Initially in the form of the black codes and then finally in the tenant farming and share cropping, the miserable conditions on the plantation drove many black farm workers into the southern cities. Blacks returned to the plantation of the master, which was a return to slavery. Ordered by the radical reconstruction presidency of Andrew Johnson, the promise of land to the freed men was confiscated and the promised punishment of Confederate offenders was commuted. Sonia Sanchez: History can agree with the editor of the New York Times, who wrote on May 12, 1865, that the emancipation of the slave was only a transplant from one slavery system to another, and that southerners would develop the art of managing Negros as paid laborers without the lash. No difference hardly 'cept in the name," a Negro Folksong. I call this black urban life as the setting for black cultural nationalism, to start off with a quote, "Slavery and freedom, they most the same. Quite often we start in the middle and nothing happens. Since this is an institute that is talking about black culture in the Second Renaissance, it was very difficult for me to begin just in the middle of talking about Malcolm and his impact, without talking about somewhat the First Renaissance, and the impact of a man by the name of Marcus Garvey on that Renaissance, and then the impact of Malcolm on the so called Second Renaissance, so bear with me if you will. And here's the truly beautiful sister, Sonia Sanchez, to talk about the impact of Malcolm on Black Arts Writers. Knowing that most of the participants in the institute are familiar with essays about Malcolm as a political and religious leader, we have asked Sonia Sanchez to discuss a less well known aspect of his influence. Sister Sonia attended many Nation of Islam ceremonies, at which Malcolm X presided. Perhaps the first impression that in individual receives of Sonia Sanchez, is related to the description of Dudley Randall, in the introduction to the publication of her first book of poems, By Broadside.ĭarwin Turner: He wrote, "This tiny woman, with an infant's face, attacks the demons of this world with the fury of a sparrow, defending her fledglings in the nest." Although not a member of the National of Islam at the time, she later became one. This year she received an NEA to assist her in her writing. For her writing, she's been honored with the PEN Writing Award, an award from the Academy of Arts and Letters, an Honorary Doctorate from Wilberforce University. She is also the author of such plays as Dirty Hearts, Uh Huh, But How Do It Free Us?, Malcolm Man/Don't Live Here No More, a children's play. Haikus, Tankas and Other Love Syllables, Selected Poems, A Sound Investment and Other Stories, a book for children, and How Rain Was Made, a book for children.ĭarwin Turner: Among her plays are, The Bronx is Next, Sista Son/Ji, which was produced on this campus, I don't whether you had an opportunity to see Tish Davis earlier. She's the author of such collections of poetry as We are Baddddd People, It's a New Day : Poems for Young Brothas and Sistuhs, 300 Degrees of Blackness Coming at You, We Be Word Sorcerers, Homecoming, A Blues Book for a Blue Black Magical Woman and others.ĭarwin Turner: In the fall, she will four books published. New Speaker: But Sonia Sanchez, who identifies herself as an activist, is best known as a poet and playwright. She's also taught more recently at the University of Pennsylvania and is now teaching at Temple University. To make the introduction, here is Darwin Turner, Professor of English and Director of Afro American Studies at the University of Iowa.ĭarwin Turner: Since 1966, she's taught at San Francisco State College, University of Pittsburgh, Rectors, Manhattan Community College, the City College, The City University of New York and Amherst College. The impact of Malcolm X on black writers and the black arts' movement is the topic of this lecture by poet Sonia Sanchez. The theme of the Institute was, Black Culture in the Second Renaissance, a study of Afro American thought and experience, 1954 to 1970. Speaker 1: The following was recorded June 7th, 1978, as part of the 10th annual Institute for Afro American Culture, held at the University of Iowa.
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