Ethnics of Surrealism Edwards, Brent Research Proposal

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Among the most dramatic images Hayes presents is the scene where black boxer Al Brown -- in the ring to raise money for the Dakar-Djibouti expedition to Africa -- sees French guards at all four corners of the ring "…as though Brown's pugilistic prowess were some savage ritual on display" (86).

[Analysis] Hayes' research article offers value for the alert student in that: a) it brings into focus the community of black intellectuals (artists, writers, musicians) who were writing, painting, and making music in Paris after WWI; b) it informs (e.g., the critical dissecting by Hayes of iconic works by Yve-Alain Bois / Rosalind E. Krauss -- "Formless: A User's Guide" -- on modern art and Georges Didi-Huberman's Confronting Images is also valuable research to become acquainted with); c) it educates by delving deeply into the issues of "form" vs. "content" and "ethnography" vs. "Western artistic practice"; and d) studying this piece is in effect going to school on how a scholarly critique of difficult historical subjects should be conducted.

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Hayes is to be admired when he restrains his rebuttals; he clearly has a right to bitterly object to the ethnic slur by French surrealist writer Michel Leiris, who wrote that European life "is dull and ugly" compared with "these creatures [Africans] who are as touching as the trees." Hayes responds not by mentioning Leiris' name, but by invoking the names of writers / critics who "shy away from such unseemly moments" (110). This is a classy work, difficult at times to fully understand. But anyone can understand that when jazz is called a "primitive art" it is a not-so-subtle way of admitting that the person making that remark is either biased or ignorant.….....

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