Laini (Sylvia) Abernathy
| ụdịekere | nwanyị  |
|---|---|
| mba o sị | Njikota Obodo Amerika |
| Ụbọchị ọnwụ ya | 2010s |
| Dị/nwunye | Fundi |
| Ọrụ ọ na-arụ | activist, omebe ihe nkiri, onye na-ese ihe mkpuchi |
| Ebe obibi | Chicago |
| Flọruit | 1960s |
| agbụrụ | Ndi Afrika nke Amerika |
| Ọrụ ama ama | Wall of Respect |
| Ije | Black Arts Movement |
| ikike nwebiisinka dị ka onye okike | Ọrụ nwebiisinka chekwara |
Laini (Sylvia) Abernathy (nwụrụ 2010) bụ onye omenkà na onye ndọrọndọrọ ọchịchị America. [1] [2] Ọ bụ onye dị mkpa na Chicago's Black Arts movement, na-arụ ọrụ na-arụkọ ọrụ na di ya, onye na-ese foto Fundi (Billy) Abernathy . [3] [4]
Ọrụ[dezie | dezie ebe o si]
Abernathy gụrụ akwụkwọ na Illinois Institute of Technology, nke dị na South Akụkụ nke Chicago. [5] Dị ka onye na-eto eto na-ese ihe, Delmark Records nyere Abernathy ọrụ ka ọ chepụta mkpuchi album maka ndekọ jazz, gụnyere ihe ngosi ngosi dị ka Sound (1966) nke Roscoe Mitchell nke Art Ensemble nke Chicago, Sun Ra's Sun Song (1966), na Leon Sash's I. Cheta Newport (1967), ụfọdụ n'ime ha gosipụtara foto Fundi. Nhazi nke Abernathy na-ejikarị ụdị ụdị Art Deco sitere n'ike mmụọ nsọ na ụkpụrụ mgbochi agba agba na-egosipụta ụdị egwu ahụ na-emebi emebi, na-eche ihu n'ihu. Ọ nọ na-arụ ọrụ n'oge ndị Africa-America ole na ole jisiri ike ike okike n'akụkụ anya nke Black jazz Movement ka ukwuu --emepụta album jazz, nke ndị na-emepụta ihe dịka Paul Bacon na Reid Miles na-ewu ewu, jiri ụdị mpempe akwụkwọ na-atụghị egwu. oghere na-adịghị mma iji mebie echiche ịkpa ókè agbụrụ metụtara egwu ojii n'ime iri afọ gara aga. Otú ọ dị, ihe nkiri nka bụ nke ndị nwoke na-achị ma na-acha ọcha, n'agbanyeghị na ọ na-enwe ọganihu n'ọdịbendị ọ kwadoro.
N'afọ 1967, o sonyeere Òtù Na-ahụ Maka Omenala Ndị Ojii America (OBAC), bụ òtù hiwere ịga n'ihu na ihe nketa nke Malcolm X mgbe e gbusịrị ya, na-akwalite nkà, akwụkwọ na egwu na ozi nke nnwere onwe na nganga ojii. Abernathy haziri nhazi nke Wall of Respect, ihe osise n'okporo ámá nke gosipụtara ndị isi Africa America. [6] Nhazi ya nwere akụkụ nke e mere nke ọ bụla ka onye na-ese ihe ma ọ bụ ndị na-ese ihe mejuo ya. [7] Mgbe ọ gbanwechara aha ya ịbụ Africanized Laini, o chepụtara akwụkwọ foto nnwale nke 1970 bụ́ “In Our Terribleness (Some Elements and Meaning in Black Style)” nke nwere uri Amiri Baraka na ihe oyiyi di ya, bụ́ Fundi. [8]
Abernathy nwụrụ na 2010. Ọ nwetara ntakịrị nkwanye ugwu, n'agbanyeghị na ọrụ ya nyere aka ịsụ ụzọ ihe ịchọ mma avant-garde ugbu a jikọtara ya na egwu jazz nnwale nke afọ 1960.
Ntụaka[dezie | dezie ebe o si]
Respect, ihe osise n'okporo ámá nke gosipụtara ndị isi Africa America. Nhazi ya nwere akụkụ nke e mere nke ọ bụla ka onye na-ese ihe ma ọ bụ ndị na-ese ihe mejuo ya.
- ↑ From the Collection: Laini (Sylvia Abernathy) (en). letterformarchive.org. Retrieved on 2020-11-24.
- ↑ Laini (Sylvia Abernathy) at Fonts in Use. Fonts in Use. Retrieved on 2020-12-27.
- ↑ (July 1968) "Confrontation in Chicago". Negro Digest: 74–78.
- ↑ Laini and Fundi (Sylvia and Billy) Abernathy - Race and the Design of American Life - The University of Chicago Library. www.lib.uchicago.edu. Retrieved on 2020-12-27.
- ↑ Nishikawa (June 2019). "Reframing Blackness: The Installation Aesthetic of In Our Terribleness". Chicago Review 62 (4).
- ↑ Crawford (2006). "Black Light on the Wall of Respect: The Chicago Black Arts Movement", New Thoughts on the Black Arts Movement. New Brunswick, N.J.: Rutgers University Press, 24.
- ↑ Zorach (2019). "Claiming Space, Being Public", Art for People's Sake: Artists and Community in Black Chicago, 1965–1975. Durham and London: Duke University Press, 59.
- ↑ (January 1972) "Books Received". Black World Digest 21 (3): 97.