“This selection of ten essays makes a persuasive case for a black Atlantic literary renaissance and its influence on modernist experiences. The chapters stretch and problem present canonical configurations of modernism in methods: via contemplating the centrality of black artists, writers and intellectuals as key actors and middle presences within the improvement of a modernist avant-garde; and by means of interrogating ‘blackness’ as a cultured and political classification at severe moments in the course of the 20th century. this can be the 1st book-length book to discover the time period ‘Afromodernisms’ and the 1st research to deal with jointly the cognate fields of modernism and the black Atlantic.”
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Additional resources for Afromodernisms: Paris, Harlem, Haiti and the Avant-garde
Du Bois’s comment about the centrality of the colour line for the twentieth century. The denial of their national aspirations prompted uprisings throughout the colonised world, from Ireland to Egypt, India, Korea and beyond. 8 Paris was at the centre of this world, especially but not only because it played host to the peace conference. At no other point in the French capital’s history, not even during the French Revolution, did it loom so large in global affairs. Not only did the city welcome the movers and shakers of the world order, but it also hosted its own energetic radical movements, which drew inspiration from insurgent Petrograd and nascent Communism in general.
In November 1917 the drummer Louis Mitchell played a series of concerts in Paris with his band. The following year Harlem bandleader James Reese Europe led the band of the all-black 369th US Army Infantry Regiment42 on the first jazz tour of France, fascinating the French listeners to this strange new music and winning near-universal acclaim. 44 It triumphed primarily as dance music, for the immediate post-war years saw the rise of a big dance craze in France. Parisians wanted to dance, and frequently they wanted to dance to jazz.
Indd 29 15/01/2013 13:51 30 Tyler Stovall settlement rather than a ringing declaration of victory. The Congress had little if any impact on the peace negotiations, for example. Its deliberations represented neither a straightforward statement of black politics nor a capitulation to white global power, but rather a complex mixture of the two. In this complexity it had much in common with the introduction of jazz in Paris at the same time, a subject to which we now turn. Ringing in les années folles Like the peace conference, jazz in 1919 represented the birth of a new world, and in both cases Paris lay at the heart of this onset of modernity.
Afromodernisms: Paris, Harlem, Haiti and the Avant-garde