This book explores a rich cultural hybridity at the heart of transatlantic modernism. Focusing on cubism, jazz, and Josephine Baker's performance in the Danse Sauvage, Sieglinde Lemke uncovers a crucial history of white and black intercultural exchange, a phenomenon until now greatly obscured by a cloak of whiteness. Considering artists and critics such as Picasso, Alain Locke, Nancy Cunard, and Paul Whiteman, in addition to Baker, Lemke documents a potent cultural dialectic in which black artistic expression fertilized white modernism, just as white art forms helped shape the black modernism of Harlem and Paris. Coining the term primitivist modernism to designate the multicultural heritage of this century's artistic production, Lemke reveals the generative and germinating black cultural Other in the arts. She examines this neglected dimension in full, fascinating detail, blending literary theory, social history, and cultural analysis to document modernism's complex absorption of African culture and art. She details numerous ways in which African and African American forms (visual styles, musical idioms, black dialects) and fantasies (Baker's costume and dance, say) permeated high and mass culture on both sides of the Atlantic. So-called primitive art and high modernism; savage rhythms and European music hall culture; European and African American expressions in jazz; European primitivism and the racial awakenings of African American culture: paired and freshly examined by Lemke, these subjects stand revealed in their true interrelatedness. Insisting on modernism's two-way cultural flow, Lemke demonstrates not only that white modernism owes much of its symbolic capital to the black Other, but that black modernism built itself in part on white Euro-American models. Through superbly nuanced readings of individual texts and images (fifteen striking examples of which are reproduced in this handsome volume), Lemke reforms our understanding of modernism. She shows us, in clear, invigorating fashion, that transatlantic modernism in both its high and popular modes was significantly more diverse than commonly supposed. Students and scholars of modernism, African American studies, and cultural studies, and those with interests in twentieth-century art, dance, music, or literature, will find this book richly rewarding.

Insisting on modernism's two-way cultural flow, Lemke demonstrates not only that white modernism owes much of its symbolic capital to the black Other, but that black modernism built itself in part on white Euro-American models. Through readings of individual texts and images (fifteen examples of which are reproduced in this volume), Lemke reforms our understanding of modernism. She shows us that transatlantic modernism in both its high and popular modes was significantly more diverse than commonly supposed. Students and scholars of modernism, African American studies, and cultural studies, and those with interests in twentieth-century art, dance, music, or literature, will find this book rewarding.

This Cambridge History of Modernism is the first comprehensive history of modernism in the distinguished Cambridge Histories series. It identifies a distinctive temperament of 'modernism' within the 'modern' period, establishing the circumstances of modernized life as the ground and warrant for an art that becomes 'modernist' by virtue of its demonstrably self-conscious involvement in this modern condition. Following this sensibility from the end of the nineteenth century to the middle of the twentieth, tracking its manifestations across pan-European and transatlantic locations, the forty-three chapters offer a remarkable combination of breadth and focus. Prominent scholars of modernism provide analytical narratives of its literature, music, visual arts, architecture, philosophy, and science, offering circumstantial accounts of its diverse personnel in their many settings. These historically informed readings offer definitive accounts of the major work of twentieth-century cultural history and provide a new cornerstone for the study of modernism in the current century.

Examining the emergence of modernism from the fin-de-siecle primitivist project this volume shows how ethnographic materials shaped a variety of high and low discourses (ethnology, social theory, gender construction, classical scholarship, as well as travel photography) at the turn of the century. Illustrated with 98 photographs and drawings."

Around the beginning of the twentieth century, Jewish writers and artists across Europe began depicting fellow Jews as savages or "primitive" tribesmen. Primitivism—the European appreciation of and fascination with so-called "primitive," non-Western peoples who were also subjugated and denigrated—was a powerful artistic critique of the modern world and was adopted by Jewish writers and artists to explore the urgent questions surrounding their own identity and status in Europe as insiders and outsiders. Jewish primitivism found expression in a variety of forms in Yiddish, Hebrew, and German literature, photography, and graphic art, including in the work of figures such as Franz Kafka, Y.L. Peretz, S. An-sky, Uri Zvi Greenberg, Else Lasker-Schüler, and Moï Ver. In Jewish Primitivism, Samuel J. Spinner argues that these and other Jewish modernists developed a distinct primitivist aesthetic that, by locating the savage present within Europe, challenged the idea of the threatening savage other from outside Europe on which much primitivism relied: in Jewish primitivism, the savage is already there. This book offers a new assessment of modern Jewish art and literature and shows how Jewish primitivism troubles the boundary between observer and observed, cultured and "primitive," colonizer and colonized.

"This is a much needed, important collection-a goldmine of sources for scholars and students. The texts articulate the key Primitivist aesthetic discourses of the period, offering crucial insight into the complex and always changing nexus between culture, politics, and representation. Because of the breadth of the materials covered and the controversies they raise, this anthology is one of the all too rare volumes that not only will provide reference materials for years to come but also will feature centrally in classroom discussions."--Suzanne Preston Blier, author of African Vodun: Art, Psychology, and Power "For almost a century art historians have fretted about the notion of primitivism in the arts. This comprehensive-in both senses of the word-anthology is a peerless source of the history of responses to works categorized as 'primitive.' In its range, the book touches upon all the troubling questions-formal, anthropological, political, historical-that have bedeviled the study of the arts of Oceania, Africa, and North and South America, and provides the grounds, at last, for intelligent pursuit of keener distinctions. I regard this book as a superb contribution to the study of Modern art; in fact, indispensable."--Dore Ashton, author of Noguchi East and West "An extraordinarily useful and complete collection of primary documents, many translated for the first time into English, and almost all unlikely to be encountered elsewhere without serious effort. Its five sections, each with a lively and scholarly introduction, reveal the diverse views of artists and writers on primitive art from Matisse, Picasso, and Fry to many far less known and sometimes surprising figures. The book also uncovers the politics and aesthetics of the major museum exhibitions that gained acceptance for art that had been both reviled and mythologized. Recent texts included are all germane. This book will be invaluable for any college course on the topic."--Shelly Errington, author of The Death of Authentic Primitive Art and Other Tales of Progress "An exceptionally valuable anthology of seventy documents--most heretofore unavailable in English--on the ongoing controversies surrounding Primitivism and Modern art. Insightfully chosen and annotated, the collection is brilliantly introduced by Jack Flam's essay on the historical progression, contexts, and cultural complexities of more than one hundred years' ideas about Primitivism. Rich, timely, illuminating."--Herbert M. Cole, author of Icons: Ideals and Power in the Art of Africa

This book fundamentally rethinks a pervasive and controversial concept in literary criticism and the history of ideas. Primitivism has long been accepted as a transhistorical tendency of the "civilized" to idealize that primitive condition against which they define themselves. In the modern era, this has been a matter of the "West" projecting its primitivist fantasies onto non-Western "others." Arguing instead that primitivism was an aesthetic mode produced in reaction to the apotheosis of European imperialism, and that the most intensively primitivist literary works were produced by imperialism's colonized subjects, the book overturns basic assumptions of the last two generations of literary scholarship. Against the grain, Ben Etherington contends that primitivism was an important, if vexed, utopian project rather than a form of racist discourse, a mode that emerged only when modern capitalism was at the point of subsuming all human communities into itself. The primitivist project was an attempt, through art, to recreate a "primitive" condition then perceived to be at its vanishing point. The first overview of this vast topic in forty years, Literary Primitivism maps out previous scholarly paradigms, provides a succinct and readable account of its own methodology, and presents critical readings of key writers, including Aimé Césaire, Frantz Fanon, D. H. Lawrence, and Claude McKay.