Dubois and Hughes and a lil’ Locke, oh My! Dr. Vincent Williams Alain Locke’s “New Negro”-1925 Three Reasons for Harlem Renaissance: WWI, Great Migration and Marcus Garvey Clear break from slavery/post-slavery aesthetic Names the phenomenon but, important to note, not really PART of the phenomenon W.e.B. Dubois’ Criteria of Negro Art Dubois was the most important black intellectual of the first part of the twentieth century This 1926 essay was one of many that he used to critique the role of black art. Importantly, he wasn’t really known as an artist himself Viewed all art as propaganda Nature of black American status Historically, it’s notable that Dubois interrogates black citizenship, especially compared to other, newer, white immigrants Although he doesn’t use the phrase, “double consciousness” in this essay, much of his view of black’s outsider/insider status presupposes it Views that outsider status as an advantage to see what’s truly important What is beauty, specifically, black beauty? Again, Dubois frames the challenges of life as a black person as unique positioning for creating/understanding beauty Note the specificity of example of black experience as fodder (passing, fear of white rape accusations, etc.) Langston Hughes’ “The negro artist & the racial mountain” This is the big boy; if Dubois is most famous intellectual, Hughes is the most famous artist Face of the Harlem Renaissance First real black aesthetic mission statement Artists and Black artists Draws the line between what he views as the nature-and responsibility-of the black artist Also frames any attempt to create outside of a black vernacular as an attempt to ape and copy the white world Vigorously pro-black and black beauty Nature of the black aesthetic Should draw from black origins (blues, spirituals, oral tradition, etc.) Jazz is ultimate expression of the black aesthetic Still, a bit troubling how he equates black poverty with black authenticity White audiences & gatekeepers Discusses black pressure and what we would call respectability politics Mainly critiques white audiences of black art, however: “don’t challenge too much and we will pay you” Finally, he acknowledges the role of white editors, publishers, etc. questions Who do you agree with? Why? Black authenticity=black poverty? Is a white/outsider audience intrinsically toxic? IST 7020 HYB B2W04 - Analysis, Modeling, and DesignWeek 3 Student Assignment for Diagrams Name Assignment # 1. Bachala, Sandeep Kumar 4 – Maintain Records 2. Bagga, Chinky 3 – Produce Reports 3. Bhavanam, Amarendhar Reddy 2 – Process Payment 4. Boussougou, Paco F 1 – Process Appointment 5. Chadha, Roshni 1 – Process Appointment 6. Deb, Sudhabindu 4 – Maintain Records 7. Dhobi, Darshan Vinodbhai 2 – Process Payment 8. Kota, Naga Kishore 2 – Process Payment 9. Macha, Sai Charan Netha 1 – Process Appointment 10. Mankad, Ravi Chitranjan 4 – Maintain Records 11. Meda, Sowmya 1 – Process Ap ...

1. Dubois and Hughes and a lil’ Locke, oh My!
Dr. Vincent Williams
Alain Locke’s “New Negro”-1925
Three Reasons for Harlem Renaissance: WWI, Great Migration
and Marcus Garvey
Clear break from slavery/post-slavery aesthetic
Names the phenomenon but, important to note, not really PART
of the phenomenon
W.e.B. Dubois’ Criteria of Negro Art
Dubois was the most important black intellectual of the first
part of the twentieth century
This 1926 essay was one of many that he used to critique the
role of black art. Importantly, he wasn’t really known as an
artist himself
Viewed all art as propaganda
Nature of black American status
Historically, it’s notable that Dubois interrogates black
citizenship, especially compared to other, newer, white
immigrants
Although he doesn’t use the phrase, “double consciousness” in
this essay, much of his view of black’s outsider/insider status
presupposes it
Views that outsider status as an advantage to see what’s truly
important

