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Four Black Revolutionary Plays
These four one-act plays deal with the African-American experience of today. Their central elements are love and hatred echoed in violently explosive words, actions, thoughts and metaphor. The sum total of three hundred years of contained fury, they are powerful statements about the real meaning of white oppression of black people. In their militancy and anger, they perfectly express the mood and frustrations of black America and are as relevant today as when they were first publicly performed. This edition contains a foreword by playright, novelist, journalist and lecturer Lindsay Barrett, who has also made widely acclaimed radio and TV programs on jazz, the arts and African cultural matters.
112 pages, Paperback
First published January 1, 1969
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About the author
Amiri Baraka
154 books396 followersPoems and plays, such as
Dutchman
(1964), of American writer Amiri Baraka originally Everett LeRoi Jones focus on racial conflict.
He attended Barringer high school. Coyt Leverette Jones, his father, worked as a postal supervisor and lift operator. Anna Lois Russ Jones, his mother, worked as a social worker.
He studied at Rutgers, Columbia, and Howard universities but left without a degree and attended the new school for social research. He won a scholarship to Rutgers in 1951, but a continuing sense of cultural dislocation prompted him to transfer in 1952 to Howard. He studied philosophy and religion, major fields. Jones also served three years in the air force as a gunner. Jones continued his studies of comparative literature at Columbia University. An anonymous letter accused him as a Communist to his commanding officer and led to the discovery of Soviet literature; afterward, people put Jones on gardening duty and gave him a dishonorable discharge for violation of his oath of duty.
In the same year, he moved to Greenwich Village and worked initially in a warehouse for music records. His interest in jazz began in this period. At the same time, he came into contact with Beat Generation, black mountain college, and New York School. In 1958, he married Hettie Cohen and founded Totem Press, which published such Beat Generation icons as Jack Kerouac and Allen Ginsberg.
Jones in July 1960 visited with a delegation of Cuba committee and reported his impressions in his essay Cuba libre . He began a politically active art. In 1961, he published Preface to a Twenty Volume Suicide Note , a first book. In 1963, Blues People: Negro Music in White America of the most influential volumes of criticism, especially in regard to the then beginning free jazz movement, followed. His acclaimed controversy premiered and received an Obie Award in the same year.
After the assassination of Malcolm X (1965), Jones left his wife and their two children and moved to Harlem. His controversial revolutionary and then antisemitic.
In 1966, Jones married Sylvia Robinson, his second wife, who later adopted the name Amina Baraka. In 1967, he lectured at San Francisco State University. In 1967, he adopted the African name Imamu Amear Baraka, which he later changed to Amiri Baraka.
In 1968, he was arrested in Newark for allegedly carrying an illegal weapon and resisting arrest during the riots of the previous year, and people subsequently sentenced him to three years in prison; shortly afterward, Raymond A. Brown, his defense attorney, convinced an appeals court to reverse the sentence. In that same year, Black Music, his second book of jazz criticism, collected previously published music journalism, including the seminal Apple Cores columns from Down Beat magazine. In the late 1960s and early 1970s, Baraka penned some similar strongly anti-Jewish articles to the stance at that time of the Nation of Islam to court controversy.
Around 1974, Baraka himself from Black nationalism as a Marxist and a supporter of third-world liberation movements. In 1979, he lectured at Africana studies department of State University of New York at Stony Brook. In 1980, he denounced his former anti-Semitic utterances, declaring himself an anti-Zionist.
In 1984, Baraka served as a full professor at Rutgers University, but was subsequently denied tenure. In 1989, he won a book award for his works as well as a Langston Hughes award.
In 1990, he co-authored the autobiography of Quincy Jones, and 1998 , he served as supporting actor in Bulworth, film of Warren Beatty. In 1996, the red hot organization produced Offbeat: A Red Hot Soundtrip, and Baraka contributed to this acquired immune def
He attended Barringer high school. Coyt Leverette Jones, his father, worked as a postal supervisor and lift operator. Anna Lois Russ Jones, his mother, worked as a social worker.
He studied at Rutgers, Columbia, and Howard universities but left without a degree and attended the new school for social research. He won a scholarship to Rutgers in 1951, but a continuing sense of cultural dislocation prompted him to transfer in 1952 to Howard. He studied philosophy and religion, major fields. Jones also served three years in the air force as a gunner. Jones continued his studies of comparative literature at Columbia University. An anonymous letter accused him as a Communist to his commanding officer and led to the discovery of Soviet literature; afterward, people put Jones on gardening duty and gave him a dishonorable discharge for violation of his oath of duty.
