Class Struggle And The Color Line

As Black oppression moves again to the forefront of American public life, the history of radical approaches to combating racism has acquired renewed relevance. Collecting, for the first time, source materials from a diverse array of writers and organizers, this reader provides a new perspective on the complex history of revolutionary debates about fighting anti-Black racism. Contextual material from the editor places each contribution in its historical and political setting, making this volume ideal for both scholars and activists. "Paul Heideman’s book reconstructs for us the long flowering of anti-racist thought and organizing on the American Left and the central role played by Black Socialists in advancing a theory and practice of human liberation. Class struggle and anti-racism are two sides of the same coin in this powerful collection. At a time when the emancipation of oppressed and working-class people remain goals of progressives everywhere, Heideman’s book provides us a map to a past that can help us get free."-Bill V. Mullen, Professor of American Studies, Purdue University "Should white workers pursue racial supremacy to make America great again? Ignore race by practicing color-blindness and dwelling on labor and economic issues alone? Or challenge oppression, bigotry, and exploitation in all their forms, wherever and whenever they appear? These strategies may sound like ones from our own time, but they were live options for the left a century ago. We are all in Paul Heideman's debt for compiling Class Struggle and the Color Line, a set of rare original sources that remind us of this: In the absence of sound social theory, disgusting racism can be passed off as populist rebellion. Don't let it happen again." -Christopher Phelps, co-author, Radicals in America: The U.S. Left since the Second World War Paul Heideman is a PhD student in Sociology at New York University and is a frequent contributor to Jacobin and the Historical Materialism Conference.

DIVThis ms studies class and race boundaries, and interracial political coalitions, in two significant 19th century social movements--the Knights of Labor and the Populist movement./div

Racial distinctions in U.S. society, and the racism that accompanies them, continue to be integral parts of the American experience more than 100 years after W.E.B. DuBois identified ¿the color line¿ as the most significant social feature of the United States. Even within the complex racial and ethnic dynamics that have developed in the United States since the immigration reform of 1965 opened the door to millions of Latino and Asian newcomers, the question of racism directed at African-Americans carries special weight. This is so not just because millions of African-Americans continue to be adversely affected. As Ted Allen shows in this pamphlet, the system of racial oppression in the United States, rooted in African-American slavery, was organized to discipline and suppress European as well as African labor, and has from the beginning had profound and contradictory consequences for European-Americans. For almost the whole of American history, this system of social control has effectively derailed working class unity. And it continues to shape controversies surrounding the arrival and absorption of new ¿minorities¿ to this day.

Examining the significant influence of the Soviet Union on the work of four major African American authors—and on twentieth-century American debates about race—Beyond the Color Line and the Iron Curtain remaps black modernism, revealing the importance of the Soviet experience in the formation of a black transnationalism. Langston Hughes, W. E. B. Du Bois, Claude McKay, and Paul Robeson each lived or traveled extensively in the Soviet Union between the 1920s and the 1960s, and each reflected on Communism and Soviet life in works that have been largely unavailable, overlooked, or understudied. Kate A. Baldwin takes up these writings, as well as considerable material from Soviet sources—including articles in Pravda and Ogonek, political cartoons, Russian translations of unpublished manuscripts now lost, and mistranslations of major texts—to consider how these writers influenced and were influenced by both Soviet and American culture. Her work demonstrates how the construction of a new Soviet citizen attracted African Americans to the Soviet Union, where they could explore a national identity putatively free of class, gender, and racial biases. While Hughes and McKay later renounced their affiliations with the Soviet Union, Baldwin shows how, in different ways, both Hughes and McKay, as well as Du Bois and Robeson, used their encounters with the U. S. S. R. and Soviet models to rethink the exclusionary practices of citizenship and national belonging in the United States, and to move toward an internationalism that was a dynamic mix of antiracism, anticolonialism, social democracy, and international socialism. Recovering what Baldwin terms the "Soviet archive of Black America," this book forces a rereading of some of the most important African American writers and of the transnational circuits of black modernism.

Rethinking the Color Line helps make sense of how race and ethnicity influence aspects of social life in ways that are often made invisible by culture, politics, and economics. Charles A. Gallagher has assembled a collection of readings that are theoretically informed and empirically grounded to explain the dynamics of race and ethnicity in the United States. Students will be equipped to confidently navigate the issues of race and ethnicity, examine its contradictions, and gain a comprehensive understanding of how race and ethnic relations are embedded in the institutions that structure their lives. User-friendly without sacrificing intellectual or theoretical rigor, the Seventh Edition has been thoroughly updated to reflect the current debates and the state of contemporary U.S race relations.

A powerful collection of sketches, reviews, and papers focusing on issues related to African emancipation. This volume touches on many crucial themes such as Black Consciousness as a reference point of Pan-Africanism and the relationship between race and class, colour as an instrument of African oppression and exploitation, the myth of race and colour and the psychological syndrome of self-hatred that has been transferred from one generation to the next. The means by which African emancipation both on the continent and the Diaspora is to be approached are also examined.

From the first synchronized sound films of the late 1920s through the end of World War II, African American music and dance styles were ubiquitous in films. Black performers, however, were marginalized, mostly limited to appearing in "specialty acts" and various types of short films, whereas stardom was reserved for Whites. Jumping the Color Line discusses vernacular jazz dance in film as a focal point of American race relations. Looking at intersections of race, gender, and class, the book examines how the racialized and gendered body in film performs, challenges, and negotiates identities and stereotypes. Arguing for the transformative and subversive potential of jazz dance performance onscreen, the six chapters address a variety of films and performers, including many that have received little attention to date. Topics include Hollywood's first Black female star (Nina Mae McKinney), male tap dance "class acts" in Black-cast short films of the early 1930s, the film career of Black tap soloist Jeni LeGon, the role of dance in the Soundies jukebox shorts of the 1940s, cinematic images of the Lindy hop, and a series of teen films from the early 1940s that appealed primarily to young White fans of swing culture. With a majority of examples taken from marginal film forms, such as shorts and B movies, the book highlights their role in disseminating alternative images of racial and gender identities as embodied by dancers – images that were at least partly at odds with those typically found in major Hollywood productions.

Winner of the Working-Class Studies Association C.L.R. James Award Seen as a pioneering figure in the critical study of whiteness, US historian David Roediger has sometimes received criticism, and praise, alleging that he left Marxism behind in order to work on questions of identity. This volume collects his recent and new work implicitly and explicitly challenging such a view. In his historical studies of the intersections of race, settler colonialism, and slavery, in his major essay (with Elizabeth Esch) on race and the management of labor, in his detailing of the origins of critical studies of whiteness within Marxism, and in his reflections on the history of solidarity, Roediger argues that racial division is part of not only of the history of capitalism but also of the logic of capital.