This study examined the similarities and differences between John S. Mbiti's analysis of African religion and the theology of the Pan-African Orthodox Christian Church (P.A.O.C.C.). The study sought to establish whether the similarities represent African retentions and conscious adaptations within the P.A.O.C.C. Five aspects were considered in the analysis of African Religion and the P.A.O.C.C. They are: revelation, god, humanity, savior/messiah and church. The researcher found that within the theology of the P.A.O.C.C. there exist significant African retentions and learned adaptations of African religion that parallel Mbiti's analysis of African religion. The P.A.O.C.C. consider themselves a theological institution with Afrocentric practices and tradition. The conclusions suggest that the Pan-African Orthodox Christian Church is an institution of contemporary Afrocentric religious expression.

<p> The six piano suites of R. Nathaniel Dett (1882-1943) constitute a substantial body of piano music that illustrates the musical development of an important, but historically neglected American musician. Dett was a seminal figure in the preservation and study of spirituals, both as a writer and choral leader, and as a great teacher and inspirer of African-American musicians in the generations that followed him. Educated at Oberlin and Eastman, he was lauded as the first American composer to fuse Negro folk music with European art music tradition. </p><p> The writing of a series of like-genre works over a composer's lifetime, reflecting stylistic changes and a deepening world view, is a special event in the history of keyboard music. Unfortunately, Dett's piano music is rarely performed except for the second of the suites, <i>In the Bottoms</i>. Although his importance to African-American musical history is generally acknowledged by musicologists, his works for piano have remained largely unexplored by performers. </p><p> Dett's eclectic pursuits included poetry, the Rosicrucian Society, and religion. This study explores the connections between the suites and other musical styles and traditions, Dett's many extra-musical interests, and his performing life. It also offers some possible explanations for the relative lack of attention received by his piano music. </p><p> This study incorporates research from readily-available sources, as well as the Nathaniel Dett archives at the Niagara Falls New York Public Library and Hampton University. The first three chapters give an overview of Dett's style and influences, as well as a description of how his musical language developed from his first suite, <i>Magnolia</i> (1912), to his last, <i> Eight Bible Vignettes</i> (1941-43), written at the end of his life. Each suite is examined individually in detail in the following six chapters. It is hoped that this work will stimulate appreciation of Dett's piano music and lead to more frequent performances. Its goal is to give to the reader the same sense of admiration and joy that the author's exploration of these works has given him.</p>

<p> This paper will examine the historical and cultural significance of the development of the African-American dance form known as "jitting". I will explore the dance lineage of jitting and ask these questions: how does the development of jitting inform our understanding of historical and current forms of African-American dance and culture? What place does jitting occupy within the lineage of well-known American and African-American movement? What role do oral traditions play in the lineage of African-American dance? To answer these questions I have studied the literature of twentieth century African-American artistic traditions in Detroit, the history of American concert dance, African dance history, and cultural anthropology texts covering aspects of artistic development and differences between Western and African artistic traditions as they relate to jitting as a dance form. I conducted interviews with people who are active in this art form, and I gained information from the pioneers of jitting; Johnny McGhee, James McGhee and Tracy McGhee. I also interviewed Hakeem Rasul, Cornelius Harris, and Tokkyo Faison. Rasul is also a jitter and the director of a jitterbug documentary, and he is the owner of the dance company Hardcore Detroit, one of the ambassadors of a style known as New Detroit jit. Harris is the label manager for Underground Resistance as well as the founder of Alter Ego Management. He is an MC and composer of techno music used by jit artists. Faison played a big part in the exotic entertainment scene from the late 1980's into the 2000's and was influential in the development of jitting as a major component in the exotic dance world in Detroit. I have also reflected on my own journey as a dancer and my life experiences, all of which led me to explore these ideas. </p><p> Why is it that art forms such as hip-hop dance are passed down through generations, but not often formally documented? I make the argument that it is important to document these forms so that the past is never forgotten and so people can learn from the past to continue the evolution of art. Does this lack of formal documentation keep these art forms from getting the recognition they deserve? In terms of being recognized on an equal basis with European art forms, I believe it does. We must understand how important it is to document this work so that our modern-day culture can look at the past in order to better understand the present. I want to be able to bring a better appreciation of the significance of this art form to people of all walks of life. Many audiences understand that movement is often reused and adapted, but many do not know that the original purpose or meaning of these movements is often changed to represent something entirely different. It is natural for art forms to change as they evolve, but it is necessary to know the cultural origins, especially if art is to be respected and have its rightful place in the world. </p><p> An example of the lack of recognition that African-American art forms are given can be found in the use of the word "ethnic." This word is often a code word for "less than," in comparison to European art forms. Could this be related to the fact that European cultures tend to have more formal documentation of their art forms? I hope to be able to answer these questions and uncover the hidden connections that will shine a light on this vital form of dance. </p>

