Analyzing Amiri Baraka's Works from Jihad Productions
Below are some of Baraka's contributions to Jihad Productions accompanied by a brief description and analysis of each writing. The following works have been collected from the Stuart A. Rose Archives in Emory University.
Slave Ship - 1967
Slave Ship, from beginning to end, is clearly a play designed to promote Amiri Baraka's ideas of black nationalism. From the portrayals of the captain to the slaveowner, white people are obviously made to be seen as enemies -- evil, villains that cackle at the pain and suffering of whites. What is surprising, however, is Baraka's depiction of the pacifist African-American seeking integration and cooperation between blacks and whites. The character Tom is written to act as a symbol for this group, and in terms of the play's plot, his status as a villain is nearly equal to that of the white characters, suggesting that Baraka wants to send the message that black integrationists are just as much enemies as whites. However, although a large part of Slave Ship is this recurring hatred towards these groups, another central theme is the idea of black unity. Slave Ship tells the story of the pain and suffering of black people across generations, from their journey through the Middle Passage, to the abuse they faced as slaves, and to their status as second-class citizens in a white-dominated society. In doing so, it reminds the audience of two things. The first is that they must not forget their heritage and culture, and this is evident through the heavy emphasis of African music and language throughout the play. The second is the idea that despite whatever reforms may have occurred, the oppression hasn't truly ended. The only moment of true freedom and happiness that the characters experience is at the play's end, when they come together to "defeat" their enemies. Although it is a violent and aggressive conclusion, it sends a powerful message to the audience: in order to enjoy true liberation, unity is necessary.
Black Arts - 1967
Black Arts, as a collection of poems, functions in a manner similar to Slave Ship in that it conveys nearly identical messages to the audience. Throughout the work, there are several poems that suggest the same anti-white sentiments that existed in Slave Ship. In School Prayer, for example, Baraka states that "We are all beautiful (except white people, they are full of, and made of shit)". He warns his audience to not fall for their traps and vices, later referring to white people as "filthy evil" and blood sucking vampires in Babylon Revisited. Furthermore, Black Arts, like Slave Ship, depicts an example of blacks revolting against, and ultimately killing, whites, particularly in From The Egyptian, which is accompanied by a fairly brutal image of a black man torturing and viciously beating a white man. None of these similarities are surprising, however, as it is important to note that both of these works were written by Baraka in the same year, 1967, so they are more likely than not to contain similar ideas. Of course, Black Arts, as a black nationalist piece, also refers to a call for black nationalism, and quite literally in SOS, in which Baraka is "calling all black people, man woman child" to "come on in" and join the movement for a unified nation.
Spirit Reach - 1972
Spirit Reach, like all of Baraka's works, is also rich with the promotion of black nationalism. Several poems in this collection, such as Peace in Place and All in the Street, suggest to the audience the idea that there is work to do for black people to truly experience the fruits of liberation. All in the Street is especially interesting in that it depicts a future black nation as a paradise that the current (as in the leaders of the 20th century) worked to build. It repeatedly speaks of a world full of prosperity and riches that is waiting for the audience if they "do not despair" and remain committed to the goals of black nationalism. Another significant takeaway from Spirit Reach as a whole, however, is the fact that relative to Slave Ship and Black Arts, there is virtually no sign of hatred or violence. This can most likely be explained by the possibility that between the years 1967-1972, Amiri Baraka simply became less aggressive in his ideology. Instead, unity plays an even larger role in this collection, specifically via the heavy inclusion of references to African culture and heritage, from Islam to Egyptian pyramids. These references, similar to Slave Ship, serve to remind the intended audience of their African roots and the fact that they are all connected by a singular culture that they should embrace.