Pan-Africanism: a contorted delirium or a pseudonationalist paradigm? Revivalist critique

This essaic-article goes against established conventions that there is anything ethno-cultural (and hence national) about the so-called African tribes. Drawing largely from the culture history of precolonial/prepolitical Africans—that is, the Bantu/Cushitic-Ethiopians (Azanians)—the author has demonstrated vividly that far from being distinct ethno-culture national communities, the so-called tribes of African states are better considered subculture groups, whose regional culture practices erstwhile paid tribute to their nation’s main culture center in Karnak. For example, using the culture symbols and practices of some local groups and linking them to the predynastic and dynastic Pharaonic periods, I argued that there is compelling evidence against qualifying Africa’s tribes as distinct ethno-culture national entities. In genuine culture context, I stressed that the Ritual of Resurrection and its twin culture process of the mummification of deceased indigenous Pharaohs tend to suggest that the object of the Bantu/Cushitic-Ethiopians national culture was life (in its eternal manifestation) and then resurrection later, and that there are recurring (culturally sanctioned) ethical examples among the culture custodians of these subculture groups that generally pay tribute to the overarching culture norm. Furthermore, the fact that the Ritual of Resurrection began in the Delta region and ended at the Sources of the Nile, where the spirit of the deceased indigenous Pharaohs was introduced into the spiritual world of their ancestors, contradicts conventional perceptions that ancient Egypt was a distinct national community isolated from precolonial/prepolitical Africa/Azania

'Concrete freedom' : C.L.R. James on culture and black politics

This article aims to provide a synoptic account of the cultural writings of the West Indian intellectual and activist C.L.R. James. I aim to make a case for greater recognition of his work among cultural sociologists. I go on to show how James’ original, historicising account of cultural forms relates closely to his wider political interventions including, specifically, his ground-breaking discussion of mid-twentieth century black politics in America

Clash of pans: pan-Africanism and pan-Anglo-Saxonism and the global colour line, 1919–1945

The article demonstrates both conceptually and empirically that pan-Anglo-Saxonist knowledge networks reconstructed and reimagined an apparently de-racialised, scientific, sober and liberal world order that outwardly abandoned, but did not eradicate the twin phenomena of racism and imperialism. Rather the new liberal (imperial) internationalists, organised in newly formed “think tanks” such as Chatham House and the Council on Foreign Relations, and through their increasingly global elite networks, mounted a top-down battle for minds at home and in the wider world. Operating in state-private elite networks, they drove the movement to manage change and develop a new liberal world order particularly to contain pan-Africanists who combatted the domination and exploitation of Africans worldwide. More broadly, we indicate that the pragmatic response to the extremes of Nazi ideology and a countering movement from the cadres of Asian, African and African American intellectuals, anti-colonial and anti-racist struggles within the national and global context, forced the Anglo-centric elites to promote change, albeit limited

Forging connections: anthologies, arts collectives, and the politics of inclusion

The changing social and political landscape of twentieth-century Britain catalysed a remarkable rise in collaborative activity by artists and activists of black and Asian heritage. Creative communities began to gather in both local and regional contexts, with the aim of sharing resources and securing an audience. This chapter records some of these many activities, tracing the groups’ genesis, manifest objectives, and key contributions. It argues that anthologising should be understood as a specifically motivated activity. Literary anthologies of poetry and fiction served to showcase the diversity of contemporary writing, while also suggesting its coherence. Drawing on the concept of “strategic essentialism” elucidated by Gayatri Chakravorty Spivak, I show that the anthology acts to ensure the visibility of a group, bannered as a unified and singly-titled selection of texts, while also insisting on the differences within: the heterogeneous multiplicity of black and Asian British experiences and creative practices

'Vernacular Voices: Black British Poetry'

ABSTRACT Black British poetry is the province of experimenting with voice and recording rhythms beyond the iambic pentameter. Not only in performance poetry and through the spoken word, but also on the page, black British poetry constitutes and preserves a sound archive of distinct linguistic varieties. In Slave Song (1984) and Coolie Odyssey (1988), David Dabydeen employs a form of Guyanese Creole in order to linguistically render and thus commemorate the experience of slaves and indentured labourers, respectively, with the earlier collection providing annotated translations into Standard English. James Berry, Louise Bennett, and Valerie Bloom adapt Jamaican Patois to celebrate Jamaican folk culture and at times to represent and record experiences and linguistic interactions in the postcolonial metropolis. Grace Nichols and John Agard use modified forms of Guyanese Creole, with Nichols frequently constructing gendered voices whilst Agard often celebrates linguistic playfulness. The borders between linguistic varieties are by no means absolute or static, as the emergence and marked growth of ‘London Jamaican’ (Mark Sebba) indicates. Asian British writer Daljit Nagra takes liberties with English for different reasons. Rather than having recourse to established Creole languages, and blending them with Standard English, his heteroglot poems frequently emulate ‘Punglish’, the English of migrants whose first language is Punjabi. Whilst it is the language prestige of London Jamaican that has been significantly enhanced since the 1990s, a fact not only confirmed by linguistic research but also by its transethnic uses both in the streets and on the page, Nagra’s substantial success and the mainstream attention he receives also indicate the clout of vernacular voices in poetry. They have the potential to connect with oral traditions and cultural memories, to record linguistic varieties, and to endow ‘street cred’ to authors and texts. In this chapter, these double-voiced poetic languages are also read as signs of resistance against residual monologic ideologies of Englishness. © Book proposal (02/2016): The Cambridge History of Black and Asian British Writing p. 27 of 4