Week 13 Blog
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The Making of African American Identity: Vol. III, 1917-1968
L ARRY N EAL
The Black Arts Movement
Drama Review, *Summer 1968
Part One of Three (excerpts)
BLACK REVOLUTIONARY THEATRE is the name given to that
special Black American strain of theatre, film, and agitprop public
activity that originated in the Black Arts Movement, the Black
religious and spiritual sects, and in Third World Revolutionary
Cultural and Political societies. [Eds.]
1.
The Black Arts Movement is radically opposed to any concept of the
artist that alienates him from his community. This movement is the
aesthetic and spiritual sister of the Black Power concept. As such, it
envisions an art that speaks directly to the needs and aspirations of Black
America. In order to perform this task, the Blac k Arts Movement proposes a radical reordering of the
western cultural aesthetic. It proposes a separate sym bolism, mythology, critique, and iconology. The
Black Arts and the Black Power concept both relate broadly to the Afro-American’s desire for self-
determination and nationhood. Both concepts are na tionalistic. One is concerned with the relationship
between art and politics; the other with the art of politics.
Recently, these two movements have begun to merge: the political values inherent in the Black Power
concept are now finding concrete expression in the aesthetics of Afro-American dramatists, poets,
choreographers, musicians, and novelis ts. A main tenet of Black Power is the necessity for Black people
to define the world in their own terms. The Black artist has made the same point in the context of
aesthetics. The two movements postulate that there are in fact and in spirit two Americas — one black,
one white. The Black artist takes this to mean that his primary duty is to speak to the spiritual and cultural
needs of Black people. Therefore, the main thrust of this new breed of contemporary writers is to confront
the contradictions arising out of the Black man’s experience in the racist West. Currently, these writers
are re-evaluating western aesthetic, the traditional role of the writer, and the social function of art.
Implicit in this re-evaluation is th e need to develop a “black aesthetic.” It is the opinion of many Black
writers, I among them, that the Western aesthetic has run its course: it is impossible to construct anything
meaningful within its decaying structure. We advocat e a cultural revolution in art and ideas. The cultural
values inherent in western history must either be ra dicalized or destroyed, and we will probably find that
even radicalization is impossible. In fact, what is needed is a whole new system of ideas. Poet Don L.
Lee
1 expresses it:
. . . We must destroy Faulkner, dick, jane, 2 and other perpetrators of evil. It’s time for DuBois, Nat
Turner, and Kwame Nkrumah. 3 As Frantz Fanon 4 points out: destroy the culture and you destroy the
people. This must not happen. Black artists are culture stabilizers; bringing back old values, and
* National Humanities Center, 2007: nationalhumanitiescenter.org /pds/. Presented as originally published in Drama Review 12 (Summer 1968), pp.
29-39. Reprinted in Larry Neal, Visions of a Liberated Future: Black Arts Movement Writings, ed., Michael Schwartz (New York: Thunder's Mouth
Press, 1989). Reprinted by permission of the Avalon Publishing Group. Footnotes and images added by NHC. Complete image credits at
nationalhumanitiescenter.org/pds/maai3/imagecredits.htm.
1 Donald Luther Lee (1942-): African American poet who later took the name Haki Madhubuti. 2 Dick and Jane were characters in the widely used pr imary reading instruction series of the 1950s and 1960s. 3 Kwame Nkrumah (1909-1972): anti-colonialist and first president of Ghana (Gold Coast until independence from Britain in 1957). 4 Frantz-Fanon (1925-1961): black psychiatrist, social philosopher and essayist (born in Martinique, West Indies; educated in France) who supported
anti-colonial activism. introducing new ones. Black art will talk to the people and with the will of the people stop impending
“protective custody.”
The Black Arts Movement eschews “protest” literature. It speaks directly to black people. Implicit in the
concept of ‘protest” literature, as Brother Etheridge Knight 5 has made clear, is an appeal to white
morality:
Now any Black man who masters the technique of his particular art form, who adheres to the white
aesthetic, and who directs his work toward a white audience is, in one sense, protesting. And implicit
in the act of protest is the belief that a change will be forthcoming once the masters are aware of the
protestor’s “grievance” (the very wo rd connotes begging, supplications to the gods). Only when that
belief has faded and protestings end, will Black art begin.
Brother Knight also has some interesting statemen ts about the development of a “Black aesthetic”:
Unless the Black artist establishes a “Black aesthetic” he will have no future at all. To accept the white
aesthetic is to accept and validate a society that will not allow him to live. The Black artist must create
new forms and new values, sing new songs (or purify old ones); and along with other Black
authorities, he must create a new history, new sym bols, myths, and legends (and purify old ones by
fire). And the Black artist, in creating his own aesth etic, must be accountable for it only to the Black
people. Further, he must hasten his own dissolution as an individual (in the Western sense) — painful
though the process may be, having been breast-fed the poison of “individual experience.”
When we speak of a “Black aesthetic” several things ar e meant. First, we assume that there is already in
existence the basis for such an aesthetic. Essentially, it consists of an African-American cultural tradition.
But this aesthetic is finally, by implication, broader than that tradition. It enco mpasses most of the usable
elements of Third World culture. The motive behind th e Black aesthetic is the destruction of the white
thing, the destruction of white ideas, and white ways of looking at the world. The new aesthetic is mostly
predicated on an Ethics which asks the question: whose vision of the world is finally more meaningful,
ours or the white oppressors’? What is truth? Or more precisely, whose truth shall we express, that of the
oppressed or of the oppressors? These are basic questions . Black intellectuals of previous decades failed
to ask them. Further, national and in ternational affairs demand that we appraise the world in terms of our
own interests. It is clear that the question of human survival is at the core of contemporary experience.
The Black artist must address himself to this reality in the strongest terms possible. In a context of world
upheaval, ethics and aesthetics must interact positively and be consistent with the demands for a more
spiritual world. Consequently, the Black Arts Movement is an ethical movement. Ethical, that is, from the
viewpoint of the oppressed. And much of the oppression confronting the Third World and Black America
is directly traceable to the Euro-American cultural sensibility. This sensibility, antihuman in nature, has,
until recently, dominated the psyches of most Black artists and intellectuals. It must be destroyed before
the Black creative artists can have a meaningful role in the transformation of society.
It is this natural reaction to an a lien sensibility that informs the cultural attitudes of the Black Arts and the
Black Power movement. It is a profound ethical sen se that makes a Black artist question a society in
which art is one thing and the actions of men anothe r. The Black Arts Movement believes that your ethics
and your aesthetics are one. That the contradictions between ethics and aesthetics in western society is
symptomatic of a dying culture.
5 Etheridge Knight (1931-1991): African Amer ican poet of the Black Arts Movement.
