PUB: San José State University Steinbeck Fellowship in Creative Writing > Poets & Writers

San José State University

Steinbeck Fellowship in Creative Writing

Deadline:
January 2, 2013

E-mail address: 
nicholas.taylor@sjsu.edu

A one-year residency at San José State University, which includes a stipend of $10,000, is given annually to a fiction writer or a creative nonfiction writer. The resident will give one public reading each semester and must live in the San José area during the academic year. Submit up to 30 pages of prose, a project proposal, three letters of recommendation, contact information for two additional references, and a résumé by January 2, 2013. There is no entry fee. Call, e-mail, or visit the website for complete guidelines.

San José State University, Steinbeck Fellowship in Creative Writing, Martha Heasley Cox Center for Steinbeck Studies, San José, CA 95192-0202. (408) 808-2067. Nicholas Taylor, Contact.

via pw.org

 

PUB: 2012 Poetry Competition > Society of Classical Poets

Submissions to the poetry competition should be emailed to submitclassicalpoetry@gmail.com. Here are the tentative criteria and important dates:

-Submit three to five poems, each of which does not exceed 50 lines.

-Poetry must be metered and contain at least some rhyme. No free verse is accepted.

-Poems are judged based on both form and character. See our About Us section for more on the character element.

-Put “Poetry Competition Submission” in the subject line of the email.

-The poem should be written in 2012 and ideally not yet have been published anywhere else, including blogs or anywhere on the internet. (We understand you may be submitting it to other poetry contests. Please notify us if it wins any other contests. This will not disqualify you from our contest.)

-There is no submission fee or age requirement.

-Include contact details, including email, phone number, and mailing address. (All of your contact details, including your email address, will remain private and will not be shared with anyone outside the Society.)

-Include a brief bio not exceeding 100 words.

-We note that you will retain ownership of your poetry. By submitting it to the Society for publication or for inclusion in the contest, you give the Society the rights to publish it online on this website and/or in a Society of Classical Poets anthology with other poetry, but we would not be able to sell your individual poem on its own or have any further rights over it beyond those two forums. You could publish it anywhere else or sell it to any publication as desired.

-The competition is judged by Evan Mantyk, President of the Society.

-You do not have to be a member of the Society to participate.

Submission deadline for competition: January 1, 2013

Winners announced: February 15, 2013

Prize: $1,000.

 The winner’s poem will be published in the Society’s first annual anthology and on our website. Other selected poems from the contest will also be included in the anthology and on our website.

Featured image by Ferdinand Keller (1842–1922) (Van Ham Kunstauktionen)

 

VIDEO: Shatterboy: Men Surviving Sexual Abuse

Shatterboy:

Men Surviving Sexual Abuse

A 27 minute documentary of five men discussing the impact of sexual abuse on men. Intended as an introduction into this difficult topic that can be used in therapy sessions, group discussions and training seminars.

Kirby Cobb
Producer/Director: Kirby Cobb



VIDEO: Class In Session - Dealing With AIDS Education

About TIPPTV

The Teen Impact Prevention Program (TIPP), is a youth development-training program, which prepares teens between the ages of 14-21 to provide peer education about HIV prevention. We utilize the media and creative arts to educate adolescents and young adults about the impact HIV has made on our community, our city, our nation and the world. Our program is funded by The New York State, AIDS Institute and sponsored by The Child Center of New York, a non-profit organization, which services families and children.

CLASS IN SESSION

SEXUALITY + AUDIO: Who's Afraid of Black Sexuality? > The Chronicle of Higher Education

Who's Afraid of Black Sexuality?

Listen: Who Were the First Black Dandies?

Monica Miller, an associate professor of English at Barnard College, takes us to 1760s England for a story about slavery, sexuality, and sartorialism.

Who's Afraid of Black Sexuality

Gregory Prescott

Well, for a long time, lots of people. Including scholars. Particularly black scholars.

If sex was once difficult to discuss openly, black sex was especially fraught. It touched on too many taboos: stereotypes and caricatures of "black Hottentots" with freakish feminine proportions; of asexual mammies or lascivious Jezebels; of hypersexual black men lusting after white women. It brought up painful memories of white control over black bodies during slavery; of rape and lynching; of Emmett Till, a teenager tortured and murdered in 1955 for supposedly flirting with a white woman; of the controversial 1965 "Moynihan Report," which called black family structures and reproductive patterns "a tangle of pathology." Or of Anita Hill in 1991, testifying before the U.S. Senate about alleged black-on-black sexual harassment.

Old tropes have continued to permeate popular culture and public commentary, whether a national furor over Janet Jackson's exposed breast, a recent blog post on Psychology Today's Web site (later retracted) to the effect that black women are less physically attractive than other women, or the barrage of news stories about a "marriage crisis" among black women who cannot find suitable mates. Witness remarks about the artists Beyoncé and Nicki Minaj, the tennis star Serena Williams, or Michelle Obama that harp on their ample backsides. Remember last year, when Rep. Jim Sensenbrenner, a Republican from Wisconsin, quipped about the first lady's "large posterior"? And this summer, when the Killers' drummer, Ronnie Vannucci, described how he accidentally found himself "grabbing her ass" during a hug?