In the same year, he moved to Greenwich Village and worked initially in a warehouse for music records. His interest in jazz began in this period. At the same time, he came into contact with Beat Generation, black mountain college, and New York School. In 1958, he married Hettie Cohen and founded Totem Press, which published such Beat Generation icons as Jack Kerouac and Allen Ginsberg.
Jones in July 1960 visited with a delegation of Cuba committee and reported his impressions in his essay Cuba libre . He began a politically active art. In 1961, he published Preface to a Twenty Volume Suicide Note , a first book. In 1963, Blues People: Negro Music in White America of the most influential volumes of criticism, especially in regard to the then beginning free jazz movement, followed. His acclaimed controversy premiered and received an Obie Award in the same year.
After the assassination of Malcolm X (1965), Jones left his wife and their two children and moved to Harlem. His controversial revolutionary and then antisemitic.
In 1966, Jones married Sylvia Robinson, his second wife, who later adopted the name Amina Baraka. In 1967, he lectured at San Francisco State University. In 1967, he adopted the African name Imamu Amear Baraka, which he later changed to Amiri Baraka.
In 1968, he was arrested in Newark for allegedly carrying an illegal weapon and resisting arrest during the riots of the previous year, and people subsequently sentenced him to three years in prison; shortly afterward, Raymond A. Brown, his defense attorney, convinced an appeals court to reverse the sentence. In that same year, Black Music, his second book of jazz criticism, collected previously published music journalism, including the seminal Apple Cores columns from Down Beat magazine. In the late 1960s and early 1970s, Baraka penned some similar strongly anti-Jewish articles to the stance at that time of the Nation of Islam to court controversy.
Around 1974, Baraka himself from Black nationalism as a Marxist and a supporter of third-world liberation movements. In 1979, he lectured at Africana studies department of State University of New York at Stony Brook. In 1980, he denounced his former anti-Semitic utterances, declaring himself an anti-Zionist.
In 1984, Baraka served as a full professor at Rutgers University, but was subsequently denied tenure. In 1989, he won a book award for his works as well as a Langston Hughes award.
In 1990, he co-authored the autobiography of Quincy Jones, and 1998 , he served as supporting actor in Bulworth, film of Warren Beatty. In 1996, the red hot organization produced Offbeat: A Red Hot Soundtrip, and Baraka contributed to this acquired immune def
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Displaying 1 - 5 of 5 reviews
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November 2, 2019Not Amiri's finest, but the line "Tony Bennett, help us please. Beethoven, Peter Gunn, deliver us in our sterling silver headdresses...oh please deliver us" is an all-timer
April 20, 2022
Experimental Death Unit I
Really absurd and, thus, interesting. Not for the faint of heart. Definite metaphor but also so real. I'm not sure of the meaning of everything here, but you have two drugged-up white men desperately fighting & killing over a black 'whore' whose magic they cannot resist. Then a group of black soldiers marches by and makes sure the two white men and the black woman are dead.
**
Black Mass
An interesting, heavily metaphorical reworking of Elijah Muhammad's separatist myth about the creation of the white race by an ancient black magician. Several lines in the play made me laugh out loud because I could attribute each sentiment to some people I know but also appreciate the way the myth itself flips the narrative of black people as "animals" or"lesser humans" and depicts white people in that way instead.
****
Great Goodness of Life
Portrays a black & white man accused of harboring a murderer. This "murderer" is blackness. The image of the murderer is an amalgamation of the faces of black men fighting for justice/who have received white man's "justice." The accused is absolved of his "crime" when he accepts his "guilt" and executes a young black "murderer" who calls him Papa.
**
Madheart
Like watching abstract painting brought to life as modern dance--confusing and bizarre. I 'think' that this play is a reaction to attempts by some black people to mitigate their "blackness" and try to conform to white behaviors and cultures, or perhaps this is a reaction to intermarriage between black and white people. I don't know, but the violence was disturbing.
*
Really absurd and, thus, interesting. Not for the faint of heart. Definite metaphor but also so real. I'm not sure of the meaning of everything here, but you have two drugged-up white men desperately fighting & killing over a black 'whore' whose magic they cannot resist. Then a group of black soldiers marches by and makes sure the two white men and the black woman are dead.
**
Black Mass
An interesting, heavily metaphorical reworking of Elijah Muhammad's separatist myth about the creation of the white race by an ancient black magician. Several lines in the play made me laugh out loud because I could attribute each sentiment to some people I know but also appreciate the way the myth itself flips the narrative of black people as "animals" or"lesser humans" and depicts white people in that way instead.
****
Great Goodness of Life
Portrays a black & white man accused of harboring a murderer. This "murderer" is blackness. The image of the murderer is an amalgamation of the faces of black men fighting for justice/who have received white man's "justice." The accused is absolved of his "crime" when he accepts his "guilt" and executes a young black "murderer" who calls him Papa.
