black culture and the origins of transatlantic modernism /
First Statement of Responsibility
Sieglinde Lemke.
.PUBLICATION, DISTRIBUTION, ETC
Place of Publication, Distribution, etc.
New York :
Name of Publisher, Distributor, etc.
Oxford University Press,
Date of Publication, Distribution, etc.
1998.
PHYSICAL DESCRIPTION
Specific Material Designation and Extent of Item
1 online resource (183 pages) :
Other Physical Details
illustrations
SERIES
Series Title
W.E.B. DuBois Institute
INTERNAL BIBLIOGRAPHIES/INDEXES NOTE
Text of Note
Includes bibliographical references (pages 165-174) and index.
CONTENTS NOTE
Text of Note
Introduction: Was Modernism Passing?; 1 Studies in Black and White; 2 Picasso's "Dusty Manikins"; 3 Whiteman's Jazz; 4 The Black Body; 5 The Black Book; Conclusion: Modernism Reconsidered; Notes; Bibliography; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; R; S; T; U; V; W; Y; Z.
0
SUMMARY OR ABSTRACT
Text of Note
This book explores a rich cultural hybridity at the heart of transatlantic modernism. Focusing on cubism, jazz, and Josephine Baker's performance in the Danse Sauvage, Sieglinde Lemke uncovers a crucial history of white and black intercultural exchange, a phenomenon until now greatly obscured by a cloak of whiteness. Considering artists and critics such as Picasso, Alain Locke, Nancy Cunard, and Paul Whiteman, in addition to Baker, Lemke documents a potent cultural dialectic in which black artistic expression fertilized white modernism, just as white art forms helped shape the black modernism.