9 • THE HIDDEN CODE OF THE KONGO COSMOGRAM IN AFRICAN AMERICAN ART AND CULTURE

Chapters in this book

1. Frontmatter i
2. CONTENTS vii
3. ILLUSTRATIONS ix
4. SERIES EDITOR FOREWORD xi
5. VISUAL FOREWORD xiii
6. INTRODUCTION African American Arts in Action 1
7. Part 1 BODIES OF ACTIVISM
8. 1 • TRANS IDENTITY AS EMBODIED AFROFUTURISM 15
9. 2 • DESIGNING OUR FREEDOM Toward a New Discourse on Fashion as a Strategy for Self-Liberation 29
10. 3 • PEARL PRIMUS’S CHOREO-ACTIVISM 1943–1949 41
11. 4 • PERFORMING NEW NATIONALISM/ PERFORMING A LIVING CULTURE Josefina Báez’s Dominicanish¹ 51
12. 5 • ETHNICITY, ETHICALNESS, EXCELLENCE Armond White’s All-American Humanism 69
13. 6 • RACE AND HISTORY ON THE OPERATIC STAGE Caterina Jarboro Sings Aida 89
14. Part 2 MUSIC AND VISUAL ART AS ACTIVISM
15. 7 • “I AM BASQUIAT” Tracing Jean-Michel Basquiat’s Alterity and Activism in Paint and Performance 105
16. 8 • “I LUH GOD” Erica Campbell, Trap Gospel, and the Moral Mask of Language Discrimination 127
17. 9 • THE HIDDEN CODE OF THE KONGO COSMOGRAM IN AFRICAN AMERICAN ART AND CULTURE 139
18. 10 • FROM BALDWIN TO BEYONCÉ Exploring the Responsibility of the Artist in Society— Re-envisioning the Black Female Sonic Artist as Citizen 152
19. 11 • SLAYING “FORMATION” A Queering of Black Radical Tradition 174
20. Part 3 INSTITUTIONS OF ACTIVISM
21. 12 • CENTERING BLACKNESS THROUGH PERFORMANCE IN EVERY 28 HOURS 191
22. 13 • DANCING FOR JUSTICE PHILADELPHIA Embodiment, Dance, and Social Change 201
23. 14 • A CONVERSATION WITH FREDDIE HENDRICKS OF THE FREDDIE HENDRICKS YOUTH ENSEMBLE OF ATLANTA 214
24. 15 • THE CONCILIATION PROJECT AS A SOCIAL EXPERIMENT Behind the Mask of Uncle Tom-ism and the Performance of Blackness 220
25. BLACKBALLIN’ A Play 237
26. ACKNOWLEDGMENTS 307
27. ABOUT THE CONTRIBUTORS 309
28. INDEX 313