The Artistic Activism Of Elombe Brath

In 1963, at the height of the southern civil rights movement, Cecil Brathwaite (1936–2014), under the pseudonym Cecil Elombe Brath, published a satire of Black leaders entitled Color Us Cullud! The American Negro Leadership Official Coloring Book. The book pillories a variety of Black leaders—from political figures like Adam Clayton Powell and Whitney Young to civil rights activists like Martin Luther King, Bayard Rustin, and John Lewis, and even entertainers like Sammy Davis Jr., Lena Horne, and Dick Gregory—critiquing the inauthenticity of movement leaders while urging a more radical approach to Black activism. Despite the strong illustrations and unique commentary presented in the coloring book, it has virtually disappeared from histories of the movement. The Artistic Activism of Elombe Brath restores the coloring book and its creator to a place of prominence in the historiography of the Black left. It begins with an analysis of Brath’s influences, describing his life and work including his development as a Black nationalist thinker and Black satirist. This volume includes Brath’s early works—illustrations for DownBeat magazine and Beat Jokes, Bop Humor, & Cool Cartoons—as well as the full run of his comic strip “Congressman Carter and Beat Nick Jackson” from the New York Citizen-Call and a complete edition of Color Us Cullud! itself. These illustrations are followed by annotations that frame and contextualize each of the coloring book’s entries. The book closes with selections from Brath’s art and political thinking via archival material and samples of his written work. Ultimately, this volume captures and restores a unique perspective on the civil rights movement often omitted from the historiography but vital to understanding its full scope.

The intersection of race and species has a long and problematic history. Western thinking specifically has demonstrated a societal need to try to conceive of race as a purely biological fact rather than a social construct. This book is an academic-activist challenge to that instinct, prioritizing anti-racism in its observation of the animal–race intersection. Too often, as Bénédicte Boisseron has indicated, this intersection typically appears in the form of animal activists instrumentalizing racial discrimination as a vehicle to approach animal rights. But why does this intersection exist, and, perhaps more importantly, how can we challenge it moving forward? This volume examines those two critical questions, taking an interdisciplinary approach in moving across subjects including art history, film studies, American history, and digital media analysis. Our interpretation of animals has, for centuries, been fundamental in the development of Western race thinking. This collection of essays looks at how this perspective contributes to the construction of racial discrimination, prioritizing ways to read the animal in our culture as a means for working to dismantle this conception.

Coincides with an exhibition of Brathwaite's work, 2019.

The dynamic essays in this collection speak to activists, artists, educators, students and community workers who share a passion for art, politics and social change. The questions of why and for whom art is made and the way it can be used to promote discussion and transformation are addressed. Through exploration of a range of artistic projects - from mural painting, photography, zine-making, alternative publishing to street theatre, puppetry and protest singing - Wild Fire inspires critical and artistic forms of social commentary and action.

"Mobilizing Metaphor illustrates how artistic and radical efforts are reshaping disability activism in Canada and, in the process, challenging dominant perceptions of disability. Recent changes to Canadian disability policy have seen disability programs hampered by funding cuts and other austerity measures. But this oppression has also given new life to an already vibrant Canadian tradition of disability activism. Until now, research has focused on the legal and policy spheres and overlooked disability activism that expresses itself alongside and outside conventional policy reform, often through a variety of art forms. Here, contributions by disability artists, activists, and academics show how disability art is distinctive as both art and social action. Richly illustrated with photographs and other images, and including an insightful concluding chapter by renowned disability scholar Tanya Titchkoksy, this array of artistic, cultural, and radical approaches to disability politics demonstrates that disability activism is as varied as the populations it represents. As the contributors sketch the shifting contours of disability politics in Canada and show how disability oppression is not isolated from other prejudices, they challenge us to re-examine how we enact social and political change."--

In the 1930s, Monroe, Louisiana, was a town of twenty-six thousand in the northeastern corner of the state, an area described by the New Orleans Item as the “lynch law center of Louisiana.” race relations were bad, and the Depression was pitiless for most, especially for the working class—a great many of whom had no work at all or seasonal work at best. Yet for a few years in the early 1930s, this unlikely spot was home to the Monarchs, a national-caliber Negro League baseball team. Crowds of black and white fans eagerly filled their segregated grandstand seats to see the players who would become the only World Series team Louisiana would ever generate, and the first from the American South. By 1932, the team had as good a claim to the national baseball championship of black America as any other. Partisans claim, with merit, that league officials awarded the National Championship to the Chicago American Giants in flagrant violation of the league’s own rules: times were hard and more people would pay to see a Chicago team than an outfit from the Louisiana back country. Black newspapers in the South rallied to support Monroe’s cause, railing against the league and the bias of black newspapers in the North, but the decision, unfair though it may have been, was also the only financially feasible option for the league’s besieged leadership, who were struggling to maintain a black baseball league in the midst of the Great Depression. Aiello addresses long-held misunderstandings and misinterpretations of the Monarchs’ 1932 season. He tells the almost-unknown story of the team—its time, its fortunes, its hometown—and positions black baseball in the context of American racial discrimination. He illuminates the culture-changing power of a baseball team and the importance of sport in cultural and social history.

In the 20 years between 1895 and 1915, two key leaders—Booker T. Washington and W.E.B. Du Bois—shaped the struggle for African American rights. This book examines the impact of their fierce debate on America's response to Jim Crow and positions on civil rights throughout the 20th century—and evaluates the legacies of these two individuals even today. The debate between W.E.B. Du Bois and Booker T. Washington on how to further social and economic progress for African Americans lasted 20 years, from 1895 to Washington's death in 1915. Their ongoing conversation evolved over time, becoming fiercer and more personal as the years progressed. But despite its complexities and steadily accumulating bitterness, it was still, at its heart, a conversation—an impassioned contest at the turn of the century to capture the souls of black folk. This book focuses on the conversation between Washington and Du Bois in order to fully examine its contours. It serves as both a document reader and an authored text that enables readers to perceive how the back and forth between these two individuals produced a cacophony of ideas that made it anything but a bipolar debate, even though their expressed differences would ultimately shape the two dominant strains of activist strategy. The numerous chapters on specific topics and historical events follow a preface that presents an overview of both the conflict and its historiographical treatment; evaluates the legacies of both Washington and Du Bois, emphasizing the trajectories of their theories beyond 1915; and provides an explanation of the unique structure of the work.

Demonstrates how US foreign policy has been embedded in social, economic and cultural factors of domestic and foreign origin. It argues that the campaign to realize full civil rights for racial and ethnic minorities in the US is best understood in the context of competitive international relations.