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Role of pan africanism in fighting for civil rights of africans
African american impact on american culture
African american impact on american culture
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Today, Black culture is a buzzword. Online, many member of the millennial generation contest the appropriation and appreciation of Black culture on a daily basis. Yet, there exists numerous interpretations of the term “Black culture” itself. Though Black culture can mirror Pan-African sentiments and seek to represent the cultures of all Black people throughout the diaspora, the term sometimes refers to specific experiences of Blackness. These include those of: African Americans, an American who has African ancestry; Africans, a person born, raised, or living in Africa; and Blacks, relating to a group of people who have dark skin and come originally from Africa. Though the African American lens is typically used when discussing material examples …show more content…
In his 1941 book, “Myth of the Negro Past”, Herskovits argues that there is something African that persists in African American, or Black, culture. As he writes, “Slavery did not totally destroy the African culture and that in fact African culture has survived in various forms in the Caribbean to the point where certain cultural phenomenon must be seen in the light of African cultural retention” (Herskovits). This retentionist theory was created by Herskovits in order to discourage assertions that Africans had no other past than that of “primitive savagery” (Herskovits). Herskovits presented that there are three forms in which continental African culture was retained by enslaved African: Survivals, cultural forms that nearly mirrored the original African forms; Syncretisms, the practice of identifying aspects of the old culture when comparing to that of the new culture; and Reinterpretations, seen when African culture is reinterpreted to suit a new environment. All these forms can be seen in African worship practices …show more content…
Frazier argues that African retentionist theories are negligible because enslaved Africans were completely stripped of their culture by the process of the African Slave Trade and subsequent enslavement. Therefore, a new, completely different and unique culture was created via slavery, middle passage, and seasoning -- conditioning enslaved people to inhumane treatment. Some of the new cultural traditions included: shifting religious practices; the African family being broken and dispersed across the Americas; and, creating new languages while adapting to life during enslavement. As Frazier notes, "Those traditions were a measure, in a sense, of the extent to which the Negro ha[d] assimilated the American cultural heritage" (Frazier 388) . Frazier also pulled from one of the three forms that uphold Herskovits theory of retention in order to valid his annihilation theory. Frazier believes that Syncretism served as proof of the destruction of natural African, or Black, culture. The processes of capture, abuse, and surveillance created a climate inhospitable to clinging onto the older forms of
The people of the black culture need a motivating force behind their community. They need a black aesthetic to motivate them and incline them to support the revolution. The black aesthetic itself will not be enough to motivate the people; they will need black art to help them understand what they are supporting. The art in the black culture needs an aesthetic to get the message across to its viewers and allow them to understand the meaning behind pieces of artwork. One of Ron Karenga’s points is how people need to respond positively to the artwork because it then shows that the artist got the main idea to the audience and helps to motivate them to support the revolution. In “Black Cultural Nationalism”, the author, Ron Karenga, argues that
Everyone is raised within a culture with a set of customs and morals handed down by those generations before them. Most individual’s view and experience identity in different ways. During history, different ethnic groups have struggled with finding their place within society. In the mid-nineteen hundreds, African Americans faced a great deal of political and social discrimination based on the tone of their skin. After the Civil Rights Movement, many African Americans no longer wanted to be identified by their African American lifestyle, so they began to practice African culture by taking on African hairdos, African-influenced clothing, and adopting African names. By turning away from their roots, many African Americans embraced a culture that was not inherited, thus putting behind the unique and significant characteristics of their own inherited culture. Therefore, in an African American society, a search for self identity is a pervasive theme.
Freud defined civilization as the “whole sum of the achievements and the regulations which distinguish our lives from those of our animal ancestors and which serve two purposes-namely to protect men against nature and to adjust their mutual relations” (Freud, Sigmund 42). Knowing the history of a civilization is crucial to understanding its effects on its own people. Frantz Fanon wrote in his book, Black Skin, White Masks that the black man “has no culture, no civilization, and no ‘long historical past’” (Fanon 17). The black man’s lack of civilization can be attributed to their enslavement. Once black men were taken from their home country and forced into slavery, they lost their own civilization. They were thrust into the New World,
In Stuart Hall’s “What is This “Black” in Black Popular Culture?” the historical implication of popular culture in the U.S is examined and the influence that blackness has in it is deconstructed. According to the text, the departure of European concepts of culture after WWII sparked a hegemonic shift as the United States emerged as a world power. Due to this, the U.S. became the epicenter of global culture production. However, since America has always had a large ethnic population due to slavery, the true face of American popular culture was black American vernacular traditions. Even today, slang that emerge from black ghettos and communities become highly popular with people of other races. In fact, much of black culture is not just our culture,
Sprouted from slavery, the African American culture struggled to ground itself steadily into the American soils over the course of centuries. Imprisoned and transported to the New World, the African slaves suffered various physical afflictions, mental distress and social discrimination from their owners; their descendants confronted comparable predicaments from the society. The disparity in the treatment towards the African slaves forged their role as outliers of society, thus shaping a dual identity within the African American culture. As W. E. B. DuBois eloquently defines in The Souls of Black Folk, “[the African American] simply wishes to make it possible for a man to be both a Negro and an American, without being cursed and
The core principle of history is primary factor of African-American Studies. History is the struggle and record of humans in the process of humanizing the world i.e. shaping it in their own image and interests (Karenga, 70). By studying history in African-American Studies, history is allowed to be reconstructed. Reconstruction is vital, for over time, African-American history has been misleading. Similarly, the reconstruction of African-American history demands intervention not only in the academic process to rede...
