It proposes a separate symbolism, mythology, critique and iconology.
The Black Arts and Black Power concept both relate broadly to the Afro-American’s desire for self-determination and nationhood. One is politics; the other with the art of politics.
But this aesthetic is finally, by implication, broader than that tradition.
It encompasses most of the useable elements of the Third World culture.
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 novelists.
A main tenet of Black Power is the necessity for Black people to define the world in their own terms.
Its time for Du Bois, Nat turner, and Kwame Nkrumah.
As Frantz Fanon points out: destroy the culture and you destroy the people. Black artists are culture stabilizers; bringing back old values, and 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. Implicit in the concept of protest literature, as brother Knight 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.