Consider also how television repeatedly offers sexualized images of black men, whether parodying the half-naked (but not threatening) body of Isaiah Mustafa, the hunky Old Spice guy; hauling black men on stage, as Maury Povich does, to allow "baby mamas" to give them the results of paternity tests; or giving us the gargoylesque rapper-turned-crackhead-turned-reality-TV star Flava Flav, who searches for love among scores of uncouth women who humiliate themselves as they compete for his attention.

"The white imagination still traffics in toxic racial and gender stereotypes," says Beverly Guy-Sheftall, a professor of women's studies at Spelman College. Talking about sex "means that we are engaging in and calling up discussions of black sexuality that we think underscore what white people say about us. That leads to silence."

That silence has left a gap in the classroom and in black-studies scholarship. Rising faculty members worry that a topic doubly controversial—race and sex—could derail their careers. Students and professors are sensitive, even squeamish, about portrayals of their communities. Reflecting on the years of avoidance, Kevin Mumford, a history professor at the University of Illinois at Urbana-Champaign, thinks there is a basic dynamic: Many black people "refuse to give up the privilege of normalcy."

In recent years, however, a growing number of scholars, in a variety of disciplines—queer studies, women's studies, anthropology, African-American studies, sociology, literature, history, public health—have begun to break that silence. Black sexuality is the focus of a number of conferences, research projects, and anthologies. While discussions of sexuality go far back in the world of black scholarship—to such work as W.E.B. Du Bois's report on black sexual mores and marital practices in Philadelphia, Ana Julia Cooper and Ida B. Wells's examinations of the racist construction of black male and female sexuality, and the social scientist E. Franklin Frazier's dissection of the social patterns of the black bourgeoisie—today's work is more explicit, rawer. It gets into the bedroom with heterosexual black men having sex with other men "on the down low"; onto the streets and porn sets with cross-dressers, transsexuals, and black sex workers; behind prison bars with gay and lesbian inmates; into the dungeons and play dens of blacks who seek pleasure through bondage and pain.

And it is driven by a sense of urgency over problems confronting black communities, such as the AIDS crisis, incest, homophobia, domestic violence, and sex abuse in black churches.

The in-your-face approach owes much to the feminism among women of color and to the queer-studies scholarship that began to make its mark in the 1980s. At the beginning of that decade, KitchenTable: Women of Color Press became the first publishing company entirely run by women of color, focusing both on research about race and gender and on advocacy for women, gays and lesbians, and other oppressed groups. Queer studies similarly drew from scholarly theory about the construction of sexual personae and from gay activism.

That twin vision has given work on black sexuality a controversial edge.

Marlon M. Bailey rose to give a talk at a meeting this year to celebrate Ph.D programs in black studies. "It's time," he announced, "to talk about sex."

An openly gay professor of gender and American studies at Indiana University at Bloomington who calls himself a "butch queen," Bailey followed presentations on the history of the field, the state of its doctoral programs, and the trajectory of its research. Flanking him on the panel were older, distinguished scholars who had spent decades forging their discipline.

"I see we've saved the sex for last," Bailey drawled, batting his eyes. "Especially good sex."

Laughter rippled through an amen corner. But some parts of the audience maintained a stiff silence as he chastised the field for ceding discussions of black sex and sexuality to other disciplines like queer studies or gender studies.

After the session, the hallway was abuzz. Some younger and queer scholars gathered in small pockets in lobby areas, at times checking their surroundings and lowering their voices to a whisper to complain.

Queer scholars lamented that homophobia persisted in black studies as it emphasized "respectability" and social norms about heterosexual behavior, hypersensitive to the image of black people in the wider community.

Why be afraid to admit that black sex was long defined as "queer"—outside the norms of society—through the legitimacy given the rape of black women, the breaking up of black families, and the emasculation of black men in slavery? Why not acknowledge that the history of racism had caused black people to become distant from the most intimate dimensions of their lives? Why not rejoice in their diversity, and stop worrying about putting the best face on everything black people do?

"Enough with the nostalgia and celebration about how far the field has come," Bailey said in a phone interview weeks after the conference. "There's a silence around issues of sexuality, and that silence is especially palpable at black-studies conferences."

According to Darieck Scott, a professor of African-American studies at the University of California at Berkeley, for many years scholars didn't want to deal with the questions that were being asked in the hallways at the black-studies conference, because they faced a double bind: "How do you talk about black sexuality when the very notion that there is such a thing—that black sexuality is distinct from human sexuality, period, or that it has some classifiable existence in the world that makes it different from the sexualities lived and practiced among other peoples and cultures in the world—is an expression of an essentially racist logic?"

