Charmaine A. Nelson – författare

Departing from more conscribed definitions, this book argues for an expansion of the concept of ‘Creolization’ in terms of duration, temporality, population, and importantly, in regional scope, which also impact climate and the practices of slavery that are typically included and excluded from consideration.

Eschewing the normative focus on language and music, the authors instead center art and visual, and material cultures, as both outcomes and practices, in their explorations to consider the ways that cultural production in the period of slavery and its aftermath was irrevocably impacted by the collision of races and cultures in the Americas. The chapters probe how creolization unfolded for differently constituted individuals and populations, as well as how it came to be articulated both in the historical moments of its enactment and its retroactive cultural representations and production. In so doing, they seek to both expand the terrain (literally and figuratively) of the definition of creolization and to turn towards an examination of its relevance for art and visual, and material cultures of the Transatlantic world.

The chapters in this book were originally published in African and Black Diaspora: An International Journal.

Departing from more conscribed definitions, this book argues for an expansion of the concept of ‘Creolization’ in terms of duration, temporality, population, and importantly, in regional scope, which also impact climate and the practices of slavery that are typically included and excluded from consideration.

Eschewing the normative focus on language and music, the authors instead center art and visual, and material cultures, as both outcomes and practices, in their explorations to consider the ways that cultural production in the period of slavery and its aftermath was irrevocably impacted by the collision of races and cultures in the Americas. The chapters probe how creolization unfolded for differently constituted individuals and populations, as well as how it came to be articulated both in the historical moments of its enactment and its retroactive cultural representations and production. In so doing, they seek to both expand the terrain (literally and figuratively) of the definition of creolization and to turn towards an examination of its relevance for art and visual, and material cultures of the Transatlantic world.

The chapters in this book were originally published in African and Black Diaspora: An International Journal.

This book offers the first concentrated examination of the representation of the black female subject in Western art through the lenses of race/color and sex/gender. Charmaine A. Nelson poses critical questions about the contexts of production, the problems of representation, the pathways of circulation and the consequences of consumption. She analyzes not only how, where, why and by whom black female subjects have been represented, but also what the social and cultural impacts of the colonial legacy of racialized western representation have been. Nelson also explores and problematizes the issue of the historically privileged white artistic access to black female bodies and the limits of representation for these subjects. This book not only reshapes our understanding of the black female representation in Western Art, but also furthers our knowledge about race and how and why it is (re)defined and (re)mobilized at specific times and places throughout history.

This book offers the first concentrated examination of the representation of the black female subject in Western art through the lenses of race/color and sex/gender. Charmaine A. Nelson poses critical questions about the contexts of production, the problems of representation, the pathways of circulation and the consequences of consumption. She analyzes not only how, where, why and by whom black female subjects have been represented, but also what the social and cultural impacts of the colonial legacy of racialized western representation have been. Nelson also explores and problematizes the issue of the historically privileged white artistic access to black female bodies and the limits of representation for these subjects. This book not only reshapes our understanding of the black female representation in Western Art, but also furthers our knowledge about race and how and why it is (re)defined and (re)mobilized at specific times and places throughout history.