“If, therefore, in the cool, wild upsurges of animal vitality are tempered by metaphoric calm, such is the elegance of this symbolically phrased reconciliation that humor and ecstasy are not necessarily denied. Nor is physical beauty itself, a force which brings persons together via saturated expressions of sexual attractiveness and deliberately attractive behavior and charm, excluded from this moral vision. Being charming is also being cool, as suggested by the following interlude among black folk in Florida: ‘i “I wouldn’t let you fix me no breakfast. I get up and fix my own and then, what make it so cool, I’d fix you some and set it on the back of the cook-stove . . .” This man was flirting. But a whole ponderation lies concealed within his phrasing. He had cited the cool in an African sense, a diagram of continuity. He had promised to assume the role of another person in order to earn her love. He had promised to dissolve a difference which lay between them. The charm of what “made it so cool” in these senses suggests he knew, in Zen-like simplicity, the divine source of the power to heal, love. He had thereby identified the center from which all harmony comes.”
We didn’t scratch the SURFACE of Robert Farris Thompson, much less delve deeply into Afrxdescendiente aesthetics of “cool.” Still…more things referenced at #femDH x #BlackCode Studies at #DHSI2017. Above quote from Thompson, Robert Farris. “An Aesthetic of the Cool.” African Arts, 1973, 41–91. Featured image from Flash of the Spirit: African & Afro-American Art & Philosophy. Vintage, 2010 (orig pub 1984).