Black Power and/as Patriarchy

2020 ◽  
Vol 24 (3) ◽  
pp. 206-217
Author(s):  
Laurie R. Lambert

In Moving Against the System: The 1968 Congress of Black Writers and the Making of Global Consciousness, David Austin continues his important work as the leading historian of 1960s black Montreal. Moving Against the System illuminates histories that are critical to an understanding of black radicalism in Canada, the Caribbean, and the African diaspora, more broadly. This work decenters the United States as the nexus of Black Power, allowing readers to think about Canada as an understudied site of black radical organizing. While the congress viewed Black Nationalism as a serious political framework for defeating both racism and colonialism, all the speakers were male. This essay critiques the masculinist politics of Black Power at the congress and analyzes how Austin navigates the absence of women’s voices among the congress’s speakers.

2020 ◽  
Vol 24 (3) ◽  
pp. 195-205
Author(s):  
Peter James Hudson

Held at Montreal’s McGill University from 11 to 14 October 1968, the “Congress of Black Writers: Toward the Second Emancipation—the Dynamics of Black Liberation” was dubbed the largest Black Power conference ever held outside the United States. In Moving Against the System: The 1968 Congress of Black Writers and the Making of Global Consciousness, David Austin has compiled the surviving transcripts of this historic gathering, including the speeches by Walter Rodney, C. L. R. James, Stokely Carmichael, and Richard B. Moore, and he provides an extended introduction locating Montreal within the global politics of the late 1960s. This essay considers Moving Against the System as an archive of black and Caribbean history, examining both the debates that occurred among the participants of the conference and Austin’s role as an archivist and interpreter of Montreal’s radical past.


2021 ◽  
Author(s):  
Kai Alexis Smith

Wikipedia is in the top ten of the most visited websites in most places in the world and makes up the backbone of the Internet’s information ecosystem. Despite the global presence of the website and its sister projects, the knowledges of the African diaspora, in particular the Caribbean, are poorly represented. This chapter introduces and outlines Black-led projects, campaigns, and initiatives both within and outside of the formal networks of the Wikipedia communities and the Wikimedia Foundation. The history and value of Black encyclopedic sources are explored and frame the important work by projects like Black Lunch Table, WikiNdaba, Ennegreciendo Wikipedia, and AfroCROWD, which were started to help these editors and bridge content gaps. In June 2020, the Wikimedia Foundation released a statement in support of Black Lives highlighting the support they provide to U.S.-based projects. This was followed with criticism from the community on missed opportunities to acknowledge the work and networks outside the United States of on-wiki communities, information activists, academics, independent scholars, and communities who often go unrecognized. This chapter explores how the system of white supremacy is a part of libraries and archives and Wikipedia; how Black-led shared knowledge information activists are circumventing the system; and suggestions for a more inclusive path forward.


Author(s):  
Mark Newman

The popular media often illustrate black nationalism with images of Malcolm X and black leather-jacketed, Afro-wearing, armed Black Panthers in the 1960s, and, in later decades, Louis Farrakhan and hip-hop artists such as Public Enemy. Although historians disagree about black nationalism’s composition and origins, they argue that it has a long pedigree in American history, traceable at least to the first half of the 19th century, if not earlier. While men were most often black nationalism’s public exponents, and some emphasized manhood and female subordination, black nationalism also appealed to many black women, some of whom also exercised leadership and organizational skills in its service. Marcus Garvey, a Jamaican, led the first mass black nationalist organization in the United States, the Universal Negro Improvement Association (UNIA), during the 1920s. Like 19th-century black nationalists, Garvey advocated an independent state for people of African descent, black uplift, and the “civilizing” of Africa. Although not original to him, his emphasis on the right to self-defense, independent black economic development, and pride in African history boosted the UNIA’s popularity. Garvey fell victim to state oppression in the United States, but some former Garveyites joined the Moorish Science Temple of America (MSTA) and probably also the Nation of Islam (NOI), both of which rejected Christianity, identified blacks as Asiatics, and adopted particularist interpretations of Islam. In the 1950s and 1960s, Malcolm X, the charismatic son of Garveyite parents, became the Nation’s chief recruiter. Personal differences with Elijah Muhammad, the Nation’s leader since the 1930s, eventually led to Malcolm X’s departure in 1964. Although he was assassinated in 1965, Malcolm X’s calls for armed self-defense, self-determination and black pride, and identification with anticolonial struggles heavily influenced Black Power advocates. Some civil rights organizations and workers, who were disillusioned by intransigent white racism and distrustful of white liberals, championed Black Power, which was multifaceted and sometimes more reformist than nationalist. In the early 1990s, polls suggested that black nationalist ideas were more popular than during their supposed heyday in the late 1960s, before internal dissension and state repression undermined many Black Power groups.


2013 ◽  
Vol 47 (2) ◽  
pp. 417-438 ◽  
Author(s):  
LEON WAINWRIGHT

Art of the transnational Caribbean has come to be positioned by an understanding of the African diaspora that is oriented to an American “centre,” a situation to be explored for what it reveals about the hegemonic status of the United States in the discipline of contemporary art history. The predominant uses of the diaspora concept both in art-historical narratives and in curatorial spaces are those that connect to United States-based realities, with little pertinence to a strictly transnational theorization. This has implications for how modern art and contemporary art are thought about in relation to the Caribbean and its diaspora, in a way that this article demonstrates with attention to a number of artists at multiple sites, in Trinidad, Guyana, Britain and America.


Author(s):  
Tuire Valkeakari

This chapter examines Caryl Phillips’s, Cecil Foster’s, and Edwidge Danticat’s depictions of contemporary African Caribbean encounters with the United States and Canada, with a particular focus on the complexities of “return”—a theme that facilitates discussions about “origins” and “home” and about formations of both diasporic and national identities and solidarities. A State of Independence (Phillips), Sleep on, Beloved (Foster), and Breath, Eyes, Memory (Danticat) all depict black Caribbean-born diasporans’ return trips back to the Caribbean. In all their complexity, these visits and their existential consequences play a pivotal role in how Phillips’s, Foster’s, and Danticat’s protagonists interpret their pasts and envision their future identities as members of their families, of two nations, of the Caribbean diaspora, and of the African diaspora.


1987 ◽  
Vol 67 (4) ◽  
pp. 734
Author(s):  
Richard Hart ◽  
Kai P. Schoenhals ◽  
Richard A. Melanson

Author(s):  
Horace R. Hall

The African diaspora, also referred to as the African Black diaspora, is the voluntary and involuntary movement of Africans and their descendants to various parts of the world. Even though voluntary widespread African diasporas occurred during precolonizing periods, the Arabic slave trade (7th to 18th centuries) and the transatlantic slave trade (16th to 19th centuries) are largely recognized as phases of involuntary movement with an estimated combined 30 million Africans dispersed across the African continent and globally. Today, the largest populations of people descended from Africans forcibly removed from Africa reside in Brazil, the Caribbean, and the United States, with millions more in other countries. Such vast movement of a people across time and space has meant that those who are part of the African diaspora have suffered similar problems and disadvantages. The legacy of slavery, especially in relation to racism and colonialism, has garnered attention across the scholarly disciplines of history, ethnic, cultural, and religious studies. Likewise, African and Black diasporan responses to colonial oppression have manifested in multiple curricula in literature, music, philosophy, politics, civilization, customs, and so forth, designed for and by African diasporans in their efforts to unite all people of African descent, building on their cultural identity and resisting racist ideology and colonial rule.


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