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Ron Karenga

Maulana Ron Karenga had an important impact on the BAM. His essay, "On Black Art" gives a well-known essentialist view on Black Art. "Black Art must be for the people, by the people and from the people," writes Karenga. "That is to say, it must be functional, collective and committing."

Karenga is also well-known for his commitment to Black cultural nationalism. In his essay "Black Cultural Nationalism" Karenga explains that, "Black art, like everything else in the Black community, must respond positively to the reality of revolution" (Gayle, The Black Aesthetic).

Karenga was a major philosopher of the BAM. His writings include: "Essays on Struggle: position and analysis", "In love and Struggle: poems for bold hearts" and "The Roots of the US-Panther Conflict: the perverse and deadly games police play". Karenga is also the founder of Kwanzaa, a December African celebration.

THE BLACK PANTHER
May 11, 1969 Page 7.

REPUBLIC OF NEW AFRICA DENOUNCES RON EVERETT (KARENGA)

FROM: The Minister of State and Foreign Affairs of the Republic of New

Africa.

TO: Brother Bobby Seale

In the Name of Peace and Power to the People:

Dear Brother Seale,

There was convened in the City of Detroit on April 5, 1969, a meeting of

the legislative assembly of the Republic of New Africa.

At this meeting, it was officially reported that Ron Karenga was

directed to explain the accusation and his responsibility, if any, in

the action that ended in the death of two Panther Brothers on the campus

at U.C.L.A.

Karenga, having failed to respond, was removed from the position of

Minister of Education of the RNA. Please bear in mind that Ron Karenga

was appointed to this position but the appointment was never approved,

neither by the cabinet of RNA nor by the legislative assembly and

therefore held on official position in RNA.

Speaking in the position of Minister of State and Foreign Affairs for

RNA, I have always felt that Ron Karenga represented a great deal less

than the best interests of the Black Liberation struggle against

domestic colonialism, white racism and world-wide imperialism.

Therefore, on the platform during the May 9 week of the Political

Prisoners, I would not hesitate to state such a position (on my

attitude) in the strongest possible language, concerning Ron Karenga.

While as representative of Republic of New Africa the above is my

clear-cut position of Ron Karenga, I am compelled to acknowledge some

apprehensions with regard to the direction the Panthers are taking

politically. I refer specifically to the telephone call from Cleveland

in which, as I have been told, you indicated a willingness to

cooperate if the Republic of New Africa was excluded, or if the Republic

of New Africa denounced Ron Karenga. Since I do not believe that there

can ever come a point in time when the political differences between

blacks will overshadow the four hundred years of inhuman treatment,

stemming from whites, I do not believe that we can presume to cooperate

with whites at the exclusion of blacks.

If there are serious political differences between the Panthers and the

Republic of New Africa, I do not believe they are more serious than the

differences between the blacks and whites in America. I believe there is

room for discussion.

Minister of State and foreign affairs, Yours for Power to the People

Wilbur Grattan

"Black Art must be for the people, by the people and from the people," writes Karenga. "That is to say, it must be functional, collective and committing."

Oy.

"Collective" art? I never encountered this term in art school.

It must be "functional"? What is this hack trying to say, that black artists must only engage in crafts? Pottery, textiles, basketweaving, stuff like that? Stuff that everyone HAD to produce out of necessity, before the industrial revolution? Because that's the future he envisions, or what?

"Committing"? To a (his) cause, I suppose.

Karenga is also well-known for his commitment to Black cultural nationalism. In his essay "Black Cultural Nationalism" Karenga explains that, "Black art, like everything else in the Black community, must respond positively to the reality of revolution" (Gayle, The Black Aesthetic).

Ah. Black artists must produce "black art". They must not dare to paint a landscape or still life or anything else that does not bludgeon the viewer instantly with Black Identity Politics.

It's hard enough to be an artist without idiots like Karenga trying to put new chains on you.