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“This number of ten essays makes a persuasive case for a black Atlantic literary renaissance and its impression on modernist reports. The chapters stretch and problem present canonical configurations of modernism in methods: by means of contemplating the centrality of black artists, writers and intellectuals as key actors and middle presences within the improvement of a modernist avant-garde; and by means of interrogating ‘blackness’ as a cultured and political type at serious moments throughout the 20th century. this is often the 1st book-length booklet to discover the time period ‘Afromodernisms’ and the 1st learn to handle jointly the cognate fields of modernism and the black Atlantic.”

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Extra resources for Afromodernisms: Paris, Harlem, Haiti and the Avant-garde

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63. On Josephine Baker’s stewardship of her own career, see Bennetta JulesRosette, Josephine Baker in Art and Life: The Icon and the Image (Urbana: University of Illinois Press, 2007). 64. Stovall, Paris Noir, p. 88. 65. Langston Hughes, The Big Sea (New York: Hill and Wang, 1979), p. 162. indd 42 15/01/2013 13:51 Chapter 2 Futurist Responses to African American Culture Przemysław Stroz˙ek At the beginning of the twentieth century the first signs of African American culture in the form of dances – ragtime, the cakewalk, jazz, the Charleston – appeared in Europe as a new, original form of entertainment, and music craze, notably in the Parisian salons.

Elliot Carpenter, leader of the Red Devils, set sail for the French capital after band members portrayed it as a land of unequalled beauty and opportunity. When they arrived they found a city where everyone seemingly wanted to hear their music, where jazz was truly le dernier cri. indd 31 15/01/2013 13:51 32 Tyler Stovall In the best known music halls, They are making unheard-of profits [. ] For the first act they bring out A dozen Negroes They are musicians who seem To be afflicted with St Vitus’ dance.

162. indd 42 15/01/2013 13:51 Chapter 2 Futurist Responses to African American Culture Przemysław Stroz˙ek At the beginning of the twentieth century the first signs of African American culture in the form of dances – ragtime, the cakewalk, jazz, the Charleston – appeared in Europe as a new, original form of entertainment, and music craze, notably in the Parisian salons. At the time when avant-garde tendencies and a passion for primitivism were fuelling new artistic movements from cubism and Futurism to surrealism, it was only one term, ‘jazz’, that emerged to describe this experimental art and important cultural phenomenon.

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