Black Power facts for kids

Black Power is a political slogan which aims to achieve self-determination for black people. It is mainly used by black people activists. The Black Power movement was prominent in the late 1960s and early 1970s. It incentivized the creation of black political and cultural institutions and promoted the collective interests and values of black Americans.

"Black Power" expresses a range of political goals, from militant self-defense against racial oppression to the establishment of social institutions and a self-sufficient economy, including black-owned bookstores, cooperatives, farms, and media. However, the movement has been criticized for alienating itself from the mainstream civil rights movement, and its support of black separatism.

Variants

Black Power advocates believed in black autonomy and supported black nationalism, black self-determination, and black separatism. While Civil Rights leaders often proposed passive, non-violent tactics, the Black Power movement felt that "a 'non-violent' approach to civil rights is an approach black people cannot afford and a luxury white people do not deserve." However, many groups and individuals—including Rosa Parks, Robert F. Williams, Maya Angelou, Gloria Richardson, and Fay Bellamy Powell—participated in both civil rights and black power activism. A growing number of scholars conceive of the civil rights and black power movements as one interconnected Black Freedom Movement.

Not all Black Power advocates were in favor of black separatism.

Internationalist offshoots of black power include African internationalism, pan-Africanism, black nationalism, and black supremacy.

History

The term "Black Power" was used in a different sense in the 1850s by black leader Frederick Douglass as an alternative name for the Slave Power—that is the disproportionate political power at the national level held by slave owners in the South.

The modern American concept emerged from the Civil Rights Movement in the early 1960s. Beginning in 1959, Robert F. Willams, president of the Monroe, North Carolina chapter of the NAACP, openly questioned the ideology of nonviolence and its domination of the movement's strategy. Williams was supported by prominent leaders such as Ella Baker and James Forman, and opposed by others, such as Roy Wilkins (the national NAACP chairman) and Martin Luther King Jr. In 1961, Maya Angelou, Leroi Jones, and Mae Mallory led a riotous (and widely covered) demonstration at the United Nations in order to protest against the assassination of Patrice Lumumba. Malcolm X, national representative of the Nation of Islam, also launched an extended critique of nonviolence and integrationism at this time. After seeing the increasing militancy of blacks in the wake of the 16th Street Baptist Church bombing, and wearying of Elijah Muhammad's domination of the Nation of Islam, Malcolm left that organization and engaged with the mainstream of the Civil Rights Movement. Malcolm was now open to voluntary racial integration as a long-term goal, but he still supported armed self-defense, self-reliance, and black nationalism; he became a simultaneous spokesman for the militant wing of the Civil Rights Movement and the non-separatist wing of the Black Power movement.

While King never endorsed the slogan, and in fact opposed the Black Power movement, his rhetoric sometimes came close to it. In his 1967 book Where Do We Go From Here?, King wrote that "power is not the white man's birthright; it will not be legislated for us and delivered in neat government packages."

Impact

The idea of Black Power helped organize scores of community self-help groups and institutions that did not depend on white people, encouraged colleges and universities to start black studies programs, mobilized black voters, and improved racial pride and self-esteem.

One of the most well-known and unexpected demonstrations for Black Power occurred at the 1968 Summer Olympics in Mexico City. At the conclusion of the 200m race, at the medal ceremony, United States gold medalist Tommie Smith and bronze medalist John Carlos wore Olympic Project for Human Rights badges and showed the raised fist (see 1968 Olympics Black Power salute) as the anthem played. Accompanying them was silver medalist Peter Norman, a white Australian sprinter, who also wore an OPHR badge to show his support for the two African Americans.

Beauty

The cultivation of pride in the African-American race was often summarized in the phrase "black is beautiful."

The "black is beautiful" cultural movement aimed to dispel the notion that black people's natural features such as skin color, facial features and hair are inherently ugly. John Sweat Rock was the first to coin the phrase "Black is Beautiful", in the slavery era. The movement asked that men and women stop straightening their hair and attempting to lighten or bleach their skin. The prevailing idea in American culture was that black features were less attractive or desirable than white features.