Monica Miller, an associate professor of English at Barnard College, takes us to 1760s England for a story about slavery, sexuality, and sartorialism.

In addition, in the early years of black studies, the most pressing battles seemed elsewhere. "To focus on sexuality would have been a distortion of the agenda," says Marlon Ross, an English professor at the University of Virginia. It was hard enough to fight for a place at the table for a new academic discipline focusing on black people. Acquiescing to the demands for work on sexuality, many of them coming from gay and lesbian scholars, seemed too dangerous. "People were still being ostracized. There was still a great deal of stigma, violence, and exclusion," Ross remembers.

The conflict within black studies, however, should not be overstated. Ross thinks more and more scholars acknowledge that questions about black sexuality "are central matters in how we've been perceived and how we perceive ourselves."

Nor is the conflict unique to one field. Tricia Rose, a professor of Africana studies at Brown University, says that because sexuality studies, as a whole, remains marginal throughout scholarship, researchers are still figuring out how and where to pursue it. "I do think that, historically, the absence of sustained focus on gender and sexuality in all academic disciplines means that they are all working to figure out how to do intersectional work and still retain a core disciplinary identity," she says.

Black studies has long stood at the juncture of numerous disciplines—with all the ambiguities, turf wars, and competing scholarly norms that can go with interdisciplinary work. "I don't remember a time where there hasn't been dissent about a variety of issues, including sexuality," says Robert Reid-Pharr, a professor of English at the City University of New York Graduate Center.

Debates about black nationalism and separatism, the existence of a black aesthetic, the role of religion in the black community and, particularly, the civil-rights movement—to say nothing of the argument over whether black studies should be a separate department or program, or situated within other academic units—were notably heated.

So it might be fairest to describe the ferment around black-sexuality studies—within black studies and broadly in academe—as an evolution.

As early as the 1970s, black lesbians and feminists like Barbara Smith and Cheryl Clarke, and influential poets and writers like Alice Walker, Audre Lorde, bell hooks, Michele Wallace, and Ntozake Shange, criticized white feminists for ignoring race, and black male scholars for overlooking gender and sexuality. The title of the paperback edition of an anthology published in 1982 said it all: "All the Women Are White, All the Blacks Are Men, but Some of Us Are Brave: Black Women's Studies."

Dealing with issues of class, race, and gender all at the same time, black women called for confronting reproductive rights, rape, prison reform, forced sterilization, and violence against women. Lorde's poetry opened up a space to talk about differences not just between men and women, but also among women—including differences in sexual behavior and preferences. Walker's Pulitzer Prize-winning The Color Purple broke the silence on incest in the black community. Wallace's Black Macho and the Myth of the Superwoman and Shange's For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf exposed sexism and violence against women in black communities.

"I always give black lesbian feminists the credit for the rise of sexuality studies," says E. Patrick Johnson, a black-studies professor at Northwestern University and co-editor of the 2005 Black Queer Studies: A Critical Anthology,  from Duke University Press.

Among scholars, much of the early work was done by historians, particularly black feminist historians, says Johnson. They brought out of the shadows the violation of black women under slavery—and the women's response to it. They discussed the ways black women had kept their sexual lives private throughout history, to protect themselves against racism. In medical and literary studies, theorists like Evelyn M. Hammonds, Hortense J. Spillers, and Claudia Tate drew on psychoanalysis to understand the psychosexual dynamics of that privacy. Other scholars dealt with the emasculation of black men through lynching. But many early studies of the period focused on black sexuality as something that whites violated, suppressed, or exaggerated to justify discrimination. Few said anything about black sexual agency, pleasure and intimacy, or same-sex relationships.

And the reason that those might be explored as a category separate from human sexuality in general—without employing what Darieck Scott calls "essentially racist logic"—is the enduring history of black bodies, living under an exploitative and objectifying gaze.

In the early days, however, black nationalists and segments of the civil-rights movement accused black feminists of diverting attention from the urgent work of eradicating racism and restoring black manhood. Others objected that, for example, Alice Walker's depiction of incest reinforced stereotypes about dysfunctional black masculinity.

"It's easy for people to forget all the hostility," says Spelman's Guy-Sheftall. That history made it more difficult to include sexuality discourse in black studies as the field developed, she says.

It was in the late 1980s that queer studies began to make its mark in black studies. In 1986 came the publication of In the Life, an anthology of writing by black gay men, edited by Joseph F. Beam, an African-American gay-rights activist who died of an HIV-related illness in 1988. "The bottom line is this: We are Black men who are proudly gay," he famously declared. And when Beam wrote that he wanted the truth to be told instead of watered-down versions of black life that excluded people like him, queer scholars heeded his call.

In 2000, frustrated by what he saw as silence about race in queer studies, Northwestern's E. Patrick Johnson organized the first black queer academic conference, at the University of North Carolina at Chapel Hill, with Mae G. Henderson, who is straight. "I understood that identity is something that is created," Johnson says. "Race might be an invention, but racism is not. It's very real, and white gay men didn't get that. They didn't have to, because they are white men." The conference drew 400 attendees, many of them graduate students who, he says, "came seeking affirmation of the research they wanted to do."

