Black light on the Wall of Respect: The Chicago Black Arts Movement

New Thoughts on the Black Arts Movement

Volumn 9780813541075, Issue , 2006, Pages 23-42

  Crawford, Margo Natalie ^a  

^a INDIANA UNIVERSITY   (United States)

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[No Author keywords available]

Indexed keywords

EID: 80053612843     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Chapter

References (38)

1. Don L. Lee, "Toward a Definition: Black Poetry of the Sixties" in Within the Circle: An Anthology of African American Literary Criticism from the Harlem Renaissance to the Present, ed. Angelyn Mitchell (Durham and London: Duke University Press, 1994), 216.
2. Addison Gayle, Jr., ed., The Black Aesthetic (New York: Doubleday, 1971).
3. "The Crisis in Black Culture", in Black Arts: An Anthology of Black Creations, ed. Ahmed Alhamisi and Harun Kofi Wangara (Detroit: Black Arts Publications, 1969), 33
4. Askia Touréargues, "It's a shame that our main journals-Soulbook, Black Dialogue, Journal of Black Poetry-are all located on the West Coast! There should be some kind of regular literary publication representing each area-East Coast, Mid-West, South, and West Coast-as well as publications geared for national and international circulation. The writers in each region should make it their responsibility to organize workshops to train young thinkers and writers in Black Consciousness and New Black writing" (33).
5. Alhamisi and Wangara, Black Arts, 36.
6. Maren Stange, Bronzeville: Black Chicago in Pictures 1941-1943 (New York: The New Press, 2003), xvi.
7. "The Rise, Fall, and Legacy of the Wall of Respect Movement", International Review of African American Art 15:1(1998):22-26, Jeff Donaldson explains, "[T]he single most important factor in convincing the group [the OBAC Visual Art workshop] to adopt the project was the idea of a 'guerilla mural.' While Mr. Baker, occupant of the grocery and liquor store, welcomed the idea, the absentee owner of the building was never consulted. The unauthorized action was revolutionary in and of itself, even beyond the effects the project would engender" (22).
8. Gwendolyn Brooks, Blacks (Chicago: Third World Press, 1987), 511.
9. Brooks, Blacks, 444.
10. Gwendolyn Brooks, Report from Part One (Detroit: Broadside Press, 1972)
11. Brooks, Blacks, 423-24.
12. Don L. Lee (Haki Madhubuti), Directionscore: Selected and New Poems (Detroit: Broadside Press, 1971), 89.
13. The legendary poem "SOS" was first published in Black Art (1966) :
14. LeRoi Jones, Black Art (Newark: Jihad Productions, 1966), 4.
15. Amiri Baraka, The LeRoi Jones/Amiri Baraka Reader, ed. William J. Harris, (New York: Thunder's Mouth Press, 1991), 218.
16. In "Ideology and Ideological State Apparatuses (Notes towards an Investigation)", in Lenin and Philosophy and Other Essays (New York: Monthly Review Press, 1971
17. La Pensée, 1970), 127-186, Louis Althusser explains, "We all have friends who, when they knock on the door and we ask, through the door, the question, 'Who's there?', answer (since 'it's obvious') 'It's me.' And we recognize that 'it is him', or 'her.'"
18. Imamu Amiri Baraka and Fundi (Billy Abernathy), In Our Terribleness (Indianapolis and New York: The Bobbs-Merrill Company, Inc., 1970), 131.
19. LeRoi Jones and Larry Neal, ed. Black Fire: An Anthology of Afro-American Writing (New York: William Morrow & Company, 1968), 302-303.
20. Lee, Directionscore, 55-56.
21. Dan Cameron, Richard Powell, Michele Wallace, eds., Dancing at the Louvre: Faith Ringgold's French Collection and Other Story Quilts (Berkeley: University of California Press, 1998).
22. Danner's Impressions of African Art Forms (Detroit: Broadside Press, 1960)
23. John Edgar Wideman, Sent for You Yesterday (London: Flamingo, 1981), 135.
24. Brooks, Blacks, 444.
25. Lee, Directionscore, 67.
26. interview with Jeff Donaldson, December 12, 2002, Washington, D. C.)
27. Baraka and Abernathy, In Our Terribleness, 136.
28. Brooks, Blacks, 118.
29. Phyl Garland, "Gwendolyn Brooks-Poet Laureate: Noted Literary Figure is Patron of Young Black Artists", Ebony 23:9(July 1968):48-56.
30. Haki Madhubuti (Don Lee), "Black Don Lee: Young Creator of Black Art is Writer-in-Residence at Cornell", appears in Ebony 24:5(March 1969), 72-80.
31. Affro-Arts Theater, "Mecca For Blackness: Chicago's Affro-Arts Theater Celebrates African Culture", appears in Ebony 25:7(May 1970), 96-102.
32. Haki Madhubuti (Don Lee) entitled "Black Don Lee", 72-80.
33. "Wall of Respect: Artists Paint Images of Black Dignity in Chicago Ghetto", Ebony 23:2(December 1967):48-50.
34. Brooks, Blacks, 511.
35. "Nostalgia is a sadness without an object, a sadness which creates a longing that of necessity is inauthentic because it does not take part in lived experience. Rather, it remains behind and before that experience. Nostalgia, like any form of narrative, is always ideological: the past it seeks has never existed except as narrative, and hence, always absent, that past continually threatens to reproduce itself as a felt lack" (23).
36. Susan Stewart, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection (Durham & London: Duke University Press, 1993), 23.
37. Bodies that Matter, Judith Butler echoes this idea when she thinks about the "loss of nostalgia's referent" (101).
38. Judith Butler, Bodies that Matter: On the Discursive Limits of "Sex" (New York & London: Routledge, 1993), 101.