Into Bondage is a powerful depiction of enslaved Africans bound for the Americas. Shackled figures with their heads low walk solemn toward slave ships on the horizon. Yet even in this grave image of oppression, there is hope. In a gesture foreshadowing freedom from slavery, a lone woman at left raises her bound hands, guiding the viewer's eye to the ships. The male figure in the center pauses on the slave block, his face turned toward a beam of light emanating from a lone star in the softly colored sky, possibly suggesting the North Star. The man's strong silhouette breaches the horizon line, communicating strength and optimism. Concentric circles—a motif frequently employed by Aaron Douglas to suggest sound, particularly African and African American song—radiate from a point on the horizon.
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B must be the answer.
A must be the answer
C must be the answer.
Answer:
Limited range and use of musical space
Explanation:
At the time, Miles Davis' music differential was in its unusual conception. Instead of using the complex harmonies, the profusion of notes and the frantic rhythms that guided much of the jazz practiced in the 1950s, Davis decided to regain some of the simplicity that this genre lost with the advent of bebop - the nervous and inventive jazz style ; that musicians like Charlie Parker and Dizzy Gillespie developed in the previous decade.
The new path pointed out by Miles, already outlined in his album “Milestones” (1958), was labeled by critics and scholars as modal jazz. By substituting improvisations based on chord progressions for modes (scales), he found a freer and spontaneous way to develop melodies that opened up previously unheard of possibilities for jazz expression.
