Introduction: Power to the people!: The art of black power

New Thoughts on the Black Arts Movement

Volumn 9780813541075, Issue , 2006, Pages 1-19

  Collins, Lisa Gail ^a   Crawford, Margo Natalie ^b  

^a VASSAR COLLEGE   (United States)

^b INDIANA UNIVERSITY   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 81555215330     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Editorial

References (42)

1. Report of the National Advisory Commission on Civil Disorders (Washington, DC: U. S. Government Printing Office (March 1, 1968), 1.
2. Report, 65. The New York Times, in conjunction with E. P. Dutton, republished the report, with an introduction by Tom Wicker, in April 1968.
3. Stokely Carmichael, Will the Circle Be Unbroken?: An Audio History of the Civil Rights Movement in Five Southern Communities and the Music of Those Times, audiocassette, tape 7, episode 20. Atlanta, GA: Southern Regional Council, 1997.
4. reprinted in Black Power: SNCC Speaks for Itself: A Collection of Interviews and Statements (Ann Arbor, MI: Radical Education Project, 1967), 5.
5. President Lyndon B. Johnson's Address to the Nation on Civil Disorders, 27 July 17, 1967;
6. Report of the National Advisory Commission on Civil Disorders, 297.
7. LeRoi Jones/Amiri Baraka, "November 1966: One Year Eight Months Later", Onyx (1966);
8. Raise Race Rays Raze: Essays Since 1965 (New York: Random House, 1971), 29.
9. LeRoi Jones, "The Legacy of Malcolm X and The Coming of the Black Nation", chap. in Home (New York: William Morrow & Company, 1966).
10. Larry Neal, "New Space/The Growth of Black Consciousness in the Sixties", in The Black Seventies, ed. Floyd B. Barbour (Boston: Porter Sargent, 1970), 27.
11. Malcolm X, Statement of Basic Aims and Objectives of the Organization of Afro-American Unity", in New Black Voices: An Anthology of Contemporary Afro-American Literature, ed. Abraham Chapman (New York: Penguin, 1972), 563.
12. Report, 5. In the survey of "black consciousness" in Newark, those not involved in the riots preferred to be called "Negro" over "Black" and "Colored." 79.8 percent of participants and 68.8 percent of those not involved affirmed the statement.
13. Larry Neal, "The Black Arts Movement", The Drama Review 12:4(1968):29-39;
14. reprinted in Visions of a Liberated Future: Black Arts Movement Writings (New York: Thunder's Mouth Press, 1989), 62.
15. Amiri Baraka, "Foreword: The Wailer", in Visions of a Liberated Future, x.
16. Larry Neal, "Any Day Now: Black Art and Black Liberation", Ebony 24:10(August 1969):56.
17. Amiri Baraka, "Work Notes-'66", chap. in Raise Race Rays Raze: Essays Since 1965 12.
18. James Stewart, "The Development of the Black Revolutionary Artist", in Black Fire: An Anthology of Afro-American Writing (New York: William Morrow & Company, 1968), 3.
19. "The Beautiful Day #9", A. B. Spellman muses, "what if his mirror was blackness." Black Fire, 245.
20. Imamu Amiri Baraka and Fundi (Billy Abernathy), In Our Terribleness: Some Elements and Meaning in Black Style (Indianapolis: Bobbs-Merrill, 1970), 160.
21. "The Resurrection of Blackness", Nikki Giovanni, Black Feeling Black Talk/Black Judgement (New York: Morrow Quill, 1979), 48.
22. Jeff Donaldson, "Africobra 1: African Commune of Bad Relevant Artists", Black World 19(October 1970):83-86.
23. Baraka, In Our Terribleness, 122.
24. Terry Eagleton, The Ideology of the Aesthetic (Oxford: Blackwell, 1990), 93-94.
25. Baraka, In Our Terribleness, 131.
26. "Introduction", Don L. Lee, Directionscore: Selected and New Poems (Detroit: Broadside Press, 1971), 29.
27. Stewart, "The Development of the Black Revolutionary Artist", 4-5.
28. Haki Madhubuti, and Hoyt Fuller, the editor of Negro Digest/Black World. An artistic workshop named BLKARTSOUTH, in New Orleans, gradually blossomed between 1967 and 1970 once an artistic collective named Free Southern Theater lost its funding to recruit Northern actors. One of the founders of BLKARTSOUTH, Tom Dent, remembers discovering the specificity of his black Southern identity during the Black Arts Movement.
29. Nikki Giovanni, Black Feeling Black Talk/Black Judgement, 20.
30. Ed Bullins, The Theme is Blackness: "The Corner" and Other Plays (New York: William Morrow & Company, 1973), 182.
31. "Gwendolyn Brooks", in Lee, Directionscore, 89-90.
32. Kalamuya Salaam, "The Last Movement." Mosaic 13(Spring 2002):40.
33. Jones and Neal, Black Fire, xvi.
34. Lorenzo Thomas, "The Shadow World: New York's Umbra Workshop and Origins of the Black Arts Movement", Callaloo 4:1(October 1978):54.
35. Tom Dent, "Umbra Days" Black American Literature Forum 14:3(Autumn 1980):105-108.
36. Lorenzo Thomas, "Umbra Writers Workshop", in Encyclopedia of African-American Culture and History, ed. Jack Salzman, David Lionel Smith, and Cornel West (New York: Macmillan, 1996), 2696.
37. Thomas, "The Shadow World", 54.
38. Haki R. Madhubuti, "Foreword: The Generation Now", in Role Call: A Generational Anthology of Social and Political Black Art and Literature, ed. Tony Medina, Samiya A. Bashir, and Quraysh Ali Lansana (Chicago: Third World Press, 2002), xv.
39. Bryant Smith, "Identification Please", in Role Call, 487.
40. Black Fire, 652.
41. Imamu Amiri Baraka, It's Nation Time (Chicago: Third World Press, 1970), 24.
42. Tony Medina, Samiya A. Bashir, and Quraysh Ali Lansana, "Introduction: Call & Response", in Role Call, xviii.