ABSTRACT
Literary critic Phillip Brian Harper suggests that the poem “embraces all members of the African diaspora, as it is directed explicitly and repeatedly to ‘all black people,’ thereby invoking a political Pan-Africanism posited as characteristic of the Black Arts project.” This chapter seeks to demonstrate the widening international consciousness among Black creative intellectuals affiliated with the Black Arts Movement. This was partially evidenced by the increased expression of Pan-African and Third World solidarity in the pages of radical Black “little magazines.” Indeed, there had been a long lineage of Black North Americans who recognized the relationship between Black people in the US and those in the diaspora and African continent, from Martin Delany and Marcus Garvey to W.E.B. Du Bois, Paul Robeson, Alphaeus Hunton and the radicals associated with the Council of African Affairs.