The time was finally right. Younger scholars had grown up exposed to work by black LGBT writers and filmmakers like Marlon Riggs, Essex Hemphill, and Melvin Dixon. They had taken courses in gender studies and queer theory in college and were ready to see sexuality as a performance, a social construct, a varied phenomenon.

After Magic Johnson's November 1991 news conference announcing that he was HIV-positive, black America could no longer insist that it was not at risk for the infection, which had been associated most closely with white gay men. In the years following, it became clear that AIDS activism would have to extend to communities of color being ravaged by the disease.

The urgency of the AIDS crisis "really prompted folks to say that we cannot continue to proceed as if we don't have a gay community within the black community, and we can't proceed in the academy as if queer studies does not matter," says Johnson. "The young folks are saying, 'Let's talk about sex, because people's lives depend on it.'"

Those young people are also frustrated, and willing to say so. For decades, the "welfare queen" has been a standard cultural image, illustrated with oversexed addicts and promiscuous single mothers who bankrupt the country (and, in a recent iteration, drive up the federal deficit). "The visual for those stories has always been a black person," says Celeste Watkins-Hayes, a black-studies professor at Northwestern. She recalls President Ronald Reagan's stereotype of a welfare queen who used 80 names, 30 addresses, 12 Social Security cards, and was collecting $150,000 worth of Medicaid, food stamps, and veterans' benefits.

"Racial oppression is diminishing and limiting," Watkins-Hayes says. "Black-sexuality studies is about being liberatory, reinforcing, and life-affirming. Those two tensions end up making for fruitful scholarship. The confluence of those ingredients has led to a deliberate and clear articulation of a subfield called black sexuality studies."

Today, scholars in the field are studying gender, queerness, pleasure, public health. They're looking at representations of sexuality in contemporary gospel music and cyberspace, at sex among black men in prison, sex tourism in Brazil, gays and lesbians in the civil-rights movement, the sexualization of black children, and much more.

In September, Harvard University and Palimpsest, A Journal on Women, Gender and the Black International Palimpsest sponsored a symposium, "The Queerness of Hip Hop / The Hip Hop of Queerness," which examined hip-hop culture through the lens of queer theory. It looked at the roots of hip-hop in gay, lesbian, bisexual, and transgender activism; at the genre's queer aesthetics, fashion, and style. In October, graduate students at Princeton University put on a conference "to interrogate the intersections between blackness and queerness."

"How might we understand the relationship between blackness and queerness if we first reject the premise of their mutual exclusivity?" read the call for papers.

Mireille Miller-Young, an associate professor of feminist studies at the University of California at Santa Barbara, is exploring the history of black pornography, looking at sex workers who get pleasure out of bondage and physical pain and who use racial stereotypes to market their bodies. She has a book, titled A Taste for Brown Sugar: Black Women, Sex Work and Pornography, forthcoming in 2013 from Duke University Press.

In 2005, Miller-Young gave a paper on black-female porn at the conference of the Association for the Study of Worldwide African Diaspora. Presenting images from porn conventions, film sets, and Web sites, supplemented by interviews with more than 60 sex workers, she acknowledged fears that blacks in porn were acting out their own exploitation and "making it worse for the rest of us," she says. And she pointed out that black women have fought discrimination in the porn industry, just as in other labor markets.

But the situation is more complex, she argued: "If you look at the films closely, you see interesting moments where black women are trying to present sexuality in a way that is different. They are showing beauty, class, sensuality, sexual skill, and intimacy between black couples."

The women she interviewed, she says, were frustrated that feminists and other critics "don't see what they are trying to do, which is open up possibilities for black people to see themselves sexually. We can have fantasies about bondage, take pleasure in our painful pasts, and even find pleasure in stereotypes."

You can hear the exasperation in Miller-Young's voice when she describes how some black women in the audience reacted to her presentation. The chair of the panel turned away from the screen, closed her eyes, and refused to look at the images. One prominent black feminist scholar sitting in the audience, Miller-Young says, called her a "pervert."

"They said that by showing these images of porn stars, I was re-exploiting them," she recalls. "But I'm fascinated by the 'ho.' She is a figure that all black women have to contend with, whether you are sex workers or professors."

Several of the 30 scholars interviewed for this article say that some conservative black feminists tend to marginalize or dismiss not only sex workers but also the experiences of queer people, and to treat gender as if it were the sole province of women. There's too much focus, the scholars say, on the sexual violation and stereotypes of black women, little discussion of sexual crimes against boys and men, and not enough research on the diverse ways in which blacks seek pleasure and express a range of identities.

