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Art is method: theory and practice of the New Black Aesthetic
Pyrova Tatiana Leonidovna

Post-graduate student, the department of Aesthetics, M. V. Lomonosov Moscow State University

119991, Russia, Moscow, Leninskiye Gory 1





This article is dedicated to the examination of the New Black Aesthetic trend and determination of its basic peculiarities. It originated in 1960’s in the United States as a response of the Afro-American population to the autocratic discourse of the white culture. Having emerged as a part of the “Nation of Islam” movement, the New Black Aesthetic rapidly transformed into the independent art movement, becoming comprehensible through the specific set of categories. The starting point of conceptualization of the aesthetical practice in terms of the considered trend lies in persuasion that the result of art must be the transformation of social life. It reconciles the New Black Aesthetic with the philosophical positions of pragmatism and neo-pragmatism. The article also separately examines the problematic of subversive relation to the New Black Aesthetic from within the Afro-American community, concentrated in the concept of “cultural mulatto”. The author refers to the framework of multimodal materials of the indicated aesthetical trend, using the visual-semiotic, content, and historical-comparativist analysis.  The author introduced into the discourse of Russian aesthetic research the description of one of the most significant aesthetic projects of the XX century – New Black Aesthetic (NBA), as well as characterizes the political and historical context of its establishment, key peculiarities, and impact upon the contemporary cultural movements.

Keywords: Protest, Hip-hop culture, Anger, Cultural mulatto, Hip-hop, Aesthetic specificities, Black arts, New Black Aesthetic, Philosophy, Aesthetic



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This article written in Russian. You can find full text of article in Russian here .

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