African-American Composers for the Concert Saxophone: A Look at Three Prolific Composers

African-American composers within the field of classical music have made very profound contributions to the literature. In the field of chamber music, Scott Joplin, William Grant Still, Adolphus Hailstork and other composers illustrious composers have created an established and well-documented body of repertoire for many orchestral wind instruments. The saxophone repertoire, however, has not been developed as fully due to its limited tradition as an orchestral instrument and its prominence in the tradition of jazz and popular music. African-American composers in particular appear to be significantly under-represented within the standard concert saxophone literature. My personal experiences with saxophone repertoire in academic settings, solo recitals, conferences and in surveys of standard repertoire from nationally-recognized saxophone teachers support this assertion. There are many African-American composers who have made substantial contributions to the body of repertoire for the concert saxophone. This dissertation examines the works of three prolific African-American composers for the concert saxophone; Dr. Yusef A. Lateef, Andrew N. White III, and Dr. David N. Baker. All have composed more than five separate works featuring the concert saxophone. This project comprises three recitals, each dedicated to one of the three composers selected for this dissertation. Each recital presented will present their compositions featuring the saxophone as a soloist with various types of accompaniment. The project also includes newly-created piano reductions of Dr. David Baker's works for saxophone and orchestra made collaboratively with Baker and arranger John Leszczynski.

Comparative study between African-American and Caucasian Normal Tension Glaucoma patients

Purpose. To evaluate differences in optic disc and visual field damage between African-American and Caucasian Normal Tension Glaucoma (NTG) patients. Methods. We retrospectively selected 33 African-American patients with the diagnosis of NTG and age-matched them with 33 Caucasian patients with the same diagnosis. Three masked observers graded disc photographs and visual fields as being normal, globally damaged or focally damaged for both eyes of the subject. Chi-square test was used to evaluate statistically significant differences between groups. Results. The results of the visual fields showed that in the African-American group, 24% were graded normal, 30% showed global damage, and 46% showed focal damage. This data was compared with the Caucasian group which showed 41% normal graded eyes, 22% with global damage, and 37% with focal damage (p = 0.28). The results of the optic disc photos showed that in the African-American group, 25% were graded normal, 45% showed global damage, and 30% showed focal damage. This data was compared with the Caucasian group which showed 43% graded normal, 32% with global damage, and 25% with focal damage (p=0.16). Conclusions. In our study there was no difference in the frequency of globally damaged, focally damaged, and normal graded discs or visual fields between African-American and Caucasian NTG patients.

Quest/ion of Identities in African American Feminist Postmodern Drama: A Study of Selected Plays by Suzan-Lori Parks

Innovative and unconventional, Pulitzer Prize-winning playwright Suzan-Lori Parks belongs to the continuum of African American playwrights who have contributed to the quest/ion – the quest for and question – of identities for African Americans. Her plays are sites in which the quest/ion of identities for African Americans is pursued, raised and enacted. She makes use of both page and stage to emphasize the exigency of reshaping African Americans’ identities through questioning the dominant ideologies and metanarratives, delegitimizing some of the prevailing stereotypes imposed on them, drawing out the complicity of the media in perpetuating racism, evoking slavery, lynching and their aftereffects, rehistoricizing African American history, catalyzing reflections on the various intersections of sex, race, class and gender orientations, and proffering alternative perspectives to help readers think more critically about issues facing African Americans. In my dissertation, I approach three plays by Parks – The Death of the Last Black Man in the Whole Entire World (1990), Venus (1996) and Fucking A (2000) – from the standpoints of postmodern drama and African American feminism with a focus on the terrains that reflect the quest/ion of identities for African Americans, especially African American women. I argue that postmodern drama and African American feminism provide the ground for Parks to promote the development of a political agenda in order to call into question a number of dominant ideologies and metanarratives with regard to African Americans and draw upon the roles of those metanarratives as a powerful apparatus of racial and sexual oppressions. I also explore how Parks engages with postmodern drama and African American feminism to incorporate her own mininarratives in the dominant discourses. I argue that Parks in these plays uses postmodern drama and African American feminism to encourage reflections on intersectionality in order to reveal the concerns of African Americans, particularly African American women. Her plays challenge the dominant order of hierarchy and patriarchy, while in some cases urging unity and solidarity between African American men and women by showing how unity and solidarity can help them confront race, class and gender oppressions. Furthermore, I discuss how the utilization of postmodern techniques and devices helps Parks to transform the conventional features of playwriting, to create incredulity toward the dominant systems of oppression and to incorporate her mininarratives within the context of dominant discourses.

