Besides the obvious black face that white people put on in minstrel theater with the help of burnt cork, the tropes of the genre include stylizations or parodies of black music, dance, speech, and character. Actual blackface theater was already in decline toward the end of the nineteenth century, but here and there it survived much later. In 1848, Frederick Douglass scornfully branded blackface minstrels as “the filthy scum of white society, who have stolen from us a complexion denied to them by nature ( Blackface and Blackness ,7).” This should remind us that in the years when blackface theater was most popular, slavery was still an American fact of life in Southern states. As one historian put the matter, for a “half-century” these entertainments represented “insurement to the uses of white supremacy.” The
The Coffin of Pedi-Osiris, Pedi-Osiris was also known as the Lord of the Underworld, was made between the years of 305 BC-30 AD by various Egyptian artists using an Egyptian mummification process. The coffin, standing at more than 7 feet tall and large enough to contain the Priest, who enclosed in numerous layers of linen cloth, was made to resemble religious semiology and linear decorations using wood, polychrome, gold inlay and paint. Egyptian religion believed in resurrection after death and coffins were made to represent the life after death in order to ensure a successful rebirth. The artists used elaborate and detailed scenes using linear designs and hieroglyphs engravings on the sarcophagus to instruct and assist the Priest on his journey the through the underworld into the afterlife. The ancient Egyptian sarcophagi included illustrations depicting animals, religious proceedings and funerals that are painted on both sides of the coffin.
INTRODUCTION: The two works at the Dallas Museum of Art that are going to be discussed are the black-figure panel amphora and figure of a young man from a funerary relief. The black-figure panel amphora originated from Greek, Attic in 6th century BCE. This painted terra cotta vase was created by a painter of the Medea group. The figure of a young man from a funerary relief was from Greek, Attic in 4th century BCE. This marble statue was a gift to the Dallas Museum of Art from Mr. and Mrs. Cecil H. Green.
Each sculpture expresses the sexuality that comes from their culture. When you view the sculptures, you can see the well-defined curves for their breasts, hips and thighs. It seems there are more differences between the two sculptures than similarities. The most noticeable differences are the time periods and the material they were carved from. Woman from Willendorf was carved in the Upper Paleolithic Period (c. 42,000-8000 BCE) out of oolitic limestone colored with red ocher, and the Aphrodite of Knidos was carved during the Late Classical Period (c. 450-400 BCE) out of marble.
1. What is the Black Athena Debate about? The Black Athena Debate was started when the book Black Athena: The Afroasiatic Roots of Classical Civilization was first published. The book supports the thesis that the ancient Greeks were given their culture mostly by ancient Egyptians and Phoenicians. There have been several well respected scholars to weigh in on the issue, however the two major players in the debate were Martin Bernal who authored Black Athena, and Mary Lefkowitz who authored a rebuttal titled Black Athena Revisited.
That’s why I support (BBSA) Black Beauty Supply Store Association trying to take back what we should rightfully have, the black hair care industry. The black hair care industry was controlled by African Americans in the 1900’s. Madam C.J. Walker was one of the first to own a manufacturing and distributor company of black hair care products. The social journal reports that between the 1940’s and 1950’s the black hair care industry arose as a black organization.
The Latin community has been plagued with the Colorism issues as well. The Latin community is very diverse with skin hues, ranging from the lightest whites to the darkest black, similar to the various skin hues found within the African-American race. In a Huffpost Blog, Claudio Cabrera accounts back to a time where his ““Dominicaness” was questioned because of [his] complexion…” He endured N-word taunts and had to prove to people that he was Dominican by speaking Spanish. This is just one example where Colorism is prevalent with the Latin community as
They shaped there pottery based on new cultural influences, but also new technology. For specific style like Greek how it goes from tiny on the bottom too thick at the top. Also the Italians used to create fancy pottery like Greeks did as well. My inspiration to create a pottery item is like the fancy water glasses you would see in Europe. The thick to thin top with fancy design on the outside.
Before 4,000 B. C. the Egyptians wore makeup. The art of makeup was highly skilled and widely practiced. The makeup was usually black or green to signify fertility and rebirth in the next life. They painted their lips red or blue black. The ancient Egyptian makeup tradition of outlining the eyes with pigment to create an almond or feline shape and the importance placed upon this practice, however, transcends the Western concept of eye makeup.
Finding WPA murals overwhelming, Lawrence concentrated on traditional painting instead. He produced his first major works in the late 1930s, most notably the Toussaint L Ouverture series, images that document the life of the revolutionary hero and Haiti’s struggle for independence. Other significant works include visual narratives of the lives of abolitionists Harriet Tubman and Frederick Douglass. In 1940, Lawrence received the prestigious Julius Rosenwald Fellowship making it possible to purchase his first art studio on 125th Street in the heart of Harlem. He soon portrayed Harlem street life in paintings that became commentaries on the role of African Americans in United States society with highly developed themes of resistance and social opposition.