Arts and culture

The Black Power movement produced artistic and cultural products that both embodied and generated pride in "blackness" and further defined an African-American identity that remains contemporary. Black Power is often seen as a cultural revolution as much as a political revolution, with the goal of celebrating and emphasizing the distinctive group culture of African Americans to an American society that had previously been dominated by white artistic and cultural expressions. Black power utilized all available forms of folk, literary, and dramatic expression based in a common ancestral past to promote a message of self-actualization and cultural self-definition.

The cultural concept of "soul" was fundamental to the image of African-American culture embodied by the Black Power movement. Soul, a type of "in-group cultural cachet," was closely tied to black America's need for individual and group self-identification. A central expression of the "soulfulness" of the Black Power generation was a cultivation of aloofness and detachment, the creation of an "aura or emotional invulnerability," a persona that challenged their position of relative powerlessness in greater society. The nonverbal expressions of this attitude, including everything from posture to handshakes, were developed as a counterpoint to the rigid, "up-tight" mannerisms of white people. Though the iconic symbol of black power, the arms raised with biceps flexed and clenched fists, is temporally specific, variants of the multitude of handshakes, or "giving and getting skin," in the 1960s and 1970s as a mark of communal solidarity continue to exist as a part of black culture.

Clothing style also became an expression of Black Power in the 1960s and 1970s. Though many of the popular trends of the movement remained confined to the decade, the movement redefined standards of beauty that were historically influenced by white people and instead celebrated a natural "blackness." "Natural" hair styles, such as the Afro, became a socially acceptable tribute to group unity and a highly visible celebration of black heritage. Though the same social messages may no longer consciously influence individual hair or clothing styles in today's society, the Black Power movement was influential in diversifying standards of beauty and aesthetic choices. The Black Power movement raised the idea of a black aesthetic that revealed the worth and beauty of all black people.

In developing a powerful identity from the most elemental aspects of African-American folk life, the Black Power movement generated attention to the concept of "soul food," a fresh, authentic, and natural style of cooking that originated in Africa. The flavor and solid nourishment of the food was credited with sustaining African Americans through centuries of oppression in America and became an important aid in nurturing contemporary racial pride.

Black Arts Movement

The Black Arts Movement or BAM, founded in Harlem by writer and activist Amiri Baraka (born Everett LeRoy Jones), can be seen as the artistic branch of the Black Power movement. This movement inspired black people to establish ownership of publishing houses, magazines, journals and art institutions. Other well-known writers who were involved with this movement included Nikki Giovanni; Don L. Lee, later known as Haki Madhubuti; Sonia Sanchez; Maya Angelou; Dudley Randall; Sterling Plumpp; Larry Neal; Ted Joans; Ahmos Zu-Bolton; and Etheridge Knight. Several black-owned publishing houses and publications sprang from the BAM, including Madhubuti's Third World Press, Broadside Press, Zu-Bolton's Energy Black South Press, and the periodicals Callaloo and Yardbird Reader. Although not strictly involved with the Movement, other notable African-American writers such as novelists Ishmael Reed and Toni Morrison and poet Gwendolyn Brooks can be considered to share some of its artistic and thematic concerns.

BAM sought "to link, in a highly conscious manner, art and politics in order to assist in the liberation of black people", and produced an increase in the quantity and visibility of African-American artistic production. Though many elements of the Black Arts movement are separate from the Black Power movement, many goals, themes, and activists overlapped. Literature, drama, and music of black people "served as an oppositional and defensive mechanism through which creative artists could confirm their identity while articulating their own unique impressions of social reality." In addition to acting as highly visible and unifying representations of "blackness," the artistic products of the Black Power movement also utilized themes of black empowerment and liberation.

See also

In Spanish: Poder negro para niños