Minnita Daniel-Cox, University of Dayton

Paul Laurence Dunbar was only 33 years old when he died in 1906.

In his short yet prolific life, Dunbar used folk dialect to give voice and dignity to the experience of Black Americans at the turn of the 20th century. He was the first Black American to make a living as a writer and was seminal in the start of the New Negro Movement and Harlem Renaissance.

Dunbar also penned one of the most iconic phrases in Black literature – “I know why the caged bird sings” – his poem “Sympathy.”

“… When his wing is bruised and his bosom sore, When he beats his bars and he would be free; It is not a carol of joy or glee, But a prayer that he sends from his heart’s deep core, But a plea, that upward to Heaven he flings – I know why the caged bird sings!”

Published in 1899, “Sympathy” inspired acclaimed Black writer and activist Maya Angelou to use Dunbar’s line as the title of her seminal autobiography.

But Dunbar’s artistic legacy is often overlooked. This, despite the fact that his work influenced a number of other great African American literary giants, including Langston Hughes, Nikki Giovanni, James Weldon Johnson, Zora Neale Hurston and Margaret Walker.

In a very real sense, Dunbar is your favorite poet’s favorite poet.

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A blooming life of writing

Born on June 27, 1872, to two formerly enslaved people from Kentucky, Dunbar was raised by his mother, and they eventually settled in Dayton, Ohio.

While there, Dunbar attended the integrated Dayton Central High School. An exceptional writer, Dunbar was the only Black student in his class and became editor-in-chief of the high school newspaper as well as a member of the literary and drama clubs and debating society.

He also became friends with a white classmate who, with his brother, would later invent the airplane – Orville Wright.

The two knew each other well.

Their friendship led to business as the Wright brothers, who owned a printing press, were the first to print Dunbar’s writings, including the newspaper Dunbar started and edited, the Dayton Tattler, the first Black newspaper in that city.

After high school, the lives of Dunbar and Wright took different turns.

Unable to find consistent pay for his writing, Dunbar worked a variety of jobs, including as a janitor in one downtown Dayton office building and as an elevator operator in another. Not one to miss a business opportunity, the 20-year-old Dunbar sold his first book of poetry, “Oak and Ivy,” to passengers he met on the elevator.

He found another such job after he moved to Washington, D.C., and worked stacking shelves at the Library of Congress. According to his wife, Alice Dunbar, an accomplished writer in her own right, it was there that her husband began to think about a caged bird.

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“… The torrid sun poured its rays down into the courtyard of the library and heated the iron grilling of the book stacks until they were like prison bars in more senses than one,” Dunbar wrote. “The dry dust of the dry books … rasped sharply in his hot throat, and he understood how the bird felt when it beats its wings against its cage.”

Dunbar’s first break came when he was invited to recite his poems at the 1893 Worlds Fair, where he met Frederick Douglass, the famous abolitionist. Impressed, Douglass gave Dunbar a job and called him the “the most promising young colored man in America.”

Dunbar’s second break came three years later. On his 24th birthday, he received a glowing Harper’s Weekly review of his second book of poetry, “Majors and Minors,” from the prominent Ohio-raised literary critic William Dean Howells.

That review came with a mixed blessing. Howells’ praise of Dunbar’s use of dialect limited Dunbar’s ability to sell his other styles of writing.

But that same review helped catapult Dunbar to international acclaim.

His stardom didn’t last long, though.

Diagnosed with tuberculosis in 1900, Dunbar died from complications of the disease on Feb. 9, 1906.

But his work survives.

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Dunbar’s musical legacy

In all, Dunbar wrote 600 poems, 12 books of poetry, five novels, four volumes of short stories, essays, hundreds of newspaper articles and lyrics for musicals.

His poetry has been continuously set by composers, from his contemporaries to living composers still living today, including Carrie Jacobs Bond, John Carpenter, Harry Thacker Burleigh, William Bolcom and Zenobia Powell Perry.

Florence Price’s numerous settings of his texts include popular and advertisement music, while William Grant Still’s “Afro-American” symphony features spoken epigraphs of Dunbar poems before each movement.

Dunbar’s legacy in apparent not only in the concert hall, but on the theatrical stage as well.

