The Black Aesthetic and the Black Power movements allowed major progressive strides for black individuals towards racial equality in America; in addition, it encouraged the celebration of the achievements made by black individuals, as well as stimulated pride in the black body and soul and all of its capabilities. Upon these movements of empowerment, also produced was the concept of “de-Americanization,” which is explained by Addison Gayle in his article “From the Black Aesthetic.” Until these movements, the majority of American history was constructed and published by white Americans for white Americans, which aided their beliefs and only strengthen their control over American society, especially in regards to race. Even in terms of black …show more content…
Ultimately, it allows a complete reordering of culture to take effect. In the words of Larry Neal, of “The Black Arts Movement,” he argues that this reordering of culture “proposes a separate symbolism, mythology, critique and iconology”(2039). This supports the notion of transforming black mammies to queens and shackled men to styled afros and suits. He discusses the two Americas that exist, one black and one white. Somehow, one America’s art forms are most predominant and in fact forced upon both Americas. In addition, Neal expresses the importance for spiritual and cultural needs to be recognize, just as much as the merging of politics and art. The idea of nationhood could one day occur, however, before that can happen the narrative of the black and the oppressed needs to reach both black and white masses. For the white citizens it calls for responsibility to be taken, influencing white Americans to not just become allies of race but become active members in the fight against inequality. In supplement to Neals outlook on the clearing out of old culture and installation of new culture, is the ideas of Hoyt Fuller. In “Towards the Black Aesthetic,” Fuller reports on an incident of Jonathan Kozol’s experience with most black literature being censored from a boston school …show more content…
Like Clifton, thanks to the Black Aesthetic, black women can now appreciate their bodies that were once judged and mocked for having curvaceous hips, full lips, and big hair, instead, these aspects of their appearances now can be described as queenlike, which is demonstrated in Clifton in the way that she owns her body and rejoices to the world the love for her body. In a poem titled “Beautiful Black Men” by Nikki Giovanni, she appreciates the essence of black men. In her work she states, “royal blue tight tight pants that hug/ what i like to hug/ jerry butler, wilson pickett, the impressions/ temptations, mighty mighty sly/ don't have to do anything but walk/ on stage/ and i scream and stamp and shout/ see new breed men in breed alls”(13-20). Like Clifton, Giovanni is recognizing the allure that exists in the black male, even in something as simple as the charisma in their walk. She appreciates all types of black men in the poem from the business-type men to the men sitting in bars or running numbers, and the men who are not shy to represent their fashionable flair. Giovanni’s thoughts on the black men parallel those in Hoyt Fuller’s in a section where he discusses the coolness of black male figures like Sammy Davis, Jr, Sugar Ray Robinson, Miles Davis and Ralph Ellison. In terms of the draw and enchantment of the black male, Fuller
In the article, “A Letter My Son,” Ta-Nehisi Coates utilizes both ethical and pathetic appeal to address his audience in a personable manner. The purpose of this article is to enlighten the audience, and in particular his son, on what it looks like, feels like, and means to be encompassed in his black body through a series of personal anecdotes and self-reflection on what it means to be black. In comparison, Coates goes a step further and analyzes how a black body moves and is perceived in a world that is centered on whiteness. This is established in the first half of the text when the author states that,“white America’s progress, or rather the progress of those Americans who believe that they are white, was built on looting and violence,”
America have a long history of black’s relationship with their fellow white citizens, there’s two authors that dedicated their whole life, fighting for equality for blacks in America. – Audre Lorde and Brent Staples. They both devoted their professional careers outlying their opinions, on how to reduce the hatred towards blacks and other colored. From their contributions they left a huge impression on many academic studies and Americans about the lack of awareness, on race issues that are towards African-American. There’s been countless, of critical evidence that these two prolific writers will always be synonymous to writing great academic papers, after reading and learning about their life experience, from their memoirs.
New York: Norton, 2013. 1462. The. Print. The. Weaver, Robert C. “The Negro As an American: The Yearning for Human Dignity.”
The Harlem Renaissance, in the 1920’s, sparked a cultural movement known as the “New Negro”. Along with this movement, an anthology was published by Alain Locke named The New Negro. Within this anthology, the playwright Willis Richardson left his mark in the movement through his play Compromise. Compromise depicted what Alain Locke meant by the New Negro movement. Many plays that were published established ideas similar to Compromise. In the single issue magazine Fire, the play Color Struck had similar agendas but from a different point of view, culturally. Willis Richardson, through his work, Compromise, tries to establish the idea of how culture influences the political sphere in society.
The "New Negro," the Black writers in 1920/30, tried to get out of the dominant white assimilation and practice their own tradition and identity in autonomous and active attitude. In virtue of their activities, the Harlem Renaissance became the time of sprouting the blackness. It offered the life of the black as the criterion to judge how well the democracy practices in America and to weigh the measure of the dream of America. Their vitality and artistic spirit, and dreams were so impressive that the Harlem of the 1920s has never been eluded out from the memory of American (Helbling 2).
