Cover

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pp. 1-1

Title Page, Copyright

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pp. 2-5

Contents

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pp. v-vi

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Introduction: The Black Arts Movement: Let Me Count the Ways

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pp. 3-22

The Black Arts Movement (BAM) of the late 1960s to mid-1970s remains an elusive and complex configuration of ideologies mutually and often paradoxically reinforced through the artistic, activist, and intellectual collaborations and exchanges between the movement’s key participants and their critics. ...

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Chapter One: Dysfunctional Functionality: Collaboration at Its Best in the Black Arts Era

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pp. 23-55

It is important to consider how the agenda of the Black Arts Movement was shaped by and paradoxically instituted through a collaboration of competing and discordant voices. Whether artists, activists, and intellectuals defined themselves as “Black Artists” during this era or not, many of them favored a socially progressive agenda ...

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Chapter Two: Women Writing Kinship in Chicago’s Black Arts Movement

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pp. 56-75

For artists, activists, and intellectuals of the Black Arts Movement, the collective goal of asserting a new and clearly defined relationship between politics and art in a way that distinguished the movement from that which had been defined by artists of the Harlem Renaissance era in particular cannot be overstated. ...

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Chapter Three: Mirrors of Deception: Invisible, Untouchable, Beautiful Blackness in Johari Amini’s Black Art

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pp. 76-94

In Johari Amini’s “Evolution,” the narrator expresses that mother Africa, as a geographical, historical, and cultural ideal, expands to “black”—a “humaneness movement breathing filling / vasculating knowledge creating soul.” Such an idea is appropriated throughout Amini’s earliest work, published while she served as a member ...

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Chapter Four: Muddying Clear Waters: Carolyn Rodgers’s Black Art

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pp. 95-115

Women writers of the BAM were often susceptible to gendered critiques, and writers like Chicago poet Carolyn Rodgers received their fair share of these, particularly from their male peers. The relationship between gender and artistic production and/or performance was reinforced through such critiques, ...

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Chapter Five: Building a Home, Building a Nation: Family in the City and Beyond in Angela Jackson’s Black Art

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pp. 116-145

If much of the work of Black Artists of the late sixties and early seventies conveyed their collective aspirations to pursue methods of achieving social, political, and cultural empowerment for black communities of the African Diaspora, then Angela Jackson’s “a beginning for new beginnings,” published in her first collection of poetry, ...

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Chapter Six: Mixing Metaphors: Spirituality, Environmentalism, and Dystopia in Carolyn Rodgers’s and Angela Jackson’s Postrace Black Art

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pp. 146-161

Although the legacy of the BAM is often critiqued within the context of the activist practices and art produced by its participants at the height of the movement, it can also be evaluated in later work, since many Black Artists remained prolific beyond the BAM. In many aspects, self-defined Black Artists continue to reprise BAM ideals in more recent work, ...

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Conclusion: You Remind Me . . . “Post–BAM/Soul” Reflections

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pp. 162-164

Not only can the legacy of the Black Arts Movement be critiqued through an examination of the vast pantheon of material produced by those who were committed to perpetuating its objectives via nationalist and culturally inspired ideals at that time, but it can also be interpreted within existing contemporary mediums of expression ...

Notes

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pp. 165-172

Works Cited

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pp. 173-182

Index

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pp. 183-188