Leon Forrest, the Aacm and The Legacy of the Chicago Renaissance
Bibliographic Data
| ID | 8390367 |
|---|---|
| Authors | Craig Werner (0000-0001-8387-777X, corresponding author) |
| Year | 1993 |
| Volume | 23 |
| Issue | 3-4 |
| Pages | 10-23 |
| Publication date | 1993-06-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | The Black Scholar (JOURNAL) |
| Journal identifiers | ISSN: 0006-4246 • E-ISSN: 2162-5387 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/00064246.1993.11413102 |
| OpenAlex | W2294837436 |
| Language | EN |
| References cited | 9 |
and high art traditions of European and African American culture. Like Gwendolyn Brooks whose life and work represent crucial links between the Chicago Renaissance and the generation of black Chicago artists who began working in the 1960s and 1970s Forrest and contemporaries such as Clarence Major draw much of their power from the juxtaposition of European American modernist and African American musical traditions
African american · African-American culture · Art · Art history · Harlem Renaissance · Musical · Performance art · Power (physics · Sociology · The Renaissance · Visual arts · Anthropology · History · Music History and Culture · Musicology and Musical Analysis · Theater, Performance, and Music History
| Citation velocity | historical |
|---|---|
| Highly cited | No |