Black Aesthetics

For this final project paper and presentation, you will submit a final, 12-15 page 1.5-spaced scholarly research
paper based on a topic of your choosing exploring a form of Black aesthetics
related to those we have discussed in class (though may not be a repeat of class lectures and discussions).
Papers must utilize an accepted style guide—such as the Chicago Manual of Style or the MLA (Modern
Language Association) Style Guide—or the equivalent. Acceptable equivalents to a scholarly paper could be a
collection of poems, two to three works of criticism, or some combination executed in power point, or other
digital interface. If a series of poems, papers should include at least five pages that serve as introduction,
framing as per elements above and explanation of how the poetic form and content reflects these core
elements, and epilogue.

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All final projects must get instructor’s approval.
Elements to include:
Your paper should include, address, and connect the following.:
-Highlight in form and/or writing content one core aspect of Black aesthetics as detailed in course lectures and
readings
-Trace the origins of this core concept
-Connect to one theory of perception from your own research, readings, and interest
-Connect to one core concept addressed by Fred Moten in The Undercommons
-Relate this concept to your own work either in form of paper (such as poetics) and/or in details of
performance, painting, musical composition, etc.
-Problematize your selected practice in terms of Rowland Abiodun’s introduction on African art and the
fashioning of a new lens.
-Consider ashé as it related to your work. Where is the ashé—does it exist—within your work or practice, and
how might audiences experience it?
-Directly reference (with quotes) at least four key texts we have read, utilized, and/or referenced (from the syllabus)

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If you are addressing aspects of ritual, initiation, and other points of transition, consider the following
questions.:
• What is the ritual practice you are exploring? Describe the ritual i.e. detail what happens, when, who
participates, etc. to give a full view of the ritual itself.
• What is the purpose and/or intention of the ritual?
• What are the origins of the ritual? In this, include connections not only to religious practices and/or
mythologies that may have given rise to the ritual practice and tracing the trajectory from Africa to Americas
but also connections to architecture, geography, interactions with neighboring communities, historical
practices, etc. which have played a part in the development of this particular form both conceptually and also
in its ritual execution.
• What is the performative nature of this ritual art performance? Discuss this in relation to paradigms of soul,
sacred, and secular as discussed in Paul Carter Harrison’s essays “Praise/Word” and “Form and
Transformation.”
• Is this a work of art, a work of religion, a spiritual practice, all of the above? How or why can this be
considered a “ritual art performance”?
• Relate this practice to each of the overarching categories framing our syllabus this semester: origins; the
fantastic; the voice; and performing blackness. As part of the bibliographic references, relate your chosen
practice to a text from each of these categories, making sure for “origins” to relate at least one aspect of
Yoruba cosmology and ritual practice using correct terminology.
• Discuss this practice in relation to contemporary art practices.
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