Are black people that different than white people? This is both a question and concern society focuses much attention on today, is there cultural assimilation in the United States or does the country still remain segregated? Realistically, America has a long way to come before saying it fully integrates both races equally. Donnell Alexander, author of “Cool Like Me” approaches the topic of the prejudices whites have of blacks, arguing that there exists no cultural integration and the United States is still separated. With many lucid examples using expressive tones and personal examples, he compares the coolness of himself to the coolness of other blacks and other cultures in order to get the reader to identify “cool” and relate it as a black quality and observe it in American culture as a style and a way of thinking.
Author of “The Negro Family”, E. Franklin Frazier believed that the centrality of the bible, structure of Black worship, and notion of God that evolved from the invisible institution to the Black Church was confirmation of the power of white influence . These tactics and different developments were merely adaptive methods used by slaves in order to worship freely in a confined space. Frazier’s beliefs were undermined by author Gayraud S. Wilmore’s description of Vodun in his book Black Religion and Black Radicalism. Frazier’s contention that black religion was evidence of white influence assumes a blank and passive slate. While Vodun in West Africa did have organization that was probably “infiltrated by Roman Catholicism” the goal of New World Africans was to adapt and understand their lives (Wilmore 43). Although white influence was forced upon New World Africans, slaves did not accept this influence but rather interpreted it to create a new, place-based Vodun religion. Vodun adapted to New World conditions, functioned as a coping mechanism, and possessed evolutionary qualities.
The third key principle of race, ethnicity and post-colonial analysis centers on a group’s culture being erased in order to adapt to the “new” dominant culture (Hall 269-271). The group being affected may try to hold on to established traditions but may face a divide in their ranks. The older generations are more likely to cling on to established cultural traditions but the new generations will try to adapt to the new ones society presents to them. Ellison gives examples of the divide in the African American community. “He was brought up along with the members of a country quartet to sing what the officials called “their primitive spirituals” when we assembled in the chapel on Sunday evenings” (Ellison 47). The older generation, that Trueblood
Slave’s masters consistently tried to erase African culture from their slave’s memories. They insisted that slavery had rescued blacks form the barbarians from Africa and introduced them to the “superior” white civilization. Some slaves came to believe this propaganda, but the continued influence of African culture in the slave community added slave resistance to the modification of African culture. Some slaves, for example, answered to English name in the fields but use African names in their quarters. The slave’s lives were filled with surviving traits of African culture, and their artwork, music, and other differences reflected this influence.
Migrations have taken place by slaves and by free people of sub-Saharan Africa for over seventy thousand years, beginning with the tropical areas of the Old World and followed by Eurasia and the Americas. These migrations, or Diasporas, began with religious voyages and cultural exchanges and evolved to the slave trade and the deportation of black men, women and children to new colonies as workers and servants. Long before the Atlantic slave trade grew, merchants from Greece and the Roman Empire traveled to the East African coast. Patrick Manning points out in, African Diaspora: A History Through Culture, that migrants came from southern Arabia to Eretria and Ethiopia in the first millennium BCE (Manning 36). As time went on, contacts grew with other regions of Africa and trade developed with Asia and Europe. This resulted in further migrations of black Africans as both slaves and free men. The Africans brought with them customs, music food preparation techniques and minerals. For example, the discovery of copper in Central Africa brought about a substantial trans-Saharan trade and more exchange of culture and migrations. As more Africans migrated to various parts of the world, they carried with them their culture and learned new techniques and ways of life. Whether they migrated as slaves or as free men, the Africans influenced their new lands and African identity was influenced forever. This paper will look at the effects of these migrations on African identity throughout the Diaspora. It will examine migration patterns, issues of race, racial hierarchy and culture.
In accordance to African American writer Margaret Walker’s quote that talks about African Americans still having their African past intact despite slavery and racism, immigration indeed affected cultural ways. The interconnection of the trans-Atlantic world brought about the rise of new cultures, music and expressions that were to be held by future generations, which is now the population of African American people. This paper will research on the middle passage and the early American slavery and how African tried to resist.
Africans changed or rebuilt their societies as a result of their travels and interactions with other cultures. The enslaved black people built a tradition of opposition to slavery that manifested itself in significantly weakening the systems of slavery. They developed new traditions and a new sense of identity that incorporated appreciation for their ancestral life as well as the new realities or slavery. Migration, whether forced or done freely contributed to a new identity (Manning 38).
One of the biggest ways Africans were able to endure the institution of slavery was by finding similarities in the European culture that coincided with their native customs. “ The similarities between many European and African Cultural elements enabled the slave to continue to engage in many traditional activities or to create a synthesis of European and African cultures.”1 While there were many
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.