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The painting “Sugar Shack” depicts how African Americans relieve physical tension through dance and movement. This painting suggests that Ernie Barnes shows how his culture expresses themselves through dance. In fact, one of the reasons Sugar Shack is popular is because of the way Barnes captured physical strain and dynamic movement through the extension of arms and legs and the swaying of hips. We see the figures as men and women who are dancing in pairs, physically relating to one another and to other couples. This creates a sense of unity among all the figures in the piece, including the band. Barnes said, “Sugar Shack is a recall of a childhood experience. It was the first time my innocence met with the sins of dance.” The painting is supposed to make a person feel the rhythm while viewing it to show that African Americans use rhythm as …show more content…
a way of resolving physical tension. In the United States throughout the eastern, southern, and upper midwest areas there was a chain of performance venues known as "Chitlin Circuit" that were safe and acceptable for African American musicians, comedians, and other entertainers to perform in during Jim Crow era.
Sugar Shack successfully captures the feeling of being out at a typical African American night club on a Friday or Saturday night back in day. We are immediately captivated by the visual poetry of the bodies moving with a rhythmic flow reminiscent of pulsating soul music. It is easy to understand why Marvin Gaye wanted to use the painting as an album cover. Barnes altered the image after Marvin Gaye requested to use the image for his ‘I Want You’ album. Barnes added banners hanging from the ceiling to promote the singles on the album. On the original Sugar Shack, Barnes’ hometown Durham, North Carolina radio station WRSC was featured on a banner. The station’s frequency was incorrectly shown as 620, it was actually 1410. Barnes mixed up the on-air radio personality, Norfley Whitted former station WDNC, in which he worked in the early 1950’s, with
WSRC. During the Motown 25 “Yesterday, Today, Forever” anniversary television special on March 25, 1983, tribute was paid to Sugar Shack with a dance interpretation of the painting. Despite being loved by African Americans, the painting has received general art criticism. The painting is often criticized as the embodiment of “black romantic art”, which has been described as the “visual-art equivalent of the Chitlin’ circuit.” Sugar Shack’s composition is also successful in tying the background and foreground in together. As readers of the English language our eyes naturally go from left to right. The design invites you to enter the painting through the banners in the upper left and follow the staircase and balcony until they are pulled back to the point of emphasis— the dance floor. The image is pure visual celebration; it invites your eye to move throughout, darting back and forth from figure to figure, shape to shape, and color to color. The people move with eyes closed as if visiting some point of higher of consciousness, lost in a heightened state of being, or spirituality, truly immersing themselves with the music and one another. In conclusion, Sugar Shack captures the raw energy of black bodies in motion in a way that’s almost spiritual. It also addresses the intricate social structures of our community within the context of a communal setting. The characters in the painting relating to one another, coming together in peace and harmony to shake off whatever struggles they encountered during the week is a powerful expression of who we are as a people. You don’t have to take my word for it, the classic 1970’s television show Good Times approved this piece as representative of black life and culture by showing it in the program’s closing credits.
Throughout history, Black Americans have fought to reclaim their bodies and redefine ideas of Blackness. Much of this struggle can be attributed to the fact that Black people have not owned their own bodies for the vast majority of American history. The Black struggle to escape white labels and the fight for self-determination, Black narration, and the presentation of Black beauty are evident in dance and its evolution throughout history. In his article, "Simmering Passivity: The Black Male Body In Concert Dance," Thomas DeFrantz uses the career and choreography of Alvin Ailey to show how Black dancers in America have historically been forced to conform to White stereotypes. Conversely, Jason King and Ananya Chatterjea show in their articles “Which way is down? Improvisations on black mobility” and “Subversive Dancing: The Playful
Prompt 1 Mr. Dadier and Gregory Miller’s relationship throughout Blackboard Jungle reflects the socioculture happenings in the civil rights movement in relation to rock-and-roll. The beginning of the film opens with its only rock song Bill Haley and the Comets “Rock Around the Clock” and Dadier first encountering a group of students dancing, harassing a woman and gambling or as Shumway (125) describes, “helping to define the culture’s conception of dangerous youth and to make rock & roll apart of that definition.” The opening scene informs both Mr. Dadier and the viewer that rock-and-roll has already reached this racially integrated school noting that Gregory Miller has yet to be in a seen. For the viewers of this 1955 movie there would be a more profound reaction to the sight of a racially integrated school dancing to “Rock Around the Clock” because just a year before Brown vs Board of Education was passed which according to Szatmary (21) “helped start a civil rights movement that would foster an awareness and acceptance of African American culture, including the African American based rock-and-roll.” Since rock-and-roll was recognized as created by African-Americans it is easy for white Americans of the time to use African-American culture as a scapegoat for unruly teen behavior presented in the opening scene. The first scene Gregory Miller is introduced there is tension between him and Mr. Dadi...
