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Uses of African Antiquity in the Twentieth and Twenty-First Centuries


Jorge Serrano

African antiquity has been discerned both nullifyingly and constructively. Uses of African Antiquity in the Twentieth and Twenty-First Centuries reveals how reading the past can be extended to understand sensitivities involving origins and how it imparts collective posture. The ancient historical imagery epitomized by writers and artists alike includes the distant past as well as an immediate past. Comparatively, representation of time long gone records transhistorical presence and civilizational participation and agentic validity. African antiquity can be construed as diasporic through time and space and in regards to nomenclature it extends understanding of peopleness, e.g. Libya, Ethiopia, Africa, Afrika, African Egypt, Kemet, Alkebu-lan, Nubia, Ta-Seti, Ta-Nehisi, Ta-Merry, Kush, Axum, Meroë, Ghana, Mali, Songhai, Zulu, and so many more are recognized in a time-spatial continuum linked to African, Colored, Negro, and Black, as various terms inform origins identity. Unfortunately, typologies disciplinarily stem from anthropological construction, yet here African antiquity as sign heralds clines and clusters; splintering Africana from humanitas ultimately contends against subjugation. African antiquity absorbs character and notions of diachronologically dispersed peoples reflect origins indulgence. African antiquity as a stretched concept and/or historicism triply adds understanding, grouping, and alterity. This primarily is a review of thinkers who defend against people erasure in the past with its socially and nihilistic affective ways.

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Chapter 5. Sequela Americana


Chapter 5

Sequela Americana


At one point, a young aspiring Du Bois has an epiphany as he encounters an African American world that transforms his perception of civilizational propensity. He states, “I became aware, once a chance to go to a group of young people of my own race was opened up for me, of the spiritual isolation which I was living.”1 New England kept him in “spiritual isolation” and he understood that he needed to know what it felt like to be with “my own race.” When he first heard the Hampton Quartet perform the “Negro old songs” it brought him to tears. When they sang at the Congregational church he “recognize[d] something inherently and deeply my own.”2 His intentions and his lifelong goal in a world with European-­American instructors were to learn how “to try to break down segregation and separateness,” and he noted that “for the time I was quite willing to be a Negro and to work within a Negro group.”3

Fisk, back in Du Bois’ time was an institution taught for the most part by European Americans who were graduates of Oberlin and Yale.←141 | 142→ The typical college curriculum consisted of Latin, Greek, Mathematics, and History, and there were small classes due to the small faculty, and this educational setting should be rightly considered a well-­to-­do education indeed. During Du Bois’ time and since African American schools of...

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