David Levering Lewis, the two-time Pulitzer Prize-winning historian who was the first scholar to out major figures of the Harlem Renaissance, says he worries about the trajectory of some research on black sex. "Some of this scholarship is a bit queasy and sounds like a rationalization for an exercise in curiosity," he says. "But there is room in the big tent of the academy for these kinds of explorations. History without sexuality is incomplete."

Others are raising the discomfort level by treading on what is considered sacred ground—the civil-rights movement. Mumford, at Illinois, has written articles that examine how the civil-rights and gay-rights movements worked with and against each other, and how the "Moynihan Report" raised veiled questions about black homosexuality. The publication of the late Manning Marable's biography of Malcolm X caused some controversy because he identified Malcolm as a bisexual during his years as a hustler, before his conversion to Islam. Serious research on the relationship between gay history and the civil-rights movement is just emerging with dissertations in progress, Mumford says.

"There may be a need," Mumford says, "for black sexuality studies to push the envelope."

Nowhere, perhaps, do scholars want to do that more than in the field of public health. Chandra Ford, an assistant professor at the University of California at Los Angeles's School of Public Health, says health researchers have had a tendency to see black sexuality as "a perversion, a problem that needs to be studied because it's so different."

She's referring to dark moments not just in the past: the forced sterilizations of thousands of black girls and women in North Carolina from 1929 to 1974 or the studies in Tuskegee, Ala., of syphilis among black men from 1932 to 1972. In 2010 a report from the federal Centers for Disease Control and Prevention caused a firestorm when it announced that half of all black women between the ages of 14 and 49 were infected with genital herpes. The statistics were based on a group of 893 black women who had been tested for antibodies to the HSV-2 virus, which meant only that they had been exposed to the herpes virus, not that they had actually developed the disease—or ever would.

Following the report, which the CDC later admitted was misleading, several black scholars and scientists spoke up about the way medical research is conducted on African-Americans. Too much research, they said, focuses on clinics in poor, urban areas where people are more likely to use drugs or have sexually transmitted diseases. The data from those populations, they said, cannot be used to form generalizations about all black people—or about black versus white people.

Velma M. Murry, a sociologist at Vanderbilt University whose research is on the black middle class, has found evidence that contradicts national reports about sexually transmitted diseases among blacks. She has noted that middle-class African-American girls delay having sex two years beyond the national average for all girls. What is missed is "the positive practices of black families—the practices that work for us, that lead to better physical and psychological health."

In sociology, public policy, and public health, scholars have been pushing researchers to look up from diagrams and charts of health statistics to develop studies that speak to the people being studied, rather than to the assumptions and the culture of the researchers who produce the studies.

For example, Northwestern's Watkins-Hayes has explored the economic and social-survival strategies of women living with HIV and AIDS in the Chicago area. Seeing that much of the news-media focus and LGBT activism involve white communities, Mignon R. Moore, a sociologist at UCLA, sought to gather information by following more than 100 middle-class and working-class black lesbians for three years to provide insights into how black culture helps shape their identities and family formation. Leon E. Pettiway, a professor emeritus in the department of criminal justice at Indiana University at Bloomington, has moved beyond statistics on street crime with his 1996 book, Honey, Honey, Miss Thang, a poignant look at five gay, drug-using transvestites who struggled to retain some sense of dignity in the face of substance abuse and hustling to stay alive.

Old taboos are falling. After all, the country now has a black president who has declared his support for same-sex marriage. Exploring lived sexuality, recognizing the black sexual experience in all its diversity—including pimps, prostitutes, transsexuals, and porn stars—is freeing intellectual debate from old fears and inhibitions. But scholars say it's not just a matter of widening their research agenda. It means bringing the insights about black history and culture, about the structures of racism and pathology, into public-health discussions of AIDS, drugs, prison conditions, and molested children.

These scholars say it's a matter of saving lives.

Stacey Patton is a staff reporter at The Chronicle. She holds a Ph.D. in history from Rutgers University at New Brunswick and is the author of That Mean Old Yesterday (Simon & Schuster, 2007), a memoir about growing up in foster care and the historical roots of corporal punishment in African-American families.

Corrections (12/3/2012, 10:17 a.m.). Because of an editing error, this article originally misreported Leon E. Pettiway's institution. He is at Indiana University at Bloomington, not at the University of Wisconsin at Milwaukee. And Darieck Scott is a member of the department of African-American studies at the University of California at Berkeley, not the department of African studies.