In her essay, Brown uses a Creole term, “gumbo ya-ya”, which is at the essence of jazz, to weave a musical metaphor to explain that history is comprised of many rhythms played simultaneously, and which must be brought together to form a complex narrative, which is both multiple and asymmetrical. She sees African American culture as a means to rethink history and politics in an inclusive way.
According to the book the series of creative responses to the suffering of black American are not so complex. Perry’s polemic is open for discussion because it is inevitably connected with selection and interpretation. For example the constant discussion of rascally, when doing break dance, outlaw gangstas misses during the earlier days of hip-hop, graffiti and also electric boogaloo developed a space for Afro-American recognition. It was perhaps more concerning about pure hedonism than knowingly discussing on the deadlock of race relations. Creating imagery for the genre was essential hence the need for the use of metaphor in hip-hop plays on the black slaves looking for freedom as well as the hip hop
The book, The Spirituals and the Blues, by James H. Cone, illustrates how the slave spirituals and the blues reflected the struggle for black survival under the harsh reality of slavery and segregation. The spirituals are historical songs which speak out about the rupture of black lives in a religious sense, telling us about people in a land of bondage, and what they did to stay united and somehow fight back. The blues are somewhat different from in the spirituals in that they depict the secular aspect of black life during times of oppression and the capacity to survive. James H. Cone’s portrayal of how the spirituals and the blues aided blacks through times of hardship and adversity has very few flaws and informs the reader greatly about the importance of music in the lives of African-Americans. The author aims to both examine the spirituals and blues as cultural expressions of black people and to reflect on both the theological and sociological implications of these songs.
By the end of World War I, Black Americans were facing their lowest point in history since slavery. Most of the blacks migrated to the northern states such as New York and Chicago. It was in New York where the “Harlem Renaissance” was born. This movement with jazz was used to rid of the restraints held against African Americans. One of the main reasons that jazz was so popular was that it allowed the performer to create the rhythm. With This in Mind performers realized that there could no...
