In this Book

New Thoughts on the Black Arts Movement

Book
Edited by Lisa Gail Collins and Margo Natalie Crawford
2006
summary
During the 1960s and 1970s, a cadre of poets, playwrights, visual artists, musicians, and other visionaries came together to create a renaissance in African American literature and art. This charged chapter in the history of African American culture-which came to be known as the Black Arts Movement-has remained largely neglected by subsequent generations of critics. New Thoughts on the Black Arts Movement includes essays that reexamine well-known figures such as Amiri Baraka, Larry Neal, Gwendolyn Brooks, Sonia Sanchez, Betye Saar, Jeff Donaldson, and Haki Madhubuti. In addition, the anthology expands the scope of the movement by offering essays that explore the racial and sexual politics of the era, links with other period cultural movements, the arts in prison, the role of Black colleges and universities, gender politics and the rise of feminism, color fetishism, photography, music, and more. An invigorating look at a movement that has long begged for reexamination, this collection lucidly interprets the complex debates that surround this tumultuous era and demonstrates that the celebration of this movement need not be separated from its critique.

Table of Contents

Title Page, Copyright

Contents

pp. vii-viii

Acknowledgments

pp. ix-x

Introduction: Power to the People!: The Art of Black Power

pp. 1-20

Part I: Cities and Sites

Chapter 1: Black Light on the Wall of Respect: The Chicago Black Arts Movement

pp. 23-42

Chapter 2: Black West, Thoughts on Art in Los Angeles

pp. 43-74

Chapter 3: The Black Arts Movement and Historically Black Colleges and Universities

pp. 75-91

Chapter 4: A Question of Relevancy: New York Museums and the Black Arts Movement, 1968–1971

pp. 92-116

Chapter 5: Blackness in Present Future Tense: Broadside Press, Motown Records, and Detroit Techno

pp. 117-134

Part II: Genres and Ideologies

Chapter 6: A Black Mass as Black Gothic: Myth and Bioscience in Black Cultural Nationalism

pp. 137-153

Chapter 7: Natural Black Beauty and Black Drag

pp. 154-172

Chapter 8: Sexual Subversions, Political Inversions: Women’s Poetry and the Politics of the Black Arts Movement

pp. 173-186

Chapter 9: Transcending the Fixity of Race: The Kamoinge Workshop and the Question of a “Black Aesthetic” in Photography

pp. 187-209

Chapter 10: Moneta Sleet, Jr. as Active Participant: The Selma March and the Black Arts Movement

pp. 210-226

Chapter 11: “If Bessie Smith Had Killed Some White People”: Racial Legacies, the Blues Revival, and the Black Arts Movement

pp. 227-252

Part III: Predecessors, Peers, and Legacies

Chapter 12: A Familiar Strangeness: The Spectre of Whiteness in the Harlem Renaissance and the Black Arts Movement

pp. 255-272

Chapter 13: The Art of Transformation: Parallels in the Black Arts and Feminist Art Movements

pp. 273-296

Chapter 14: Prison Writers and the Black Arts Movement

pp. 297-316

Chapter 15: “To Make a Poet Black”: Canonizing Puerto Rican Poets in the Black Arts Movement

pp. 317-332

Chapter 16: Latin Soul: Cross-Cultural Connections between the Black Arts Movement and Pocho-Che

pp. 333-348

Chapter 17: Black Arts to Def Jam: Performing Black “Spirit Work” across Generations

pp. 349-368

Afterword: This Bridge Called “Our Tradition”: Notes on Blueblack, ‘Round’midnight, Blacklight “Connection”

pp. 369-374

Notes on Contributors

pp. 375-378

Index

pp. 379-390
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