The people of the black culture need a motivating force behind their community. They need a black aesthetic to motivate them and incline them to support the revolution. The black aesthetic itself will not be enough to motivate the people; they will need black art to help them understand what they are supporting. The art in the black culture needs an aesthetic to get the message across to its viewers and allow them to understand the meaning behind pieces of artwork. One of Ron Karenga’s points is how people need to respond positively to the artwork because it then shows that the artist got the main idea to the audience and helps to motivate them to support the revolution. In “Black Cultural Nationalism”, the author, Ron Karenga, argues that
Since 1945, in what is defined by literary scholars as the Contemporary Period, it appears that the "refracted public image"(xx) whites hold of blacks continues to necessitate ...
Although an effort is made in connecting with the blacks, the idea behind it is not in understanding the blacks and their culture but rather is an exploitative one. It had an adverse impact on the black community by degrading their esteem and status in the community. For many years, the political process also had been influenced by the same ideas and had ignored the black population in the political process (Belk, 1990). America loves appropriating black culture — even when black people themselves, at times, don’t receive much love from America.
The Souls of Black Folk by W.E.B Dubois is a influential work in African American literature and is an American classic. In this book Dubois proposes that "the problem of the Twentieth Century is the problem of the color-line." His concepts of life behind the veil of race and the resulting "double-consciousness, this sense of always looking at one's self through the eyes of others," have become touchstones for thinking about race in America. In addition to these lasting concepts, Souls offers an evaluation of the progress of the races and the possibilities for future progress as the nation entered the twentieth century.
Present-day debates over racial issues are often viewed on television or in everyday life. When considering The Souls of Black Folk, the readers in the Twentieth-Century America can draw direct parallels to events, stories, and the stories of those in the past to today. The chapter "Of the Coming Of John" helps us interpret the present inequities in educational opportunities. There is also resentment for affirmative action that has been spoken by the dominant white male that reflects the court decision on affirmative action of modern time. The reader can contemplate the passage of Du Bois' essay to substitute the words "colored" and "Negro" with African-American, Nigger, illegal alien, Mexican, inner-city dwellers, and other meanings that articulate people that are not listed as a majority.
In Stuart Hall’s “What is This “Black” in Black Popular Culture?” the historical implication of popular culture in the U.S is examined and the influence that blackness has in it is deconstructed. According to the text, the departure of European concepts of culture after WWII sparked a hegemonic shift as the United States emerged as a world power. Due to this, the U.S. became the epicenter of global culture production. However, since America has always had a large ethnic population due to slavery, the true face of American popular culture was black American vernacular traditions. Even today, slang that emerge from black ghettos and communities become highly popular with people of other races. In fact, much of black culture is not just our culture,
“The history of the American Negro is the history of this strife, – this longing to attain self-consciousness, manhood, to merge his double self into a better and truer self. In this merging he wishes neither of the older selves to be lost. He would not Africanize America, for America has too much to teach the world and Africa. He would not bleach his Negro soul in a flood of white Americanism, for he knows that Negro blood has a message f...
Baldwin and his ancestors share this common rage because of the reflections their culture has had on the rest of society, a society consisting of white men who have thrived on using false impressions as a weapon throughout American history. Baldwin gives credit to the fact that no one can be held responsible for what history has unfolded, but he remains restless for an explanation about the perception of his ancestors as people. In Baldwin?s essay, his rage becomes more directed as the ?power of the white man? becomes relevant to the misfortune of the American Negro (Baldwin 131). This misfortune creates a fire of rage within Baldwin and the American Negro. As Baldwin?s American Negro continues to build the fire, the white man builds an invisible wall around himself to avoid confrontation about the actions of his ?forefathers? (Baldwin 131). Baldwin?s anger burns through his other emotions as he writes about the enslavement of his ancestors and gives the reader a shameful illusion of a Negro slave having to explai...
Over the course of the century chronicling the helm of slavery, the emancipation, and the push for civil, equal, and human rights, black literary scholars have pressed to have their voice heard in the midst a country that would dare classify a black as a second class citizen. Often, literary modes of communication were employed to accomplish just that. Black scholars used the often little education they received to produce a body of works that would seek to beckon the cause of freedom and help blacks tarry through the cruelties, inadequacies, and inconveniences of their oppressed condition. To capture the black experience in America was one of the sole aims of black literature. However, we as scholars of these bodies of works today are often unsure as to whether or not we can indeed coin the phrase “Black Literature” or, in this case, “Black poetry”. Is there such a thing? If so, how do we define the term, and what body of writing can we use to determine the validity of the definition. Such is the aim of this essay because we can indeed call a poem “Black”. We can define “Black poetry” as a body of writing written by an African-American in the United States that formulates a concentrated imaginative awareness of an experience or set of experiences inextricably linked to black people, characterizes a furious call or pursuit of freedom, and attempts to capture the black condition in a language chosen and arranged to create a specific emotional response through meaning, sound, and rhythm. An examination of several works of poetry by various Black scholars should suffice to prove that the definition does hold and that “Black Poetry” is a term that we can use.
And I doubted then that, with his desire to run away spiritually from his race, this boy would ever be a great poet. But this is the mountain standing in the way of any true Negro art in America--this urge within the race toward whiteness, the desire to pour racial individuality into the mold of American standardization, and to be as little Negro and as much American as possible (Gates Jr.