2. What is beauty, specifically, black beauty?
Again, Dubois frames the challenges of life as a black person as
unique positioning for creating/understanding beauty
Note the specificity of example of black experience as fodder
(passing, fear of white rape accusations, etc.)
Langston Hughes’ “The negro artist & the racial mountain”
This is the big boy; if Dubois is most famous intellectual,
Hughes is the most famous artist
Face of the Harlem Renaissance
First real black aesthetic mission statement
Artists and Black artists
Draws the line between what he views as the nature-and
responsibility-of the black artist
Also frames any attempt to create outside of a black vernacular
as an attempt to ape and copy the white world
Vigorously pro-black and black beauty
Nature of the black aesthetic
Should draw from black origins (blues, spirituals, oral tradition,
etc.)
Jazz is ultimate expression of the black aesthetic
Still, a bit troubling how he equates black poverty with black
authenticity

3. White audiences & gatekeepers
Discusses black pressure and what we would call respectability
politics
Mainly critiques white audiences of black art, however: “don’t
challenge too much and we will pay you”
Finally, he acknowledges the role of white editors, publishers,
etc.
questions
Who do you agree with? Why?
Black authenticity=black poverty?
Is a white/outsider audience intrinsically toxic?
IST 7020 HYB B2W04 - Analysis, Modeling, and DesignWeek
3 Student Assignment for Diagrams
Name
Assignment #
1. Bachala, Sandeep Kumar
4 – Maintain Records
2. Bagga, Chinky
3 – Produce Reports
3. Bhavanam, Amarendhar Reddy
2 – Process Payment
4. Boussougou, Paco F
1 – Process Appointment

4. 5. Chadha, Roshni
1 – Process Appointment
6. Deb, Sudhabindu
4 – Maintain Records
7. Dhobi, Darshan Vinodbhai
2 – Process Payment
8. Kota, Naga Kishore
2 – Process Payment
9. Macha, Sai Charan Netha
1 – Process Appointment
10. Mankad, Ravi Chitranjan
4 – Maintain Records
11. Meda, Sowmya
1 – Process Appointment
12. Nunemunthala, Soumya
1 – Process Appointment
13. Patel, Khushbuben Chandrakantbhai
2 – Process Payment
14. Patel, Trushaben
3 – Produce Reports

5. 15. Salapu, Appala Srinivas Kumar
3 – Produce Reports
16. Solanki, Brijesh Vinodchandra
3 – Produce Reports
17. Syed, Sohel Ijaz
2 – Process Payment
18. Szczuka, Natalia
4 – Maintain Records
IST7020 – SU2016.W04 New Century Wellness Assignments
Week 3
Assignment Number
Assignment
1.
1 a. Using Draw IO, prepare a lower-level DFD for handling
appointment processing. (Process Appointment) Be sure that
the names used in the diagram are consistent with the names
identified in the Context diagram that was developed in class.
Also be sure that all of the process steps are numbered.
1 b. Using Draw IO, create a possible use case diagram for one
of the steps within the process that you outlined for Process
Appointment.
2.
2 a. Using Draw IO, prepare a lower-level DFD for payment

6. and insurance processing. (Process Payment) Be sure that the
names used in the diagram are consistent with the names
identified in the Context diagram that was developed in class.
Also be sure that all of the process steps are numbered.
2 b. Using Draw IO, create a possible use case diagram for one
of the steps within the process that you outlined for Process
Payment.
3.
3 a. Using Draw IO, prepare a lower-level DFD for report
processing. (Process Reports) Be sure that the names used in
the diagram are consistent with the names identified in the
Context diagram that was developed in class. Also be sure that
all of the process steps are numbered.
3 b. Using Draw IO, create a possible use case diagram for one
of the steps within the process that you outlined for Process
Reports.
4.
4 a. Using Draw IO, prepare a lower-level DFD for records
maintenance. (Maintain Records) Be sure that the names used
in the diagram are consistent with the names identified in the
Context diagram that was developed in class. Also be sure that
all of the process steps are numbered.
4 b. Using Draw IO, create a possible use case diagram for one
of the steps within the process that you outlined for Maintain
Records.