Dunbar was librettist for an operetta by Samuel Coleridge Taylor, “Dream Lovers,” written specifically for Black singers.

Dunbar’s own extraordinary life became the subject for operas as composers Adolphus Hailstork, Richard Thompson, Steven Allen and Jeff Arwady composed works depicting Dunbar’s legacy.

The collaborations of Dunbar and Will Marion Cook produced the first examples of contemporary musical theater.

Without Paul’s contributions with “In Dahomey” and “Jes Lak White Fo’ks,” in my view there would be no “Hamilton,” the modern Broadway musical written by Lin-Manuel Miranda in 2015.

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‘We wear the mask’

Dunbar’s works celebrated all of humanity.

He turned the plantation tradition on its head by using dialect to not only offer critical social commentary, as in his poem “When Malindy Sings,” but also to portray oft-ignored humanity, as in “When Dey ‘Listed Colored Soldiers.”

Dunbar’s works provide historical snapshots into the everyday lives of working-class Black Americans.

None were as poignant as his poem “We Wear the Mask.”

“We wear the mask that grins and lies, It hides our cheeks and shades our eyes, This debt we pay to human guile; With torn and bleeding hearts we smile, And mouth with myriad subtleties.”

Minnita Daniel-Cox, Associate Professor of Music, University of Dayton

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Holly Willis, University of Southern California

Type text into AI image and video generators, and you’ll often see outputs of unusual, sometimes creepy, pictures.

In a way, this is a feature, not a bug, of generative AI. And artists are wielding this aesthetic to create a new storytelling art form.

The tools, such as Midjourney to generate images, Runway and Sora to produce videos, and Luma AI to create 3D objects, are relatively cheap or free to use. They allow filmmakers without access to major studio budgets or soundstages to make imaginative short films for the price of a monthly subscription.

I’ve studied these new works as the co-director of the AI for Media & Storytelling studio at the University of Southern California.

Surveying the increasingly captivating output of artists from around the world, I partnered with curators Jonathan Wells and Meg Grey Wells to produce the Flux Festival, a four-day showcase of experiments in AI filmmaking, in November 2024.

While this work remains dizzyingly eclectic in its stylistic diversity, I would argue that it offers traces of insight into our contemporary world. I’m reminded that in both literary and film studies, scholars believe that as cultures shift, so do the way we tell stories.

With this cultural connection in mind, I see five visual trends emerging in film.

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1. Morphing, blurring imagery

In her “NanoFictions” series, the French artist Karoline Georges creates portraits of transformation. In one short, “The Beast,” a burly man mutates from a two-legged human into a hunched, skeletal cat, before morphing into a snarling wolf.

The metaphor – man is a monster – is clear. But what’s more compelling is the thrilling fluidity of transformation. There’s a giddy pleasure in seeing the figure’s seamless evolution that speaks to a very contemporary sensibility of shapeshifting across our many digital selves. https://www.youtube.com/embed/on1K_xXcjW0?wmode=transparent&start=0 Karoline Georges’ short film ‘The Beast.’

This sense of transformation continues in the use of blurry imagery that, in the hands of some artists, becomes an aesthetic feature rather than a vexing problem.

Theo Lindquist’s “Electronic Dance Experiment #3,” for example, begins as a series of rapid-fire shots showing flashes of nude bodies in a soft smear of pastel colors that pulse and throb. Gradually it becomes clear that this strange fluidity of flesh is a dance. But the abstraction in the blur offers its own unique pleasure; the image can be felt as much as it can be seen.

2. The surreal

Thousands of TikTok videos demonstrate how cringey AI images can get, but artists can wield that weirdness and craft it into something transformative. The Singaporean artist known as Niceaunties creates videos that feature older women and cats, riffing on the concept of the “auntie” from Southeast and East Asian cultures.

In one recent video, the aunties let loose clouds of powerful hairspray to hold up impossible towers of hair in a sequence that grows increasingly ridiculous. Even as they’re playful and poignant, the videos created by Niceaunties can pack a political punch. They comment on assumptions about gender and age, for example, while also tackling contemporary issues such as pollution.

