8th Annual AADS Humanities Afternoon: Rendering the Black Fantastic: Movement, Resistance, and Power

Event information
Venue:Graham Center 243, FIU Modesto Maidique Campus

Please see the schedule below.


Rendering the Black Fantastic

“The fantastic in this context would entail unsettling these governmentalities and the conventional notions of the political, the public sphere, and civil society that depend on the exclusion of blacks and other nonwhites from meaningful participation and their ongoing reconstitution as raw material for the naturalization of modern arrangements.” –Richard Iton

The 2018 AADS Humanities Afternoon will offer an opportunity to examine past, present, and future examples of Black popular culture to imagine and reimagine blackness as scholarship, gender, sexuality, migration, immigration, mobility, politics, public policy, art, music, aesthetics, and difference. While there will be others, one lens that will be used this year is Richard Iton’s seminal work In Search of the Black Fantastic (2008) . Iton (2008) argued that “the black in black fantastic, in this context, signifies both a generic category of underdeveloped possibilities and the particular “always there” interpretations of the agonistic, post-racial, and post-colonial visions and practices generated by subaltern populations” (p. 16). It is within this context that this year’s event will explore the current use of popular culture as a realm where important political discourse, action, and reaction takes place, particularly as opposite to the formalized and problematic space of establishment politics. The 2018 AADS Humanities Afternoon will offer an opportunity to assess the most powerful displays of Black resistance, transgression, and transformation by connecting the past, present, and future of Black “artists” as knowledge-builders. Blackness pre and post the Obama years, juxtaposed with current efforts to recapture the hegemony of great American exceptionalism will be explored. Invited panelists will interrogate the use of Black popular culture to articulate and perform artistic transgressive resistance. Prospective elements include Colin Kaepernick’s anthem protest and social justice advocacy, diaspora and black subjectivities, patriotism and white nationalism, black migration, immigration and deportation, black performance and black agency. As with previous years, 2018 will bring together scholars, activists, writers, and artists. An educational, engaging, and entertaining afternoon is planned.

Program Schedule

1:00 – 1:25 Opening Remarks and Introduction of Panelists
1:25 – 3:30 Panel (Three participants, 20 minutes each) panel interaction and Q & A from audience
4:00 – 4:30 – Spoken word and musical performances
5:00 – Reception and art exhibit

Confirmed Panelists:

Margo Natalie Crawford is Professor of English at University of Pennsylvania. She is a scholar of twentieth and twenty-first century African American literature and visual culture and global black studies. Her most recent book is Black Post-Blackness: The Black Arts Movement and Twenty-First-Century Aesthetics (in the New Black Studies series of University of Illinois Press, 2017). Her earlier books include Dilution Anxiety and the Black Phallus (Ohio State University Press, 2008) and New Thoughts on the Black Arts Movement, co-edited with Lisa Gail Collins (Rutgers University Press, 2006). Crossing boundaries between literature, visual art, and cultural movements, her scholarship opens up new ways of understanding black radical imaginations.

Mark Anthony Neal is the chair of African & African American Studies, Professor of African & African American Studies and English, and the founding director of the Center for Arts, Digital Culture and Entrepreneurship (CADCE) at Duke University where he offers courses on Black Masculinity, Popular Culture, and Digital Humanities, including signature courses on Michael Jackson & the Black Performance Tradition, and The History of Hip-Hop, which he co-teaches with Grammy Award Winning producer 9th Wonder (Patrick Douthit). He is the author of several books including What the Music Said: Black Popular Music and Black Public Culture (1999), Soul Babies: Black Popular Culture and the Post-Soul Aesthetic(2002) and Looking for Leroy: Illegible Black Masculinities (2013). The 10th Anniversary edition of Neal’s New Black Man was published in February of 2015 by Routledge. Neal is co-editor of That's the Joint: The Hip-Hop Studies Reader (Routledge), now in its second edition. Additionally Neal host of the video webcast Left of Black, which is produced in collaboration with the John Hope Franklin Center at Duke. You can follow him on Twitter at @NewBlackMan.

Dinizulu Gene Tinnie is a public artist and humanities professor. Tinnie attended Suffolk County Community College, where he earned his A.A. degree, with an emphasis on science, in 1962. He continued his studies at the State University of New York-Stony Brook, where he earned his B.A. degree in French in 1965, minoring in education and Spanish. In 1966, Tinnie earned a Fulbright scholarship to Universite’ de Caen in Caen, France, to study French language, history and culture, receiving his Diplôme d'études en langue française (DELF) certification in 1967, and his Licence es Lettres degree in 1968 from the Universite’ de Nancy, in Nancy, France. He would go on to earn his M.A. degree in French literature and linguistics from Queens College, City University of New York in 1970.

Tinnie’s commissions include “Remembrance of the Way,” “Trilogy for Dr. King,” “The World is a Garden in which All Are One,” “A Gathering of Spirits,” and the Richmond Heights Pioneers Monument. Other works include “I Remember the March on Washington,” “Dinizilu Gene Tinne,” and “After the Henrietta Marie,” a supplemental historical exhibition in conjunction with the touring “A Slave Ship Speaks: The Wreck of the Henrietta Marie” exhibition, created by the Mel Fisher Maritime Heritage Society in 1995. Tinnie served as chair of the City of Miami Virginia Key Beach Park Trust, and founded and served as coordinator of the Kuumba Artists Collective of South Florida. He also co-directed the Dos Amigos/Fair Rosemond Slave Ship Replica project.