Souls Grown Deep: African American Vernacular Art of the South

2001 ◽  
Vol 35 (4) ◽  
pp. 660
Author(s):  
Gylbert Garvin Coker ◽  
William Arnett
Author(s):  
Anthea Kraut

This chapter juxtaposes brief case studies of African American vernacular dancers from the first half of the twentieth century in order to reexamine the relationship between the ideology of intellectual property law and the traditions of jazz and tap dance, which rely heavily on improvisation. The examples of the blackface performer Johnny Hudgins, who claimed a copyright in his pantomime routine in the 1920s, and of Fred and Sledge, the class-act dance duo featured in the hit 1948 musical Kiss Me, Kate, whose choreography was copyrighted by the white modern dancer Hanya Holm, prompt a rethinking of the assumed opposition between the originality and fixity requirements of copyright law and the improvisatory ethos of jazz and tap dance. Ultimately, the chapter argues that whether claiming or disavowing uniqueness, embracing or resisting documentation, African American vernacular dancers were both advantaged and hampered by copyright law.


1997 ◽  
Vol 9 (1) ◽  
pp. 57-79 ◽  
Author(s):  
Renée Blake

ABSTRACTEver since Labov, Cohen, Robbins, and Lewis's (1968) pioneering study, it has been commonplace to set aside certain tokens in analyzing variability in the English copula as “don't count” (DC) forms. These cases are most often occurrences of the copula that exhibit categorical behavior (as with the full copula in clause-final position), as well as those that are ambiguous or indeterminate. In this article, I propose a set of copula forms that should be set aside from variable analysis as instances of DC forms to allow for systematic comparisons among studies. I review the major alternative descriptions of DC copula cases in the literature and analyze the behavior of the traditional DC categories. New data are presented to support the exclusion of particular DC cases from analyses of copula variability. Among the conclusions are that [was], [thas], and [is] should be excluded from quantitative analyses of variation in the copula because of their invariant status, and that a number of tokens commonly included (e.g., questions) should be excluded on various grounds.


1985 ◽  
Vol 15 (4) ◽  
pp. 427-445 ◽  
Author(s):  
Katrina Hazzard-Gordon

2011 ◽  
Vol 113 (12) ◽  
pp. 2777-2803 ◽  
Author(s):  
Scott Baker

Background/Context Although the dominant narrative of the civil rights movement marginalizes the role of black educators, revisionist scholars have shown that a significant number of black teachers encouraged student protest and activism. There has, however, been little analysis of the work of black teachers inside segregated schools in the South. Purpose/Objective This study examines the courses that Southern African American teachers taught, the pedagogies they practiced, and the extracurricular programs they organized. Using Charleston's Burke Industrial School as a lens to illuminate pedagogies of protest that were practiced by activist educators in the South, this study explores how leading black educators created spaces within segregated schools where they bred dissatisfaction with white supremacy. Research Design This historical analysis draws upon archival sources, school board minutes, school newspapers and yearbooks, oral testimony, and autobiographies. Conclusions/Recommendations In Charleston, as elsewhere in the South, activist African American teachers made crucial contributions to the civil rights movement. Fusing an activist version of the African American uplift philosophy with John Dewey's democratic conception of progressive education, exemplary teachers created academic and extracurricular programs that encouraged student protest. Beginning in the 1940s and continuing through the 1960s, students acted on lessons taught in classes and extracurricular clubs, organizing and leading strikes, boycotts, and demonstrations. The pedagogies that leading African American educators practiced, the aspirations they nurtured, and the student activism they encouraged helped make the civil rights movement possible.


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