On the darker side, in a music video titled “Forest Never Sleeps,” the artist known as Doopiidoo offers up hybrid octopus-women, guitar-playing rats, rooster-pigs and a wood-chopping ostrich-man. The visual chaos is a sweet match for the accompanying death metal music, with surrealism returning as a powerful form.

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3. Dark tales

The often-eerie vibe of so much AI-generated imagery works well for chronicling contemporary ills, a fact that several filmmakers use to unexpected effect.

In “La Fenêtre,” Lucas Ortiz Estefanell of the AI agency SpecialGuestX pairs diverse image sequences of people and places with a contemplative voice-over to ponder ideas of reality, privacy and the lives of artificially generated people. At the same time, he wonders about the strong desire to create these synthetic worlds. “When I first watched this video,” recalls the narrator, “the meaning of the image ceased to make sense.”

In the music video titled “Closer,” based on a song by Iceboy Violet and nueen, filmmaker Mau Morgó captures the world-weary exhaustion of Gen Z through dozens of youthful characters slumbering, often under the green glow of video screens. The snapshot of a generation that has come of age in the era of social media and now artificial intelligence, pictured here with phones clutched close to their bodies as they murmur in their sleep, feels quietly wrenching.

4. Nostalgia

Sometimes filmmakers turn to AI to capture the past.

Rome-based filmmaker Andrea Ciulu uses AI to reimagine 1980s East Coast hip-hop culture in “On These Streets,” which depicts the city’s expanse and energy through breakdancing as kids run through alleys and then spin magically up into the air.

Ciulu says that he wanted to capture New York’s urban milieu, all of which he experienced at a distance, from Italy, as a kid. The video thus evokes a sense of nostalgia for a mythic time and place to create a memory that is also hallucinatory. https://www.youtube.com/embed/FKTyGJar-dE?wmode=transparent&start=0 Andrea Ciulu’s short film ‘On These Streets.’

Similarly, David Slade’s “Shadow Rabbit” borrows black-and-white imagery reminiscent of the 1950s to show small children discovering miniature animals crawling about on their hands. In just a few seconds, Slade depicts the enchanting imagination of children and links it to generated imagery, underscoring AI’s capacities for creating fanciful worlds.

5. New times, new spaces

In his video for the song “The Hardest Part” by Washed Out, filmmaker Paul Trillo creates an infinite zoom that follows a group of characters down the seemingly endless aisle of a school bus, through the high school cafeteria and out onto the highway at night. The video perfectly captures the zoominess of time and the collapse of space for someone young and in love haplessly careening through the world.

The freewheeling camera also characterizes the work of Montreal-based duo Vallée Duhamel, whose music video “The Pulse Within” spins and twirls, careening up and around characters who are cut loose from the laws of gravity.

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In both music videos, viewers experience time and space as a dazzling, topsy-turvy vortex where the rules of traditional time and space no longer apply.

Right now, in a world where algorithms increasingly shape everyday life, many works of art are beginning to reflect how intertwined we’ve become with computational systems.

What if machines are suggesting new ways to see ourselves, as much as we’re teaching them to see like humans?

Holly Willis, Professor of Cinematic Arts, University of Southern California

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Samantha Noël, Wayne State University

“7 Mile + Livernois” at the Detroit Institute of Arts celebrates Detroit as a place for Black women to live and create by elevating both the work of the featured artist, Tiff Massey, and the community from which she comes.

The exhibition draws attention to how Detroit is represented in the national – and even global – imagination.

As an art historian who specializes in modern and contemporary art of the African diaspora, I found the exhibition absolutely mesmerizing. I appreciate the ways in which the show recognizes the desire for belonging and self-expression among Black people. I also admire how the show empowers and inspires anyone who visits it.

Named for an avenue of Black fashion

Massey’s exhibition is named for her childhood neighborhood, which is also a vitally important historic, cultural and economic center of Black Detroit.

More popularly known as the Avenue of Fashion because of its many clothiers, the area near the intersection of Seven Mile Road and Livernois Avenue was an epicenter of Black commerce until the 1967 Detroit Rebellion sent shoppers to suburban malls.

