«THE WALL OF RESPECT»: INTERSECTIONS OF THE POLITICAL AND THE POETICAL
Journal Title: Наукові праці. Серія "Філологія. Літературознавство" - Year 2017, Vol 301, Issue 289
Abstract
The article addresses the «The Wall of Respect» (1967–1971) – a collective mural in Chicago that displayed the faces of important leaders and events for the black community. Located at Avenue in Chicago, «The Wall» became a site for impromptu music, dance performances, poetry readings, and spoken word events. Initiated as a contribution to the African American community by the Chicago artists of OBAC (the Organization of Black American Culture) and later supported by the artist collective AfriCOBRA (African Commune of Bad Relevant Artists), the mural became a catalog of black heroes depicted as positive role models for identity, community formation, and revolutionary action. Ideologically, the artefact was closely connected with the Civil Rights Movement and the Black Power Movement, promoting self-reliance and black-nationalism. Aesthetically, «The Wall of Respect» was created on the principles of Black Arts Movement, accentuating black aesthetic, or the pride in the «black is beautiful». The Chicago mural had enormous political and cultural impacts. It reshaped the mindset of black communities, sparked a «Community Mural Movement» by introducing a distinctly new genre. It facilitated heightened respectability for the politically engaged African American artists and paved the way for the rise of present-day Afrocentric styles in art. The article gives the outline of the history of «The Wall», investigates the visual component of the artefact and analyzes Gwendolyn Brooks and Don L. Lee’s poems dedicated to «The Wall of Respect».
Authors and Affiliations
I. V. Yakovenko
Keywords
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