The Black Arts Movement (Smithsonian Associates) - VIRTUAL - Montgomery Blair High School PTSA

We Are One Blair

  • ➡️  Events listed are primarily for adults, families and teens. Please review event descriptions and/or contact event organizers for details.
  • ➡️  Blair High School, Blair HS PTSA and MCPS events are designated as ‘Featured’ events (have blue vertical line in front of their event listings). For a complete list of the Blair HS PTSA’s meetings and events, you can view our current calendar.
  • ➡️ Please contact event organizers and/or venues prior to attendance for possible ‘event attendance’ limitations, safety/protection requirements, date changes or cancellations due to the coronavirus pandemic or other issues.
  • ➡️ ‘Virtual’ Events are events that will be held ONLINE ONLY. Check event details for access information. Note: Some virtual events start at different coast or international times (Pacific, Central, Greenwich Mean, etc.). The virtual event times listed on this website have been converted to New York/Eastern Standard Time.
Loading Events

« All Events

  • This event has passed.

The Black Arts Movement (Smithsonian Associates) – VIRTUAL

April 17 @ 10:00 am - 4:00 pm

$90.00

Ar

The Black Arts Movement

PROGRAM DESCRIPTION

Galvanized by the post-World War II decolonization of African nations and the civil rights, black power, anti-war, and feminist and womanist movements, African-descendant cultural producers in the United States began overtly repudiating a European aesthetic and claiming a Black aesthetic that emerged from the lived experience of Black people. Unlike the New Negro Renaissance of the early-20th century that claimed New York City and Washington, D.C., as its loci, the Black Arts Movement (BAM) permeated rural and urban cities and towns in the U.S., specifically drawing on blues, jazz, Black folk culture, and Black idiomatic expressions as its foundation.

Join Michele L. Simms-Burton, scholar of African American and Africana studies, and spend a day exploring the Black aesthetics and Black pride that define BAM and how this movement converges with and diverts from political, economic, and social landscapes of the 1960s and 1970s. Explore a number of Black cultural producers during this period, from the music to the literature to the Black-owned presses.

REGISTER

TICKETS: $80/member; $90/non-member


AGENDA:

10–11 a.m.  The Music

Listening to the music of protest social-conscience artists like Gil Scott Heron, Nina Simone, Curtis Mayfield, Marvin Gaye, Sweet Honey in the Rock, and Sun Ra reveals the soundtrack of BAM and the prescient warnings that these artists issued about American society.

11:10 a.m.–12:10 p.m.  The Literature

Central to BAM is the literature of Gwendolyn Brooks, James Baldwin, Toni Morrison, Amiri Baraka, Ntozake Shange, and Nikki Giovanni. Examine the literature of these writers within the context of a changing Black aesthetic and how each writer contributed to a shift in the American literary canon.

12:10–1:10 p.m.  Break

1:10–2:10 p.m.  The Art

Defining a Black aesthetic also permeated Black art of the 1960s and 1970s as artists self-consciously used Black culture as their muses. Understanding this period involves viewing the art of Charles White, Emory Douglas, Faith Ringgold, Elizabeth Catlett, Jean-Michel Basquiat, Alma Thomas, and Emma Amos, to name a few.

2:20–3:05 p.m.  Theater and Film

Since one tenet of the Black aesthetic was that culture be accessible to the public, theater became a viable venue for delivering literary and performative culture, thus giving (re)birth to Black-run theaters throughout the U.S. Also, Black filmmakers, from Melvin Van Peeples to the filmmakers of the L.A. Rebellion Film Movement, turned exclusively to narratives that drew from U.S. Black and diasporic cultures. These filmmakers worked against the Hollywood aesthetic as well as the stereotypical and often racist portrayals of African Americans in film.

3:15–4 p.m.  The Presses

Black presses like Broadside, Third World, the Black Panther Party, and Drum and Spear provided a mechanism for Black writers to reach their audiences when white-owned presses and publishers deemed Black writing a liability and unprofitable. Crucial to BAM is understanding the role that the Black-owned presses played in expanding the readership for Black writers.

Simms-Burton is a writer and scholar of African American and Africana studies, and a former tenured university professor.

 

Organizer

Smithsonian Associates
Phone:
202-633-3030
Email:
customerservice@SmithsonianAssociates.org
View Organizer Website