America was still changing rapidly as African Americans were allowed more and more rights and social justices. During this time in America’s history, racism was still largely found across the nation. It was almost customary for average white people to hold their black counterparts and lower regards. It was very rare for people of mixed races partaking in activities together, let alone creating music. Swing resolved some of these issues, and connected the races. The audience of Swing was also different in the sense that “college-age and high-school-age youth” built up a large majority of the common listeners (Edsford 1). The inclusion of younger aged consumers of Swing music is monumentally important contrasted with swing’s predecessors, where people of this age had no outlet of listening to music of any kind. The later part of the Swing revolution occurred during the first consumer era of America, allowing people of all ages to spend more time doing things they enjoyed, compared to just trying to survive. This brought a new flair to the world and transformed the bleak and monotone life of working all day into a luxuriant
This passage’s comedic tone engages with the stereotypes of Black and White Americans in an attempt to forgo convention. Following the tempo of “one, two, three, four, --, six, seven, eight,” Ross pokes fun at the traditional stereotype of White people and their inability to dance while simultaneously mocking the Blacks inability to imitate a simple pattern. Through poking fun at the conventional stereotypes, the passage unveils the subtext of racism. Ross states, “Ninety percent of those caught by the one, two, three, four, --, six, seven, eight were white. They just couldn’t get the hang of it.” Ross critiques the underlining racism apparent within society through the manipulation of comical prejudices. Ross infers that White people and their inability to maintain a simple beat. This grand statement categorizes the White demographic. Conversely, Black people find it outlandish that they could not learn the simple beat. They “couldn’t believe it.” Playing with the African-American stereotype of dancing and movement makes the reader consider if this is an accurate portrayal of the entire population. Furthermore, the syncopation is too simple and they get “caught by the normal, unsyncopated, one, two, one, two.” Stereotypes attempt to generalize the appearance of a minority or majority. This passage appears
Although he later denied that he ever said it, Sam Phillips-the man who discovered Elvis Presley-is reputed to have said, “if I could find a white man who had the Negro sound the Negro feel, I could make a billion dollars” (Decurtis 78). Certain radio stations would not play the work of black artists in the segregated America of the 1950s. But, nevertheless, rock ‘n’ roll was an art form created by African-Americans. Little Richard, whose songs “Tutti Fruitti” and “Long Tall Sally” became hits only after white-bread versions were made by Pat Boone, said, “It started out as rhythm and blues” (Decurtis 78).
Ramsay, B. (2000). Dance theory, sociology, and aesthetics. Dance Research Journal, 32(1), 125-131. Retrieved from http://www.jstor.org/stable/1478286
The content is written in the style of the blues not only in the music but in the social perspective of the times in Harlem in respect to the sufferings and struggles of the African-American past and present experiences, and what they were going to encount...
African-American music is a vibrant art form that describes the difficult lives of African American people. This can be proven by examining slave music, which shows its listeners how the slaves felt when they were working, and gives us insight into the problems of slavery; the blues, which expresses the significant connection with American history, discusses what the American spirit looks like and teaches a great deal from the stories it tells; and hip-hop, which started on the streets and includes topics such as misogyny, sex, and black-on-black violence to reveal the reactions to the circumstances faced by modern African Americans. First is about the effect of slave music on American history and African American music. The slave music’s
During the 1940’s, the world found itself dealing with World War II and in the United States ,a huge African culture movement swept throughout the north-eastern states. One specific artist that captivated the “Nightlife” of African Americans during that era was Archibald Motley Jr. He painted a series of paintings that involved African Americans and their culture. In the painting, “Nightlife” we see a group of African Americans dancing at a club/bar, enjoying life, and swaying their hips to the music. Perhaps, in this painting, Motley wanted his public to notice the breakthrough, blacks had during the 1940’s and wanted to show how music took their mind on a different stroll apart from the troubling issues the world was dealing with. Archibald wanted the world to notice the dynamic and exciting Negro culture.
The Black Arts movement refers to a period of “furious flowering” of African American creativity beginning in the mid-1960’s and continuing through much of the 1970’s (Perceptions of Black). Linked both chronologically and ideologically with the Black Power Movement, The BAM recognized the idea of two cultural Americas: one black and one white. The BAM pressed for the creation of a distinctive Black Aesthetic in which black artists created for black audiences. The movement saw artistic production as the key to revising Black American’s perceptions of themselves, thus the Black Aesthetic was believed to be an integral component of the economic, political, and cultural empowerment of the Black community. The concepts of Black Power, Nationalism, Community, and Performance all influenced the formation of this national movement, and it proliferated through community institutions, theatrical performance, literature, and music.
As it mentioned above, the title itself, draws attention to the world-renowned music created by African Americans in the 1920s’ as well as to the book’s jazz-like narrative structure and themes. Jazz is the best-known artistic creation of Harlem Renaissance. “Jazz is the only pure American creation, which shortly after its birth, became America’s most important cultural export”(Ostendorf, 165). It evolved from the blues