Exploring the interface between the cultural politics of the Black Power and the Black Arts movements and the production of postwar African American popular culture, Amy Ongiri shows how the reliance of Black politics on an oppositional image of African Americans was the formative moment in the construction of "authentic blackness" as a cultural identity. While other books have adopted either a literary approach to the language, poetry, and arts of these movements or a historical analysis of them, Ongiri's captures the cultural and political interconnections of the postwar period by using an interdisciplinary methodology drawn from cinema studies and music theory. She traces the emergence of this Black aesthetic from its origin in the Black Power movement's emphasis on the creation of visual icons and the Black Arts movement's celebration of urban vernacular culture.
eBook - PDF
Spectacular Blackness
The Cultural Politics of the Black Power Movement and the Search for a Black Aesthetic
- 236 pages
- English
- PDF
- Available on iOS & Android
eBook - PDF
Spectacular Blackness
The Cultural Politics of the Black Power Movement and the Search for a Black Aesthetic
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Information
Index
Literature
1
“Black
Is
Beautiful!”
BLACK
POWER
CULTURE,
VISUAL
CULTURE,
AND
THE
BLACK
PANTHER
PARTY
One
does
not
necessarily
have
to
wait
for
a
revolutionary
situation
to
arise;
it
can
be
created.
—Ernesto
“Che”
Guevara,
Guerilla
Warfare
LITTLE
JOHNNY
IN
SCHOOL
Little
Johnny
says,
“My
brother
was
in
Vietnam
and
got
shot
in
the
ass.”
The
teacher
says,
“Hey
freeze,
freeze.
Don’t
say
‘ass,’
say
‘rectum.’
”
Little
Johnny
says,
“
‘Rect
’um?’
Shit,
it
killed
’um!”
—Richard
Pryor,
Bicentennial
Nigger
Guerilla
Warfare
Che
Guevara’s
Armed
Struggle
and
the
Black
Panther
Party
Ernesto
“Che”
Guevara’s
simple
formulation
of
the
factors
that
enabled
the
1965
revolution
in
Cuba
and
that
could
potentially
enable
revolution
throughout
the
world
were
widely
read
and
highly
influential
among
all
who
considered
themselves
dispossessed
and
revolutionary
during
the
so-
cial
and
cultural
upheaval
of
the
mid-1960s
to
late
1970s.
In
a
1968
film,
Black
Panther,
created
by
the
Third
World
Newsreel
Collective
and
the
Black
Panther
Party
to
highlight
their
cause
and
the
situation
of
their
im-
prisoned
leader,
Huey
P.
Newton,
the
camera
pauses
didactically
on
a
copy
of
Venceremos,
a
1969
collection
of
Guevara’s
speeches
and
essays,
as
New-
ton
describes
from
his
jail
cell
the
goals
of
the
party
and
its
possible
sphere
Table of contents
- Cover
- Contents
- Acknowledgments
- Cotton Comes to Harlem An Introduction
- 1. “Black Is Beautiful!” Black Power Culture, Visual Culture, and the Black Panther Party
- 2. Radical Chic Affiliation, Identification, and the Black Panther Party
- 3. “We Waitin’ on You” Black Power, Black Intellectuals, and the Search to Define a Black Aesthetic
- 4. “People Get Ready!” Music, Revolutionary Nationalism, and the Black Arts Movement
- 5. “You Better Watch This Good Shit!” Black Spectatorship, Black Masculinity, and Blaxploitation Film
- Conclusion Dick Gregory at the Playboy Club
- Notes
- Bibliography
- Index
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