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108
one of the most vocal, prolific, and widely published and read authors of
the movement, Baraka’s vision of the Black Arts movement has often been
the vision. For Baraka, the nationalist purpose of black arts is obvious.
He states: “for Black people it was (is) critical that we begin to focus on
National Liberation, the freeing of one nation (culture) from the
domination of another.”13 Baraka, like Fuller equates a national or
communal identity with cultural production. Baraka links the black
struggle for liberation in the United States with the larger struggle for
liberation by people of color in Africa and other parts of the Diaspora. He
argues against colonialism (and for viewing American blacks as colonized
people): “To free the nation is at the same time to free the culture, i.e., the
way of life.”14 We hear in this statement echoes of Franz Fanon whose
books The Wretched of the Earth and Black Skin, White Masks became
required reading for many of the artists and activists of the Black Power/
Black Arts era.15 Revolutionary nationalist groups such as the Black
Panther Party asserted that black people represented a colonized nation,
separate from and dominated by white America. This was particularly
evident in their attitude towards the police, whom they viewed as an
occupying force (like an army) in black communities and their calls for
dismantling the capitalist system that relied upon the exploitation of
black labor. Cultural nationalist groups like the Us Organization
concentrated on cultural (practical, artistic, theological) ideas, borrowing
Object Description
| Title | "As shelters against the cold": women writers of the Black Arts and Chicano movements, 1965-1978 |
| Author | Ryder, Ulli Kira |
| Author email | uryder@usc.edu; uryder@gmail.com |
| Degree | Doctor of Philosophy |
| Document type | Dissertation |
| Degree program | American Studies & Ethnicity |
| School | College of Letters, Arts and Sciences |
| Date defended/completed | 2008-08-27 |
| Date submitted | 2008 |
| Restricted until | Restricted until 27 October 2010. |
| Date published | 2010-10-27 |
| Advisor (committee chair) | McKenna, Teresa |
| Advisor (committee member) |
Sanchez, George J. Johnson, Dana |
| Abstract | This dissertation examines the work of women writers in the Black Arts and Chicano movements during the years 1965-1978. I argue that understanding the intersectional nature of the women's experiences is crucial for understanding their literary output. Further, I argue that Chicanas and African American women of this era challenged homogenous notions of community and racial identity and that we can trace the development of the Third World feminism and multiculturalism that came to the fore in the 1980s to this earlier period. Thus, this study also impacts the way we conceptualize identity formation and the creation of the literary canon. Investigating the ways in which these women integrated nationalist and feminist rhetoric and activism in their work is crucial for a full understanding of this critical period in U.S. history. At stake is an understanding of how Chicana and African American women in the United States have formed identities and communities; struggled for liberation and equality; and become part of the U.S. literary canon. |
| Keyword | Black Power; Black Arts movement; Chicano movement; civil rights; racial identity formation; womanism; borderlands theory; feminism; Third World feminism; nationalism; intersectionality |
| Geographic subject (country) | USA |
| Coverage date | 1965/1978 |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m1698 |
| Contributing entity | University of Southern California |
| Rights | Ryder, Ulli Kira |
| Repository name | Libraries, University of Southern California |
| Repository address | Los Angeles, California |
| Repository email | cisadmin@lib.usc.edu |
| Filename | etd-Ryder-2415 |
| Archival file | uscthesesreloadpub_Volume40/etd-Ryder-2415.pdf |
Description
| Title | Page 113 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 108 one of the most vocal, prolific, and widely published and read authors of the movement, Baraka’s vision of the Black Arts movement has often been the vision. For Baraka, the nationalist purpose of black arts is obvious. He states: “for Black people it was (is) critical that we begin to focus on National Liberation, the freeing of one nation (culture) from the domination of another.”13 Baraka, like Fuller equates a national or communal identity with cultural production. Baraka links the black struggle for liberation in the United States with the larger struggle for liberation by people of color in Africa and other parts of the Diaspora. He argues against colonialism (and for viewing American blacks as colonized people): “To free the nation is at the same time to free the culture, i.e., the way of life.”14 We hear in this statement echoes of Franz Fanon whose books The Wretched of the Earth and Black Skin, White Masks became required reading for many of the artists and activists of the Black Power/ Black Arts era.15 Revolutionary nationalist groups such as the Black Panther Party asserted that black people represented a colonized nation, separate from and dominated by white America. This was particularly evident in their attitude towards the police, whom they viewed as an occupying force (like an army) in black communities and their calls for dismantling the capitalist system that relied upon the exploitation of black labor. Cultural nationalist groups like the Us Organization concentrated on cultural (practical, artistic, theological) ideas, borrowing |
