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 the
black arts
movement

    

                              

Waldo E. Martin Jr. and Patricia Sullivan, editors

the
black arts
movement
Literary Nationalism in the s and s

James Edward Smethurst

      

Chapel Hill and London

 Portions of Chapters  and  were pub-
lished in different form in ‘‘Pat Your Foot
and Turn the Corner: Amiri Baraka, the
Black Arts Movement, and the Poetics of a
Popular Avant-Garde,’’ African American
Review .– (Summer/Fall ).
©  Portions of Chapter  were also pub-
The University of North Carolina Press lished in different form in ‘‘Poetry and
All rights reserved Sympathy: New York, the Left, and the
Designed by Rebecca Giménez. Set in Adobe Rise of Black Arts,’’ in Left of the Color
Minion by Tseng Information Systems, Inc. Line: Race, Radicalism, and Twentieth-
Manufactured in the United States of America Century Literature of the United States,
edited by Bill V. Mullen and James
The paper in this book meets the guidelines
Smethurst (Chapel Hill: University of
for permanence and durability of the Committee
North Carolina Press, ); and ‘‘‘Don’t
on Production Guidelines for Book Longevity
Say Goodbye to the Porkpie Hat’: Lang-
of the Council on Library Resources.
ston Hughes, the Left, and the Black Arts
Library of Congress Movement,’’ Callaloo . (Fall ).
Cataloging-in-Publication Data Portions of Chapter  were published in
Smethurst, James Edward. different form in ‘‘The Origins of the Black
The Black Arts Movement : literary nationalism Arts Movement in Chicago and Detroit,’’
in the s and s / James Edward Smethurst. Contours . (Spring ).
p. cm. — (The John Hope Franklin series in Portions of Chapter  were published
African American history and culture) in different form in ‘‘Remembering When
Includes bibliographical references and index. Indians Were Red: Bob Kaufman, the
 --- (alk. paper) — Popular Front, and the Black Arts Move-
 --- (pbk. : alk. paper) ment,’’ Callaloo . (Winter ).
. American literature—African American Portions of Chapter  were published in
authors—History and criticism. . Black different form in ‘‘The Black Arts Move-
nationalism—United States—History—th ment and Historically Black Colleges and
century. . African Americans—Intellectual Universities,’’ in New Thoughts on the
life—th century. . African Americans in Black Arts Movement, edited by Lisa Gail
literature. . Black nationalism in literature. Collins and Margo Crawford (New Bruns-
. Black Arts movement. I. Title. II. Series. wick: Rutgers University Press, ).
. 
.'—dc 

cloth          
paper          
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Acknowledgments ix

Abbreviations xiii

Introduction 

1.Foreground and Underground:

The Left, Nationalism, and the
contents
Origins of the Black Arts Matrix 

2.Artists Imagine the Nation, the 5. Bandung World: The West Coast,
Nation Imagines Art: The Black Arts the Black Arts Movement, and the
Movement and Popular Culture, Development of Revolutionary Na-
History, Gender, Performance, and tionalism, Cultural Nationalism, Third
Textuality  Worldism, and Multiculturalism 

3. New York Altar City: New York, the 6. Behold the Land: Regionalism,
Northeast, and the Development of the Black Nation, and the Black Arts
Black Arts Cadres and Ideologies  Movement in the South 

4.Institutions for the People: Conclusion 

Chicago, Detroit, and the Black Arts
Movement in the Midwest   . Birth Dates of Selected
Black Arts and Black Power Figures 

 . Time Line of the Early

Black Arts and Black Power
Movements 

Notes 

Bibliography 

Index 
This page intentionally left blank
illustrations

Cover of an early issue of Umbra 

Saxophonist Ornette Coleman on

the cover of Liberator 

Cover of the first issue of Soulbook 

Cover of Black Theatre portraying

Otis Redding as a Christ 

Cover of Black America featuring a

watercolor by Muhammad Ahmad 

Cover of a  women’s group

pamphlet 

First page of Marvin X’s ritual drama

The Resurrection of the Dead 
This page intentionally left blank
 acknowledgments

This project owes so much to so many people who have generously helped in so
many ways that I am sure I will miss somebody or forget some invaluable assis-
tance rendered me. So please forgive me in advance if I overlook someone or fail
to recall something. Just because I am absentminded does not mean that I am
not grateful. In any event, whatever worth this project may have is largely due
to everyone who has guided, informed, corrected, and encouraged me. And, of
course, the shortcomings of this study are solely my own.
In the first place, I would like to thank everyone who allowed me to inter-
view them or who answered written questions at length (in some cases more
than once): Muhammad Ahmad, Abdul Alkalimat, Ernest Allen Jr., Amina Ba-
raka, Amiri Baraka (still my poet laureate), Grace Lee Boggs, Herb Boyd, John
Bracey Jr., Ed Bullins, Sam Cornish, Jayne Cortez, Ebon Dooley, Dan Geor-
gakas, Calvin Hicks, Esther Cooper Jackson, James Jackson, Maulana Karenga,
Woodie King Jr., Haki Madhubuti, Marvin X, Ron Milner, Sterling Plumpp,
Kalamu ya Salaam, Sonia Sanchez, Budd Schulberg, John Sinclair, A. B. Spell-
man, Edward Spriggs, Nelson Stevens, William Strickland, Michael Thelwell,
Lorenzo Thomas, Askia Touré, Jerry Ward, and Nayo Watkins.
I am also deeply indebted to the many people who answered questions, gave
me leads, shared their research, read larger or smaller portions of this study, and
encouraged me in ways large and small: Shawn Alexander, Michael Bibby, Melba
Joyce Boyd, Wini Breines, Randall Burkett, Lisa Collins, Margo Crawford, Maria
Damon, Gary Daynes, Angela Dillard, Alan Filreis, Barbara Foley, Chris Funk-
houser, Ignacio Garcia, Barry Gaspar, Henry Louis Gates Jr., John Gennari, Der-
Explore https://ebookultra.com
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