Fifty years ago, Malcolm X gave a radical sermon at a Los Angeles church on the theme that “Black is beautiful.” Temple said this caught fire within the Black power generation, developing into a chant that represented pride, cultural affirmation and deep rebellion. The phrase signified far more than a mere slogan; it encapsulated a movement that sought to redefine Black identity and challenge systemic racism. Today we are living in an age of extreme political polarization. The legacy of this movement is under attack, most recently from the former President Donald Trump’s administration, which sought to defund institutions that celebrate Black culture and history.
Marc Bamuthi Joseph, the Kennedy Center’s recently sacked vp and director of social impact, was unflinching in his condemnation of Trump. He charged him with attempting to “dismantle all that is Black.” Artists and intellectuals express a very earnest anxiety over their continued struggle for respect. They want more recognition in the cultural ecosystem. The National Museum of African American History and Culture (NMAAHC) has quickly become ground zero for this fight. In response, Trump’s administration has alleged that the Foundation is pushing a “woke,” “improper” and “divisive, race-centered” ideology in an executive order titled “Restoring Truth and Sanity to American History.” The order specifically targeted the museum’s promotion of the view that “race is not a biological reality,” creating a significant controversy over the interpretation of history and identity in America.
The Black Arts Movement and Its Significance
The Black Arts Movement (BAM), which flourished in the 1960s and 1970s. It served as an organizational lifeblood that translated Black cultural capital into political power. Legendary luminaries such as Amiri Baraka and Gwendolyn Brooks fought tooth and nail to amplify Black artistry. Nikki Giovanni and James Baldwin fervently declared cultural autonomy in their extraordinary works. BAM conveners focused on Black liberation instead of conciliation, knowing that cultural production was self-evidently inextricable from intellectual production.
This charge went hand in hand with independence movements across Africa and its diaspora. It took radical and empowering influence from revolutionary movements for liberation across the world. BAM wasn’t only about artistic expression. It fearlessly proclaimed artistic autonomy and screamed for a native being! These artists understood that to build pride and strength in their community, it was necessary to first learn about and honor their heritage.
Beyond literary and artistic contributions, the impact of BAM filtered into the public discourse, altering how the American public viewed race and identity. Artists embraced the concept that “all negroes should study African history and language,” as articulated by the Kerner Commission, emphasizing the critical role of education in nurturing self-identity.
Ongoing Challenges and Cultural Battles
Even with the progress accomplished during the Black Arts Movement, we still face challenges today. The disproportionate representation of Black entertainers, artists, musicians, and athletes in popular culture—while only comprising about 13% of the U.S. population—highlights an ongoing struggle for equity. These figures regularly wrestle with systemic obstacles, all as they try to find commercial success.
This simple desire reveals a deep ideological contradiction at the heart of today’s debates over cultural representation. As political forces attempt to undermine narratives that center Black experiences, artists and advocates continue to push back against attempts to erase their contributions.
“When you’re talking about representation, presentation is in the word. You’re talking about presenting to someone, to another. Present to whom? The Black arts movement did not give a damn about presenting Black culture for anyone else’s approval.”
BAM’s historical context cannot be overstated. It serves not only as a monument to our past fights, but it truly equips us for the battles we face today. Haki Madhubuti articulated this mission clearly:
The political climate surrounding Black culture is a loaded gun. Trump’s administration’s attempts to regulate how history is taught and understood in institutions like the NMAAHC signal deeper issues related to societal values. The executive order’s assertion that promoting certain views on race is “improper” raises questions about freedom of expression in education.
“The mission is how do we become a whole people, and how do we begin to essentially tell our narrative, while at the same time move toward a level of success in this country and in the world? And we can do that. I know we can do that.”
The Intersection of Culture and Politics
This call for collective action between academic institutions and grassroots movements serves as a rallying cry for solidarity in dismantling these systemic barriers. The fight for cultural sovereignty is more than a struggle over artists and creativity; it’s the fight for a seat at the table—in America’s story.
As cultural producers continue to encounter these crises, they reach into the well of a legacy of movements that came before them, including BAM. By connecting their work to broader historical struggles and contemporary issues, they articulate a vision for a future that embraces diversity rather than suppresses it.
“Unite the academy and the street.”
This call for collaboration between academic institutions and grassroots movements emphasizes the need for solidarity in confronting systemic issues. The battle for cultural autonomy is not just about art; it is about securing a place within America’s narrative.
As cultural producers navigate these challenges, they draw from the legacy of past movements like BAM. By connecting their work to broader historical struggles and contemporary issues, they articulate a vision for a future that embraces diversity rather than suppresses it.