My Black History: The Case for Black Art in an Anti-Presidential Era

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An NAACP flyer campaigning for the Dyer Anti-Lynching Bill, which passed the U.S. House of Representatives in 1922, but was filibustered to defeat in the Senate. Dyer, the NAACP, and freedom fighters around the country, like Flossie Baily, struggled for years to get the Dyer and other anti-lynching bills passed, to no avail. Today there is still no U.S. law specifically against lynching. In 2005, eighty of the 100 U.S. Senators voted for a resolution to apologize to victims' families and the country for their failure to outlaw lynching. Courtesy of the National Association for the Advancement of Colored People (NAACP).
Some Exhibits to Come – One Hundred Years of Jim Crow
Mammy Statue JC Museum Ferris
Bibliography – One Hundred Years Of Jim Crow
Claude, age 23, just months before his 1930 murder. Courtesy of Faith Deeter.
Freedom’s Heroes During Jim Crow: Flossie Bailey and the Deeters
Souvenir Portrait of the Lynching of Abram Smith and Thomas Shipp, August 7, 1930, by studio photographer Lawrence Beitler. Courtesy of the Indiana Hisorical Society.
An Iconic Lynching in the North
Lynching Quilt
Claxton Dekle – Prosperous Farmer, Husband & Father of Two
Ancient manuscripts about mathematics and astronomy from Timbuktu, Mali
Some Exhibits to Come – African Peoples Before Captivity
Shackles for Adults & Children from the Henrietta Marie
Some Exhibits to Come – The Middle Passage
Slaveship Stowage Plan
What I Saw Aboard a Slave Ship in 1829
Arno Michaels
Life After Hate: A Former White Power Leader Redeems Himself

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From: The Root

Authored by: Maiysha Kai

Anastasia_Aleksieieva for iStock

InMy Black History: The Case for Black Art in an Anti-Presidential Era”, Maiysha Kai explains the power black art holds in the current political state of the United States.

She explains how, “The Black Arts Movement that followed was a direct response to the loss of our most prominent leaders of the 1960s, as well as our subsequent rejection of the desire to assimilate into any American culture invested in our marginalization. Even hip-hop has origins in the response of black and brown youths to a society that simultaneously disenfranchised and criminalized them en masse, the tenor of which would come to a head in the turbulent rise of “gangsta rap” in the 1990s.” 

Kai explains how African American’s are empowered through their art; letting their art speak social change by being an “expression of resistance but also a visible and visceral expression of the human experience.”

With the loss of an African American President, there is widespread “post-black”  and “post-racial” which in turn is leading to the “rise of black art in America.”

Read more Breaking News from ABHM here!

To read the full article, check out The Root!

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