Key Books in Black Sexuality Studies

Honey, Honey, Miss Thang: Being Black, Gay, and on the Streets, by Leon E. Pettiway (Temple University Press, 1996)

The Boundaries of Blackness: AIDS and the Breakdown of Black Politics, by Cathy J. Cohen (University of Chicago Press, 1999)

Queering the Color Line: Race and the Invention of Homosexuality in American Culture, by Siobhan B. Somerville (Duke University Press, 2000)

Traps: African American Men on Gender and Sexuality, edited by Rudolph P. Byrd and Beverly Guy-Sheftall (Indiana University Press, 2001)

Longing to Tell: Black Women Talk About Sexuality and Intimacy, by Tricia Rose (Farrar, Straus and Giroux, 2003)

Black Queer Studies: A Critical Anthology, edited by E. Patrick Johnson and Mae G. Henderson (Duke University Press, 2005)

Why I Hate Abercrombie & Fitch: Essays on Race and Sexuality, by Dwight A. McBride (New York University Press, 2005)

Exploring Black Sexuality, by Robert Staples (Rowman & Littlefield, 2006)

Black Sexual Politics: African Americans, Gender, and the New Racism, by Patricia Hill Collins (Routledge, 2004)

Once You Go Black: Choice, Desire, and the Black American Intellectual, by Robert Reid-Pharr (New York University Press, 2007)

Private Lives, Proper Relations: Regulating Black Intimacy, by Candice M. Jenkins (University of Minnesota Press, 2007)

Blackness and Sexualities, edited by Michelle M. Wright and Antje Schuhmann (LIT Verlag, 2007)

Sweet Tea: Black Gay Men of the South, by E. Patrick Johnson (University of North Carolina Press, 2008)

Bulldaggers, Pansies, and Chocolate Babies: Performance, Race and Sexuality in the Harlem Renaissance, by James F. Wilson (University of Michigan Press, 2010)

¡Venceremos?: The Erotics of Black Self-Making in Cuba, by Jafari S. Allen (Duke University Press, 2011)

Invisible Families: Gay Identities, Relationships, and Motherhood Among Black Women, by Mignon R. Moore (University of California Press, 2011)

 

HISTORY + VIDEO: Session 7: Divine Aesthetics, Soulful Bodies and New Art Worlds in African American Music, 1930-60 « Dr. Guy's MusiQologY

Session 7:

Divine Aesthetics,

Soulful Bodies and

New Art Worlds in

African American Music, 

1930-1960

Posted by

Harlem Neighborhood, Gordon Parks, 1948. Park’s photography often depicted the everyday lives of African Americans with dignity in the face of persistent challenges to social equity.

The blues musical sensibilities that spawned gospel, jazz, rock and other American popular music styles were “secular” in their surface sheen but also spiritual, concerned with the ineffable, and depended on zealous devotion from their legions of fans and practitioners. Religion professor Robin Sylvan writes in Traces of the Spirit: The Religious Dimensions of Popular Music that the numinous is “a central ordering structure for human beings” and an “underlying substructure for all cultural activity . . . .the foundation for culture in general.” Music, he argues, is a natural conduit for religious meaning and expression because it can function in and on many levels: the physiological, psychological, sociocultural, semiological, virtual, ritual, and spiritual. While musical appreciation and devotion may not replace traditional religion, Sylvan believes that musical subcultures provide as “all-encompassing an orientation to the world as any traditional religion” does. And I would add that this capacity extends to art music in the concert world as well. As we have already learned, the establishment of an “art sphere” in the 19th-century American music landscape borrowed heavily on religion discourses such as the idea of “edification.” From the body-oriented, religious-like fervor generated in blues-derived music to the sanctified, hallowed halls of high-art music, we see in the historical arch spanning the first fifty years of the 20th century, the entanglements of sound, spirit, and the sanctimonious in African American music culture. By and large, these aesthetic values defied the industry’s commercially motivated ideas about “genre,” a social ordering that served more to restrict than to liberate.

While the African American church remained the principal venue for early gospel music in years leading up to the 1930s, it shared with ragtime and blues similar relationships to vernacular cultural sensibilities and to the culture industry. Many rural and urban churches maintained the energetic, kinetic, and vocally dramatic conventions established in the spirituals tradition. A shift occurred when composers such as Minister Charles A. Tindley, began to write and publish religious songs made specifically for his own services, innovating the gospel hymn with accompaniment, verse/chorus structure, and improvisation. Recordings began to circulate other forms of early twentieth century religious music as well, including the energizing blues-shouting vocals and “jig time” piano of Holiness singer Arizona Dranes and rural church music for solo vocalist and guitar accompaniment. All three streams would inform the genre of gospel music which emerged in Chicago in the 1930s.

“I Have Given the World My Songs,” Elizabeth Catlett, 1946-7

 

Within the community theater of the black church, one of the most vibrant and autonomous institutions in African American communities, publications such as Gospel Pearls, first appearing in 1921, served to canonize the “on the ground” musical tastes of congregations. The collection is drawn from several origins: standard Protestant hymns, hymns from the lining-out tradition, spirituals, songs by Charles Tindley and other writers. From the 1930s on, songwriters Lucie Campbell (1885-1963), W. Herbert Brewster, Sr. (1897-1987), singer and music publisher Sallie Martin (1896-1988), and pianist, singer, and publisher Roberta Martin (1907-69) all contributed to creating gospel music, a newly formed genre that combined the melodic inflection of the blues, the ragged rhythms of “jig” piano, the fervor and intensity of the ring shout, and the entrepreneurial instincts of popular music. At the center of this creative force was Thomas A. Dorsey (1899-1993), a preacher’s son, who moved to Chicago from Atlanta in 1916 while pursuing an active career in show business. Dorsey maintained performing and songwriting activities in both the church and entertainment worlds, but by 1931 he had organized two firsts: a “gospel” choir and a publishing company the following year devoted to original gospel compositions. Dorsey also accompanied a singer who became arguably the first gospel performer to become a star outside the church, Mahalia Jackson (1912-72), a performer whose blues-based vocal singing style became the gold standard of the genre for decades.

