From “Black Collectivities: A Conference,” held May 3–4, 2013, at Northwestern University’s Mary and Leigh Block Museum of Art, the Museum of Contemporary Art Chicago, and the University of Chicago’s Arts Incubator. Bookended theoretically between a reassessment of the black radical tradition and a critique of mainstream performance art history, this article starts in Harlem before taking the reader on a sweeping journey that calls at Chicago and Houston and ends in New Orleans. A cursory introduction to African diasporic public ceremonial culture, the article looks to carnival and second-line parades, military marches and marching bands, funeral processions and civil rights movement demonstrations for historical antecedents and to Lorraine O’Grady and Shani Peters (three decades apart from each other), Cauleen Smith, Daniel Bernard Roumain, Sol Sax, and Rashaad Newsome for examples of the reemergence of these forms into contemporary artistic practices with inspiration in Caribbean and African American public performance tradition.
Research Article|May 01 2014
Taking It to the Streets: African Diasporic Public Ceremonial Culture Then and Now
Claire Tancons is a curator, writer, and researcher focusing on Carnival, public ceremonial culture, and popular movements. She is cocurator of En Mas’: Carnival and Performance of the Caribbean, slated to open at Contemporary Arts Center New Orleans in March 2015 and subsequently tour with Independent Curators International. Tancons is also curator of Up Hill Down Hall: An Indoor Carnival as part of the 2014 BMW Tate Live series at Tate Modern.
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Nka (2014) 2014 (34): 60-65.
Claire Tancons; Taking It to the Streets: African Diasporic Public Ceremonial Culture Then and Now. Nka 1 May 2014; 2014 (34): 60–65. doi: https://doi.org/10.1215/10757163-2415213
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