Small Cabinet Card of African American Man by John S. Thom, of Lucan, Ontario [n.d.]

A very small cabinet card type photograph of an unidentified man, possibly a relative of the Bell - Sloman family. A handwritten entry on the reverse of the photograph indicates it was taken by John S. Thom, of Lucan. No date is provided, however, John S. Thom is known to have been a photographer in Lucan from 1877-1882. This cabinet card was in the possession of Iris Sloman Bell, of St. Catharines. Relatives of the Sloman - Bell family include former African American slaves who settled in Canada.John S. Thom is listed as a photographer in Lucan, Ontario from 1877-1882. Aside from photography, he also operated a general store and sold notions. It appears he then moved to Sarnia, Ont. and is listed as a photographer there from 1882-1900. He is also recorded as being a Sarnia bicycle dealer. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990.

Tintype of Unidentified African American Woman Leaning on Chair [n.d.]

A small tintype of a young Black woman dressed in white. The date, location and name of the photographer are unknown. This tintype was among the family memorabilia belonging to Iris Sloman Bell, of St. Catharines, Ontario. Relatives of the Sloman - Bell family are descended from former American slaves."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

Tintype of African American Gentleman Seated on Stool [n.d.]

An unidentified man poses for his portrait seated on a stool in this undated black and white tintype photograph. This tintype was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. Relatives of the Bell - Sloman family include former Black slaves from the United States who settled in Canada."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

Signed Tintype of African American Men in Derby Hats [n.d.]

This undated small black and white tintype, slightly scratched, discolored and bent with age, shows a group of Black men posing for an unknown photographer. There is handwritten signature scratched into the reverse which appears to read "B.J." and "Owen" (see digital image of reverse). The original also has a hand-drawn "X" over the face of the seated man in the middle. This tintype was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell family descendants include former American slaves who settled in Canada."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

In The Circle : jazz Griots and the Mapping of African American Cultural Memory in Poetry

Ma thèse de doctorat, In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry, étudie la façon dont les poètes afro-américains des années 1960 et 1970, Langston Hughes, David Henderson, Sonia Sanchez, et Amiri Baraka, emploient le jazz afin d’ancrer leur poésie dans la tradition de performance. Ce faisant, chacun de ces poètes démontre comment la culture noire, en conceptualisant à travers la performance des modes de résistance, fût utilisée par les peuples de descendance africaine pour contrer le racisme institutionnalisé et les discours discriminatoires. Donc, pour les fins de cette thèse, je me concentre sur quatre poètes engagés dans des dialogues poétiques avec la musicologie, l’esthétique, et la politique afro-américaines des années 1960 et 1970. Ces poètes affirment la centralité de la performativité littéraire noire afin d’assurer la survie et la continuité de la mémoire culturelle collective des afro-américains. De plus, mon argument est que la théorisation de l’art afro-américain comme engagement politique devient un élément central à l’élaboration d’une esthétique noire basée sur la performance. Ma thèse de doctorat propose donc une analyse originale des ces quatre poètes qui infusent leur poèmes avec des références au jazz et à la politique dans le but de rééduquer les générations des années 2000 en ce qui concerne leur mémoire collective.

African-american civil rights in the USA.