Since the codification of ragtime piano, pianists developed highly idiosyncratic approaches to solo and ensemble-based improvisation that constituted key elements in the generic codes of various black popular musics. The stride piano of James P. Johnson and Fats Waller, the boogie-woogie style of Meade “Lux” Lewis, and the rollicking “keyboard style” of Roberta Martin’s gospel piano would come to define genres and also supply rhetorical gestures for subsequent styles. Likewise, the conventions of both male and female quartet singing styles moved across the porous boundaries of secular and sacred contexts. Not only did quartet singing continually expand its conventions, groups like the Soul Stirrers, Swan Silvertones, Dixie Hummingbirds, Original Gospel Harmonettes of Birmingham, Southern Harps Spiritual Singers, the well-known Five Blind Boys of Alabama, and the Five Blind Boys of Mississippi stood as paradigms for popular singing groups across genres up to the 1990s.

Although commercial markets thrived on strategies of categorization and containment—“race records” for blacks, country or “hillbilly” music for southern whites, and Hit Parade for middle class whites—musicians and audiences, in truth, borrowed and listened across these social and sonic categories, creating new styles and extending audience bases as a matter of course. The steady migration of southerners to the North exploded once again during the years surrounding World War II and together with a surge toward the abandonment of Jim Crow practices and laws new social patterns emerged, and with them, new musical forms. The infectious swing music of the 1930s, perhaps best personified in the bands of Count Basie, would influence and be supplanted by two new musical styles—bebop and rhythm-and-blues—each articulating various, though not competing, views about leisure, entrepreneurism, art practice, modernism, and identity.

Bebop, also known as modern jazz, emerged in the early to mid-1940s as an instrumental approach to the swing dance aesthetic, an innovation that abstracted some of swing’s core conventions. Drummers disrupted the steady dance beat by dropping offbeat, dramatic accents called “bombs.” In order to sidestep paying copyright fees, musicians wrote compositions by writing new, more challenging melodies on the harmonic structures of existing popular songs. The harmonic structures themselves featured a sophisticated approach that exploited the upper partials—9ths, 11ths, and 13ths—and a strong emphasis on the tritone relationships and flatted fifths. The virtuosic improvisations of instrumentalists Charlie Parker, Dizzy Gillespie, Bud Powell, and Max Roach set jazz on a new artistic and demanding course. Vocalists Sarah Vaughan and Betty Carter influenced legions of singers with their command of bebop techniques. Pianist Thelonious Monk’s idiosyncratic compositional approach and acerbic solo approach emerged as the quintessential voice of new era in jazz.

“Twilight Sounds,” Norman Lewis, 1947. Visual artists like Lewis also began to experiment with the idea of “black representation” in their work. Lewis insisted that abstraction–in this case, works that did not depict “blackness” per se could be a powerful medium for African American artists.

If bebop abstracted swing and popular song then early rhythm and blues—an umbrella label for a constellation of black vernacular styles that appeared somewhat contemporaneously—took swing aesthetics and intensified its dance feeling with a heavier backbeat, a proclivity for 12-bar blues form, repetitious and riff-based melodies, and lyrics whose subject matter comprised all of the earthiness and humor of traditional blues, though, with an urbane twist. Perhaps best exemplified by Ruth Brown and Louis Jordan, the style was sonically related to rock ‘n roll, which emerged in the 1950s as a way to market the new dance music to white teenagers during the beginning years of the Civil Rights Movement and fears of desegregation. Although black performers such as Little Richard, Chuck Berry, and Fats Domino certainly counted among early rock ‘n roll stars—many believed it to be another strain of rhythm and blues—as the style became codified as a genre with its own race-specific social contract, it became understood as primarily “white.” The mainstream of rhythm and blues styles featured elements from gospel, blues and jazz, an imaginative repertoire of lyrics employing vivid imagery from black life together with qualities derived from specific locations such as the “urban blues” sound from Chicago and Los Angeles. Independent record labels were primarily responsible for recording and disseminating early rhythm and blues records8.