A resurgence of enterprise and an increase in government funding are revitalizing the area by removing abandoned buildings and supporting redevelopment. It’s part of a citywide trend of increased investment and population growth over the past decade or so.

The exhibition poignantly explores the magnificent stylings of previous generations and how Black Detroiters draw from this tradition when they dress and accessorize today.

Throughout history, in many African diasporic communities, dressing in “Sunday’s best” was a way of asserting one’s humanity and dignity. Without question, this exhibition celebrates the importance of this cultural practice.

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Monumentalizing the everyday

The exhibition features recent works plus two new sculptures by Massey commissioned by the Detroit Institute of Art. Her new work is juxtaposed with pieces from the museum’s permanent collection.

At the entrance of the exhibition, cubic forms of silver metal are interlinked and attached to the center of the outer wall of the galleries in a sculpture called “Whatupdoe” (2024), which is also a beloved greeting among Detroiters. Even bigger cubic forms emerge from the wall both in square and rectangular shapes and rest on the floor. Resembling a statement necklace, the sculpture occupies much of the gallery space.

The change in scale gives it architectural flare, bringing to mind the buildings and houses lining the streets of Detroit, and the many people living both inside and outside the buildings. The conjoined links symbolize the ties that bind the diverse neighborhoods and connect generations of people to the city.

Celebrating the built environment

“I Got Bricks” (2016) consists of serial collections of metallic blocks that are shaped like gemstones set into jewelry. The six clusters of glistening slabs echo the shapes of bricks used to build early to mid-20th century architectural structures, but are presented in geometric and varied arrangements.

The work speaks again to the notion of seeing oneself in the built environment. “I Got Bricks” suggests that neighborhoods once viewed disparagingly can be seen as sites of beauty that reflect the histories of many African American families who overcame great odds and led extraordinary lives.

“Quilt Code 6 (All Black Everything)” (2023) is a gorgeous wooden installation painted in black that encompasses iconography and design motifs from the city, as well as the artist’s archive. An Afro comb, the Cadillac logo, a pair of hot combs, the Black Panther Party logo, an Adinkra symbol, and design motifs found on building facades are some of the imagery featured on this work.

It’s positioned near mid-century sculptor, Louise Nevelson’s “Homage to the World” (1966), which also is painted black but features detritus from the streets of New York City. This juxtaposition highlights how both works employ similar compositions to convey two different worldviews, one of a African American woman born in the late 20th century and the other of a European American woman born in the late 19th century.

“I’ve Got Bundles and I Got Flewed Out (Green)” (2023) is a similar installation with an array of green and yellow hairpieces of varying textures and styles displayed on a black-hued background. The theme of artifice as integral to the beauty rituals of Black women comes to mind.

The objects conveyed in “I Remember Way Back When” (2023) and “Baby Bling” (2023) are easily identifiable for many Black women and other women of color, particularly those who were children in the 1970s and ‘80s.

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The former depicts barrettes, while the latter features hair elastics with balls on each end. The 11 enlarged objects in both works are painted in stunning red and arranged horizontally, literally making a big deal of how Black girls present themselves to the world.

These nostalgic works are juxtaposed with minimalist artist Donald Judd’s vertically rendered “Stack” (1969), which uses a series of green rectangular forms to bring to mind modernist architecture.

Making art in the Motor City

Metalsmithing is closely tied to Detroit’s reign as a mecca of industry in the early 20th century. During that period, the city gained a labor force of African Americans fleeing the South, as well as immigrants from Europe, the Middle East and even Latin America and the Caribbean.

In “Fulani” (2021), “39 Reasons I am not Playing” (2018) and “Everyday Arsenal” (2018), Massey adeptly reveals how the everyday objects of self-adornment celebrated in the show share a history with the metalsmithing of the automobile industry in the Motor City.

The galleries filled with Massey’s work invite viewers to pay more attention to everyday objects and the built environment that surrounds us.

“7 Mile and Livernois” runs at the Detroit Institute of Arts through May 11, 2025. Admission is free for residents of Wayne, Oakland and Macomb counties.

Samantha Noël, Associate Professor of Art History, Wayne State University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at STM Entertainment and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/

and let your entertainment journey begin!