<p> According to the disciplinary section of State of Ohio Department of Education&rsquo;s annual Ohio State Report Card (OSRC), African-American students have continuously led the student population in exclusions (suspensions and expulsions), particularly regarding ambiguous, subjective offenses. The disproportionate exclusion of these students has been an obstacle to receiving valuable education time, and opportunities to learn to navigate and thrive within the educational system. The over-exclusion of these students has also created a population of youth with decreased psychological, emotional, and community supports. The purpose of this study was to examine trends of school disciplinary exclusions following a state-wide change in the behavioral system used to discipline students (shifting from Zero Tolerance policies [ZT] to Positive Behavioral Interventions and Supports [PBIS]). A cross-sequential study design was used to evaluate secondary data from the OSRC. Implementing PBIS produced a trend of lowered exclusions for African-American students, but no statistically significant differences were found. Statistically significant differences were discovered when examining the rates of the overall (total) exclusions and objective exclusions for Caucasian students. A trend of lowered rates, but no statistically significant differences were found for students with additional risk factors (disability status, male sex, low Socioeconomic Status [SES] and poor academic performance) for exclusion. A correlation analysis identified that both African-American and Caucasian students who were identified as low SES tended to be associated with more risk factors; thus, a stronger likelihood of being excluded.</p><p>

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This study examines the term flight, as both motif and as consciousness in the legend of the flying Africans, and the cosmological differences as represented in four texts: Toni Morrison's Song of Solomon, Paula Marshall's Praisesong for the Widow, Ralph Ellison's Flying Home, and Octavia Butler's Kindred. Flight is measured in terms of recurring patterns found within the texts and their meanings given by the authors. The problem of this research stems from the issue that the Gullah, direct descendents of the flying Africans (Igbos) along the Coastal Sea Islands of the United States, have upheld an age hierarchy of secrecy such that there is limited research in the area of flight, allowing this group to maintain a unique African identity for over 200 years. This study was based on the premise that the Igbos' concept of flight was not only a survival mechanism but also a way to form community and identity and to keep the memories of their ancestors alive. This idea is called epic memory, that which has to be pieced together in order for the person to be made whole. An intertextual historiography analysis approach was utilized as the methodology to better understand the life and culture of the Gullah and Igbos. Karla F. C. Holloway argues that revision, (re)membrance, and recursion are always present when analyzing "speakerly texts." The researcher found that numerous recurring patterns within the selected texts began to form meaning around beliefs and myth within culture remembered during epic events. The patterns were often obscure with hidden codes that were revealed after the understanding or gist of the plot came to view. The conclusion drawn from the findings suggest that the flying Africans were able to fly home at will because of epic memory, and that all African descended peoples are able to recall the fragmented pieces regardless of geographical location.

This study investigated the productiveness of the legacy of Edward Wilmot Blyden as an educator, Pan-Negro Patriot, politician, and missionary from 1821 to 1912. The study was based on the premise that Blyden contributed to the re-Africanization of freed blacks who emigrated to Sierra Leone and Liberia. Historical analysis was used as a methodology for the investigation of Blyden's effectiveness on the various roles he fulfilled toward helping freed blacks in their struggles to become African. The researcher found that freed blacks who had emigrated to Liberia and Sierra Leone, in West Africa, were able to adapt and to improve their lives intellectually; they were also able to improve their political and social status through the teachings of Edward Wilmot Blyden's philosophy of re-Africanization. The conclusion drawn from the findings reveals that Blyden was successful in each activity undertaken— especially in the re-Africanization of the emigrants.

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No description available.