An important generation of black composers in the concert music tradition would benefit from opportunities that opened up in education for African Americans as a result of the Civil Rights Movement. As a result of this shifting tide, many would secure professorships at American universities in addition to securing major prizes and commissions. Their works, ranging from neo-classical styles to uses of more avant-garde materials, were written for chamber groups, opera, solo singer, and symphonies, among other settings. Howard Swanson, Ulysses Kay, George Walker, Hale Smith, and T.J. Anderson were among those who led the way, establishing reputations within the academy and the larger art music world. In the realm of performance, black musicians continued to build active careers although relatively fewer inroads were gained in the nation’s symphony orchestras, still the most prestigious vehicles for concert instrumentalists. African American conductors found greater success abroad, securing positions in Europe after obtaining rigorous training in American institutions. By contrast, the opera and concert stage proved more generous to singers such as Robert McFerrin, Leontyne Price, George Shirley, Grace Bumbry, Shirley Verrett, and Jessye Norman, all of whom made history by singing roles traditionally assigned to white singers. The predominance of black male composers in this period was striking. Julie Perry, despite formidable forerunners such as Florence Price and Shirley Graham, was singular in her prominence as a black female composer of her generation.

From the mid-twentieth century on, stimulated in part by another south-to-north mass migration during and after World War II, black music with roots in the popular sphere—jazz, gospel, rhythm and blues and all their multifarious sonic iterations—defined, for many, the aesthetic core of what was singular about American music culture. Despite their divergent social functions in the public sphere, they shared qualitative and conceptual characteristics. Independent record labels were key in disseminating the music as their owners sought to maximize profits as major labels initially ignored these styles. Ultimately, major labels would seek out, record, and distribute the music, and by doing so, facilitate their dominant national and international impact. Black popular music came to be seen as an important expressive force for the richness of African American culture, as a metaphor for the processes of creativity in such fields as literature, visual arts, and dance, and as a key symbol for the structural integration of black people into the mainstream of American society.

These genres moved along a trajectory that combined a sturdy grounding in historical traditions as well as a perpetual avant-gardism, the latter describing how musicians constantly pushed stylistic conventions into new configurations. Gospel music, while continuing its relationship to the aesthetics of the spiritual and the blues and to the combination of religion and entrepreneurialism that characterized the colonial and antebellum eras, developed into an important incubator of talent for other genres. Gospel singing techniques developed in the black church proved especially impacting as by the end of the twentieth century they defined how many “pop” singers would approach a song. As the decades progressed, innovators such as Rosetta Tharpe, James Cleveland, Edwin and Walter Hawkins, and Albertina “Twinkie” Clark, among others, built on the earlier contributions of pioneers Lucie Campbell, Willie Mae Ford Smith, and Roberta Martin to establish gospel music as a bastion of cutting-edge creativity, marketing savvy, and stylistic influence. It is important to note the centrality of female musicians in gospel music, which in many ways remains singular in the realm of modern African American music production.

 

VIDEO: Our National Anthem

Rene Marie

At the start of the event, City Council President Michael Hancock introduced singer Rene Marie to perform the national anthem. Instead, she performed the song "Lift Ev'ry Voice and Sing," which is also known as the "black national anthem." She did it to the star spangle banner tune.

OUR NATIONAL ANTHEM 

 

Amazing voices:

A familiar song like you've never heard it

One of the great things about following our music editor, L. Michael Gipson, on Facebook, is that he is always finding new talent. But this past week he outdid himself.  He saw a post from Gospel singer Byron Cage about a trio of singers from St. Paul Church in Richmond, Virginia.

Joseph Clarke, Jessica Fox and Mariah Hargrove don't just sing...they are a whole praise choir wrapped in three voices, with harmonies that go on for days.

Here is their version of the Star Spangled Banner. We've never heard anything like it. Be prepared to get chills.

 

You can check out more videos from this trio on Michael's Facebook page.

Posted December 2nd, 2012 by administrator

>via: http://www.soultracks.com/story-st-paul-church-singers-richmond

 

 

 

PUB: Flying Trout Press - 2013 Poetry Chapbook Contest

2013 Poetry Chapbook Contest Rules

  • First prize $500 and publication + 5 copies

  • Nonprofit mission is to publish new authors — contest only for authors without published book or chapbook

  • Deadline: January 15, 2013 postmark

  • Submit 20-24 pages of poetry

  • Blind review: On a cover sheet submit name, address, and contact information (address, e-mail, and phone #) and the title of your chapbook. On the chapbook manuscript put only its title. Put chapbook title on every page of the manuscript. Author's name cannot appear anywhere on the chapbook manuscript.

  • At least three independent readers

  • Reading Fee: $18 in check or money order to Flying Trout Press

  • Four finalists get a free copy

  • Poems can be on any topic

  • Finalists also considered for publication

  • No manuscripts returned without SASE. No electronic submissions.

  • Notification in April 2013

    See 2011 Winner Charlotte Pence's Weaves A Clear Night
    Congratulations Leah Naomi Green, 2012 Chapbook Winner

    info@flyingtroutpress.org
    MAILING ADDRESS
    Flying Trout Press
    P.O. Box 1256
    Bellingham, WA 98227-1256