Recurso que ayuda a los estudiantes a preparar, analizar, interpretar y evaluar los temas de historia del nivel AS/A y que estudia la lucha de los afro-americanos para lograr la igualdad en los últimos 150 años. En el capítulo 1 se estudian los puntos de vistas más comunes sobre el movimiento de los derechos civiles; en el capítulo 2 se señalan los antecedentes de este movimiento y se examina la segregación de los afroamericanos en los estados del sur de Estados Unidos; en el capítulo 3 se analiza el papel jugado por las dos guerras mundiales en la transformación del contexto del movimiento de los derechos civiles, así como la aparición de las primeras organizaciones que desafiaban la segregación en el sur. Los capítulos 4 y 5 prestan atención a los retos de la discriminación después de 1945; en el capítulo 6 se describe el éxito del movimiento por los derechos civiles entre 1963 y 1965 y la eliminación, a fines de 1965, en los estados del sur de la política segregacionista. Po último, el capítulo 7 analiza el legado de este movimiento y los logros conseguidos desde 1965.

Young caregiving and HIV in the UK: caring relationships and mobilities in African migrant families

Recent research in Sub-Saharan Africa has revealed the importance of children’s caring roles in families affected by HIV and AIDS. However, few studies have explored young caregiving in the context of HIV in the UK, where recently arrived African migrant and refugee families are adversely affected by the global epidemic. This paper explores young people’s socio-spatial experiences of caring for a parent with HIV, based on qualitative research with 37 respondents in London and other urban areas in England. In-depth semi-structured interviews were conducted with young people with caring responsibilities and mothers with HIV, who were predominantly African migrants, as well as with service providers. Drawing on their perspectives, the paper discusses the ways that young people and mothers negotiate the boundaries of young people’s care work within and beyond homespace, according to norms of age, gender, generational relations and cultural constructions of childhood. Despite close attachments within the family, the emotional effects of living with a highly stigmatised life-limiting illness, pressures associated with insecure immigration status, transnational migration and low income undermined African mothers’ and young people’s sense of security and belonging to homespace. These factors also restricted their mobility and social participation in school/college and neighbourhood spaces. While young people and mothers valued supportive safe spaces within the community, the stigma surrounding HIV significantly affected their ability to seek support. The article identifies security, privacy, independence and social mobility as key dimensions of African young people’s and mothers’ imagined futures of ‘home’ and ‘family’.

Impegno nero: Italian intellectuals and the African-American struggle

In the aftermath of the Second World War, Italian intellectuals participated in Italy’s reconstruction with an ideological commitment inspired by the African-American struggle for equal rights in the United States. Drawing on the work of many of the leading figures in postwar Italian culture, including Italo Calvino, Giorgio Caproni, Cesare Pavese, and Elio Vittorini, this essay argues that Italian intellectual impegno—defined as the effort to remake Italian culture and to guide Italian social reform—was united with a significant investment in the African-American cause. The author terms this tendency impegno nero and traces its development in the critical reception of African-American writers including W.E.B. DuBois, Langston Hughes, and Richard Wright. Postwar impegno nero is then contrasted with the treatment of African-American themes under Fascism, when commentators had likewise condemned American racism, but had paradoxically linked their laments for the plight of African Americans with defenses of the racial policies of the Fascist regime. Indeed, Fascist colonialism and anti-Semitism were both justified through references to what Fascist intellectuals believed to be America’s greater injustices. After 1945, in contrast, Italian intellectuals advocated an international, interdependent campaign for justice, symbolizing national reforms by projecting them onto an emblematic America. In this way, impegno nero revived and revised the celebrated "myth of America" that had developed in Italy between the world wars. Advancing a new, postwar myth, Italian intellectuals adopted the African-American struggle in order to reinforce their own efforts in the ongoing struggle for justice in Italy.

Correlates of sexual assault in a sample of male African American crack cocaine users

Although numerous studies have reported an association between substance use and sexual assault, little is known about the impact of sexual assault on male African American crack cocaine users. This study found that from a sample of 137 respondents from Houston, Texas, one-third reported having been sexually assaulted at least once during their lifetime. Respondents who reported sexual assault were using cocaine more often and were more likely to be physically dependent on drugs and to report greater numbers of physical health problems due to their drug use. However, no differences were identified in respect of reported mental health problems, or problems with family, friends or the workplace associated with drug use. The findings suggest further research as to the impact of sexual assault on male crack cocaine users is warranted and that clinical staff working with male substance users require some awareness of the impacts of sexual assault.