Homophobia, Masculinity, And The Black Arts Moveme

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Homophobia, Masculinity, and the Black Arts Movement Upon analysis of the Black Arts Movement and the literature that was produced during this time period had an unorthodox rhetoric that few authors used. Some of the contributors of the Black Arts Movement employed bigotry ideology toward homosexuals. Ultimately, this strategy can be interpreted as an attempt to portray a hyper-masculine mentality. There are several pieces of literature that are prejudice toward homosexuals and other groups. These homophobic elements that were used in numerous writings attempted to stage a sense of militancy for the Black Arts Movement and gain a sense of “credibility” among the followers. In “Queer in Black and White” by Stefanie Dunning, it is stated “During the Black Arts Movement, figures like Amiri Baraka were eager to define black identity, and one thing black identity was not, according to Baraka, was queer” (6). This poses the questions: why was this strategy utilized in the movement? There are numerous examples of the portrayal of homophobic rhetoric, specifically in Black Arts Movement poetry. In “Die Black Pervert” by Reginald Lockett, displays perfectly the militant and hyper-masculine mentality that was prominent throughout the movement. Also, ‘It is time for action’ by Bob Bennett is calling for a revolution in the poem but he states, “So you chumps, you punks, you faggots/ who ain’t movin’ yet.”. (quoted in Baraka, Neal 421) This quote clearly shows the attempt to portray gays as a group that is insufficient and inadequate. Another interpretation of this quote is that homosexuals have a type of coward-like demeanor, which, by means of the social norms of western civilization is considered feminine. Thus, giving the underlying message that homosexual males are in fact, not “men”. Before analyzing these methods of the attempt to establish African

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