversy. I offer a new account of this historical process. I distinguish between second-position syncopation, an accent on the second quarter of a half-note or quarter-note unit, and fourth-position syncopation, an accent on the fourth quarter of such a unit. Unlike second-position syncopation, fourth-position syncopation tends to have an anticipatory character. In an earlier study I presented evidence suggesting British roots for second-position syncopation. in contrast, fourth-position syncopation – the focus of the current study – seems to have had no presence in published 19th-century vocal music, British or American. It first appears in notation in ragtime songs and piano music at the very end of the 19th century; it was also used in recordings by African-American singers before it was widely notated.

One, One, One… One Way to God? A review essay of "In Jesus Name": The History and Beliefs of Oneness Pentecostals

Pneuma ◽  
2009 ◽  
Vol 31 (2) ◽  
pp. 275-282
Author(s):  
Marlon Millner
Keyword(s):  
African American ◽  
19Th Century ◽  
Review Essay ◽  
Social Location ◽  
Exhaustive Study ◽  
The 19Th Century ◽  
Oneness Pentecostalism ◽  
American Evangelicalism

Abstract"In Jesus' Name" is a groundbreaking work on Oneness Pentecostalism. It seeks to be an exhaustive study, which historically situates OP culturally and theologically within a long tradition of Pietism dating back hundreds of years in Europe, and Christocentrism found in American Evangelicalism of the 19th century. However, in lifting up an African-American as the exemplar of Oneness Pentecostalism, the book introduces the person's "black heritage" as an interpretive key, but then fails to follow through on this insight, despite several works around Oneness Pentecostalism, in particular, and race. This leaves open the possibility that there is a significant hole in an otherwise comprehensive monograph. Indeed, closer attention to social location and the theological problem of race, would have paid off with material that indeed moves the tradition from so-called heterodoxy to a more robust, if contested, conversation with the dogmatic tradition, which the author seeks.

African American Sculpture and Sculptors

2020 ◽  
Author(s):  
Andy Campbell
Keyword(s):  
African American ◽  
19Th Century ◽  
Visual Arts ◽  
18Th Century ◽  
Social Economic ◽  
Three Dimensional ◽  
Political Systems ◽  
Three Dimensional Objects ◽  
The 19Th Century ◽  
Group Empowerment

Beyond monographic texts dedicated to single artists, it is rare to find book-length studies that solely focus African American sculpture—or, sculpture made by African Americans. The reasons for this are many and complex. Although sculpture was a mainstay of 19th-century arts education in Europe and the Americas, in the latter half of the 20th century sculpture was newly questioned as a stable category of production. Between the 18th century and today media-specific practices have been broadly replaced with multimedia ones. This begs the question: what constitutes sculpture in any history or reference text that purports to span a number of centuries? An artist like Renée Green (b. 1959), for example, creates sculpture—discrete, three-dimensional objects—but also multi-part environmental installations, sound works, videos, architecture, and websites, as well as photography and prints. In light of these historical shifts, this bibliography takes a broad view of sculpture, and includes the work of self-described sculptors, such as the 19th-century sculptor Edmonia Lewis, as well as those with pluralistic practices like Green. Similarly, the category of “African American” has come under scrutiny, as the various signifiers of such an identity (for example, phenotype and/or ancestry) shift with broader social, economic, aesthetic, and political systems. Terminology has also changed a great deal since the 18th century—with popular linguistic designations moving from “negro,” to “colored,” to “black,” to “Afro-American,” to “African American,” and back to “black” again. Each contains historical political import, tied to both in-group empowerment and extrinsic, sometimes derogatory, uses. The visual arts are uniquely positioned to approach, understand, question, and challenge these changing social and semiotic conditions, and the anxieties and pleasures of black identification are often registered in nuanced and multifaceted ways within the realm of the visual. It would be a mistake to assume that the term “African American” encompassed the full political force of all artists included here, many of whom experience(d) the reality of intersectional identities and oppressions attached to gender, race, ability, class, and sexuality. For a more complete accounting of the visual arts beyond sculpture, see the separate Oxford Bibliographies in African American Studies article Visual Arts.

Where Honor is Due: Frederick Douglass as Representative Black Man

Prospects ◽  
1992 ◽  
Vol 17 ◽  
pp. 177-189 ◽  
Author(s):  
Wilson J. Moses
Keyword(s):  
African American ◽  
19Th Century ◽  
Ralph Waldo Emerson ◽  
Abraham Lincoln ◽  
Frederick Douglass ◽  
The Self ◽  
Anglo Saxon ◽  
American Tradition ◽  
African American Tradition ◽  
The 19Th Century

Frederick Douglass may or may not have been the greatest African American abolitionist and orator of the 19th Century, but he was certainly the most accomplished master of self-projection. His autobiographical writings demonstrate the genius with which he seized and manipulated mainstream American symbols and values. By appropriating the Euro-American myth of the self-made man, Douglass guaranteed that his struggle would be canonized, not only within an African American tradition, but within the traditions of the mainstream as well. He manipulated the rhetoric of Anglo-Saxon manhood as skillfully as did any of his white contemporaries, including such master manipulators as Abraham Lincoln, Ralph Waldo Emerson, and Phineas T. Barnum. I mention Douglass along with these wily exemplars of American showmanship, not because I want to drag out embarrassing cliches about making heroes more human, but in order to address the truly monumental nature of Douglass's accomplishments. Douglass, like Lincoln, Emerson, and Barnum, was abundantly endowed with the spiderish craft and foxlike cunning that are often marks of self-made men.

Advertising Millie-Christine, or the Making of the Two-Headed Nightingale

2021 ◽  
pp. 50-70
Author(s):  
Remi Chiu ◽  
Dana Gorzelany-Mostak
Keyword(s):  
African American ◽  
19Th Century ◽  
Conjoined Twins ◽  
Freak Show ◽  
Gender And Race ◽  
Advertising Strategy ◽  
The 19Th Century

Millie and Christine McKoy (1851–1912), African American conjoined twins billed as the “Two-Headed Nightingale,” were among the most successful “freak show” performers in the last quarter of the 19th-century. This chapter relies on “freak show” ephemera—such as press articles, (pseudo) biographical and autobiographical pamphlets, and posters and photos—to reconstruct Millie-Christine’s musical act and to examine the troubling process by which the sisters were made into and promoted as a “freak.” With a focus on the sonic elements described by these texts, examined alongside visual and textual narratives, the chapter builds an account of an advertising strategy that traded on the consumers’ prejudiced musical expectations with regard to gender and race, while cultivating new sonic fantasies about the conjoined body.

scholarly journals L’invention de l’enfance : modalités institutionnelles et support idéologique

Criminologie ◽  
2005 ◽  
Vol 18 (1) ◽  
pp. 73-97
Author(s):  
Danielle Laberge
Keyword(s):  
United States ◽  
Child Care ◽  
Social Status ◽  
19Th Century ◽  
Social Economic ◽  
School Attendance ◽  
The United States ◽  
Cultural Changes ◽  
Reform School ◽  
The 19Th Century

Today's social status of children is the result of social, economic and cultural changes that have characterized western societies all through the 19th century. The establishment of this particular status came during a movement of general differentiation that affects all the practices of delinquents. The present analysis solely concerns the United States and in particular examines the emergence of three institutions intended exclusively for child care : reform school or refuge, family placement and compulsory school attendance.

Sign in / Sign up

Export Citation Format

Share Document