**
Madheart
Like watching abstract painting brought to life as modern dance--confusing and bizarre. I 'think' that this play is a reaction to attempts by some black people to mitigate their "blackness" and try to conform to white behaviors and cultures, or perhaps this is a reaction to intermarriage between black and white people. I don't know, but the violence was disturbing.
*
July 11, 2012
My first thought upon starting to read this book was that the writing is awful and that has absolutely nothing to do with the subject matter and may just be because the author, LeRoi Jones, wasn't as experienced as he could've been before publishing his work. Of course, this book was released in the late 60s so that in and of itself is an accomplishment against the expectations of the time, especially considering the subject matter. However, back to the poor writing, I feel like that coupled with the violence and anger (two major elements in all four plays) diminished the actual point of the plays and having them published or perhaps all the author wanted to do was spread his anger.
My first thought upon finishing the book was that, yes, LeRoi Jones was a radical but he was not a revolutionary and to use this word to describe him or his works is to destroy a very powerful and wonderful word and idea. Anger and violence can help fuel a revolution against injustice but you also need intelligence, insight, and a certain amount of compassion, otherwise you're just a violent, angry, and bitter racist person, and, yes, I'm calling him a racist and I also call him sexist and point out how he clearly enjoys the idea of being violent to women of all races.
Now, I am not in any way saying that LeRoi Jones or any person who has experienced extreme racism doesn't have a right to be angry or have violent ideas about those perpetuating hate against an entire race for absolutely no reason. What I'm saying is that there's a difference between self-indulgent violence and anger, which is present throughout LeRoi Jones's work as well as sexism and rampant and violent sexual, physical, and mental abuse against women, and a narrative through which knowledge and understanding can pass through to the reader or audience.
The problem with people who write self-indulgently is that their message is lost upon their intended audience because the intensity of their emotions is akin to punching a brick wall. That kind of violence only comes up against opposition because there's nothing to soften it for absorption so why should the brick wall yield? This is perhaps not the best metaphor but the only one I can think of at this time.
I would only recommend spending time on this if you're studying racism in the 60s and how it affected black artists, otherwise you're just opening your mind up to a lot of anger for no good reason.
My first thought upon finishing the book was that, yes, LeRoi Jones was a radical but he was not a revolutionary and to use this word to describe him or his works is to destroy a very powerful and wonderful word and idea. Anger and violence can help fuel a revolution against injustice but you also need intelligence, insight, and a certain amount of compassion, otherwise you're just a violent, angry, and bitter racist person, and, yes, I'm calling him a racist and I also call him sexist and point out how he clearly enjoys the idea of being violent to women of all races.
Now, I am not in any way saying that LeRoi Jones or any person who has experienced extreme racism doesn't have a right to be angry or have violent ideas about those perpetuating hate against an entire race for absolutely no reason. What I'm saying is that there's a difference between self-indulgent violence and anger, which is present throughout LeRoi Jones's work as well as sexism and rampant and violent sexual, physical, and mental abuse against women, and a narrative through which knowledge and understanding can pass through to the reader or audience.
The problem with people who write self-indulgently is that their message is lost upon their intended audience because the intensity of their emotions is akin to punching a brick wall. That kind of violence only comes up against opposition because there's nothing to soften it for absorption so why should the brick wall yield? This is perhaps not the best metaphor but the only one I can think of at this time.
I would only recommend spending time on this if you're studying racism in the 60s and how it affected black artists, otherwise you're just opening your mind up to a lot of anger for no good reason.
December 27, 2012
The social issues addressed are important and these plays were written and staged in the 1960s, a time of massive social change. I've read a bit of Amiri Baraka's poetry and "The Dutchman and the Slave" (which is a far better play than any of those contained in this collection). These plays came across as reactionary, and the writing somewhat sophomoric and 1960s-psychedelic, seeming to reduce all sorts of black social problems to issues of race (and more precisely racism by whites). Baraka/Jones' criticisms of white America are not unfounded (he had a right to show righteous indignation, particularly in the turbulent 1960s, with the deaths of many leaders within the Black Community), but it seems he greatly overplays race while significantly downplaying culture and social class (the same could be said of the early Langston Hughes as a poet, though Hughes' views -- like Baraka's later, with his own acceptance of Marxism -- would become more complicated and comprehensive, linking class, culture and race together). Baraka's early works are certainly worth reading, though his philosophy was still evolving at the time.
February 12, 2012
Only read A Black Mass. It was radical and disturbing, but I believe it was meant to be so.
Displaying 1 - 5 of 5 reviews