MS01.03.03.B07.F09.0002

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[HANDWRITTEN IN RED INK:]
[underscored] Start now-- work back [/underscored]
where has it come from*

Lengthy interviews with

[HANDWRITTEN IN BLACK INK ON RIGHT-HAND MARGIN:]
[underscored] Oyatunjia [/underscored]
S.C.

1) [underscored] Constructions of Africa [/underscored]

These include a) re-creations of forms presumed to have been used in
Africa, whether ritual objects or those from everyday use, b) images
of an African past or present from a variety of perspectives whether
idealized or critical, c) utilization of formal elements associated
with Africa (techniques, media, palette, etc.) that have been handed
down from generation to generation, d) incorporation of forms/styles
resulting from detailed studies of tradition (such as the
architectural studies of George Smith or Mel Edward), e) assimilation
and visualization of philosophical concepts, or f) the total
absence/non-existence of Africa. [HANDWRITTEN IN RED INK:]
-- (Martin Puryear -- Richard Hunt)
[HANDWRITTEN IN BLACK INK:]
J. Powell Overstreet
Wm T. Wms, P Keane(?)

2) [underscored] Constructions of self in the larger society (Black minorities in white-majority countries) [/underscored]

[HANDWRITTEN IN BLACK INK ON RIGHT-HAND MARGIN:]
Keith Jacob Lawrence Mostly Meadows Bearden West

These would include works that comment primarily on issues of
citizenship both past and present, that is, national concerns seen
from the perspective of Afro-American and Afro-Brazilian artists
keeping in mind the active, shaping aspect of these works. These
could range from overtly and aggressively political statements to more
subtle, indirect, satiric or ironic works, ones that might be said to
be subversive yet still unequivocal.

3. [underscored] Constructions of self and the Black community [/underscored]

[HANDWRITTEN IN BLACK INK ON RIGHT-HAND MARGIN:]
[Sylvia Catlett]

These are more strictly person in content and impact, more
auto-biographical. They would be used to convey the personality of
the individual artist and his/her impact as the "shaper" or definer of
issues. Such works reveal the search for the inner self and self in
relation to a community with shared values.

These categories, when applied to both Afro-American and
Afro-Brazilian works, can be increased, expanded, contracted,
sub-divided or eliminated depending upon the works surveyed and
selected. It is therefore a broad, open, and flexible approach that
allows us to choose the strongest pieces

[underscored] Historical Background
[/underscored]

[HANDWRITTEN IN RED INK ON RIGHT-HAND MARGIN:]
Start Up-to-date [underscored] and reverse trend [/underscored]
*bring up

Brazil--Africans in large #s (over 3 1/2 million were brought as
slaves to Brazil which was more than double the # brought to the
British and French Carribean, or Spanish America, and more than 9
times the # brought to North America (Curtin 1969 Atlantic slave
trade: a Census, p. 268). they came over a longer period of time to a
system of slavery that varied substantially in different regions.
Toward the end of the trade, the large #s of Yoruba brought in
provided a strong resurgence of African culture and belief. In
Brazil, the myth of assimilation was accompanied by the fact of racism
in which African identity was suppressed until the 1970s. Several

[HANDWRITTEN IN RED INK ON BOTTOM MARGIN:]
African retentions is a passive statement

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