Neal was just one of the important writers of the Black Arts Movement era. Other writers, poets, and essayists illustrated a new beginning for the black community to overcome their hardships and to rise up artistically. The concept of Black Power stemmed from the Black Arts Movement. Black Power was a political movement that arose to express a new racial consciousness among Blacks in the United States. Black Power represented a racial dignity leading to freedom from white authority in economic and political grounds.
A great deal of the work created at this time was very opinionated and designed to empower and uplift African-Americans. The movement holds a tremendous effect and influence on writers that have come in the later part of the on-going insurgence. The themes, concepts, and social questions that the Black Arts Movement artists had influenced a new generation of writers who extended and related to the Black Aesthetic in more contemporary times. Conscientious novelists now write with the purpose to communicate the definition of blackness and the variety of the “Black Experience” correlating with writers of the movement. Natasha Tretheway‘s poem “Help 1968” is one that was subsequently influenced by the logic and perspectives of the movement.
During the Harlem Renaissance, African-Americans had also fought to end racism and violence towards their race. Groups who fought for those can be found today such as the “Black Lives Matter” movement. “The Black Lives Matter Global Network is a chapter-based, member-led organization whose mission is to build local power and to intervene in violence inflicted on Black communities by the state and vigilantes.” (“About” 1). In other words, this is a movement where black people fight to be treated equally as others. The Black Lives Matter movement relates to the Harlem Renaissance because both these movements have/had a goal of changing the way people view African Americans so that they could be treated equally.
The Black Arts Movement, 1965 to 1976, was an influential movement for various reasons. The movement is characterized as a set of perspectives about African American cultural making, which presumed that black artists were main authority for the political activism. It additionally announced that the main substantial political end of dark specialists' exertions was liberation from white political and aesthetic force structures. In the same way that white individuals were to be stripped of their entitlement to prohibit or characterize dark character, white stylish benchmarks were to be ousted and swapped with innovative qualities emerging from the dark group. The Black Arts Movement (BAM), 1965 to 1976, started in Harlem, New York, was an influential movement for various reasons.
X’s “Message to the Grassroots” speech stands a testament of Black Power’s perceptions; through a common enemy the group was able to form a collective identity. Stokely Carmichael purveyed similar tones throughout his campaign in the Black Power movement and especially in “The basis of Black Power.” Carmichael detailed how whites cannot be a part of the movement because it deludes, pollutes, and hinders the black community to... ... middle of paper ... ...l activism and largely followed the political framework of the Civil Rights movement. Nonetheless, the leaders of each movement help to prove how both groups affected each other through political activism and participation. CONCLUSION The Civil Rights and Black Power movement had a profound affect on the United States and is largely credited with the level of equality today. Each movement projected emotion, dedication, and bravery, which inspired their group to better its place within the infrastructure of the American dream.
With such great notables as Countee Cullen, Jean Toomer, Zora Neale, and James Johnson, mainstream American now had a unique window into the plight of African Americans all over the country. One individual though stands out as one of the most prominent figures of the Harlem Renaissance. Langston Hughes defined himself by his ability to pursue the true essence of “black folk” at a time when black identity, culture, or art was considered an oxymoronic concept. Hughes sought to explore the true identity of Black America even amidst criticism that his work was anti-assimilationist in its literary expression. Wallace Thurman, one of Hughes’ closest friends had this to say about the poet’s subject matter: “He went for inspiration and rhythms to those people who had been the least absorbed by the quagmire of American Kultur, and from them he undertook to select and preserve such autonomous racial values as were being rapidly eradicated in order to speed the Negro’s assimilation.” ( Bloom 161) To many black critics, including Thurman, the subjects of Langston Hughes’ poetry exposed an aspect of the black culture that, according to Countee Cullen threw wide, “every door of the racial entourage, to the wholesale gaze of the world at large (Bloom 152).” Hughes was a lover of his people and sought to explain and illuminate the Negro condition in America.
Albert Einstein is thought to have popularised the idea that society favours the logical mind - which people are taught to use - over the one of creativity and intuition, which cannot be learned. However, the Harlem Renaissance is a key cultural movement that shows the value of creative forms in bringing about political and social change. This African American movement generated distinctly black works of literature that ushered in a change of racial relations in the United States. Leading this movement were Langston Hughes and Claude McKay, whose literature contributed to the Harlem Renaissance by raising awareness of what it meant to be black in the United States and developing a new African American cultural identity. Both To The White
Sometimes referred to as “the artistic sister of the Black Power Movement” the Black Arts Movement (BAM) arose in the mid 1960’s to develop a poetic/artistic statement that not only provided a means of black existence in America, but also provided a “change of vision” in the perception of African American identity. Much like the New Negro Movement, the Black Arts Movement was a flourishing time of artistic exertion among African American musicians, poets, playwrights, writers, and visual artists who understood that their artistic production could be the key to revising stereotypes of African American subordinacy (Neal). Through looking at the enriching artworks by David Hammons, Jeff Donaldson, and Adrian Piper, it can be understood that the African American race strived for both racial equality and social change. Hammons, Donaldson, and Piper were unique artist who changed African American Art and captivated America through their exceptional styles of talent and artworks. While the artworks Spade (Power to the Spade) by David Hammons, Wives of Shango by Jeff Donaldson, and Adrian Piper’s advertisement in Village Voice share few commonalities such as similar subject matter, such as their strive for black power, and imagery, their differences in mediums, structural styles, and technique show differentiating aspects of each artworks physique.
The Harlem Renaissance created two goals. “The first was that black authors tried to point out the injustices of racism in American life. The second was to promote a more unified and positive culture among African Americans"(Charles Scribner 's Sons). The Harlem Renaissance is a period
He illustrated stories by capturing the experiences, trials, and pride of the Negro race; which he makes evident by representing not only himself, but other fellow Negroes of Harlem. I find how he represents the Negroes of Harlem compelling and all around interesting. As such, I have decided to research how does the work of Langston Hughes reflect the racial ideologies of the Harlem Renaissance? Even though African Americans were not slaves during this time period, racism and hatred were still active not only in New York, but also across the nation. The struggle of an oppressed people expressing their identity and yet being united as Negroes was a very delicate matter that Hughes portrays beautifully through his plays and poems.