- Black pride
Black pride is a slogan used primarily in the
United Statesto agitate for a black African-Americanracial identity and is closely aligned with black supremacyand black separatism.Fact|date=July 2008
Black pride is a slogan used primarily in the United States to raise awareness for a black racial identity. The slogan has been used by
African Americans(especially of sub-Saharan African origin) to denote a feeling of self-respect, celebrating one's heritage, and being proud of one's personal worth. Black pride as a national movement is closely linked with the developments of the American Civil Rights Movement, during which noted figures such as Martin Luther King, Jr., Malcolm X, A. Philip Randolph, Stokely Carmichael, and others protested the conditions of the United States' segregated society, and lobbied for better treatment for people of all races. Roy Innishas sought to enhance and build on the black pride movement of the mid- 1960’s, he and a Congress of Racial Equalitydelegation toured seven African countries in 1971. Curtis Mayfield's "We're a Winner" became a virtual anthem of the black powerand black pride movements.
The concept of
black poweralso permeated into the work of popular musicians at the time. The Impressions's " We're a Winner", written by their lead singer Curtis Mayfield, became a virtual anthem of the black power and black pride movements, as did James Brown's " Say It Loud - I'm Black and I'm Proud", Collin Carlone's "Life As a 'Boro Black Boy", and, unwittingly, Martha & the Vandellas' " Dancing in the Street".
In addition to Black America, the Black Pride Movement was very prevalent in cite web |url=http://video.aol.com/video-detail/black-pride-brazil/349833279
title=“Afro-Brazil" , especially throughout their poorer population. A local and global recognition of this movement has been demonstrated throughout Brazilian funk. Brazilian Funk’s origin reflects Brazilian Black resistance and today appeals to a larger regional cultural identity. Ethnomusicologist George Yúdice’s states that youth were engaging black culture mediated by a U.S. culture industry met with many arguments against their susceptibility to cultural colonization. Although it borrows some ingredients from a form of Black American musical resistance hip hop, its style still remains unique to the Brazil (specifically in Rio and Sao Paulo). [Harvnb|Yúdice|1994]
*citation|last= Yúdice |first= George |author-link= George Yúdice |chapter= The Funkification of Rio |title= Microphone Fiends: Youth Music and Youth Culture |editor1-last= Ross |editor1-first= Andrew |editor2-first= Tricia |editor2-last= Rose |pages= 193-220 |place= London |publisher= Routledge |year= 1994 |isbn= 978-0415909075 .
* [http://www.blackpowermovement.info Black Power Movement: Information]
* [http://www.panafrican.info Pan African: Information]
* [http://www.afrodiaspora.info Afro Diaspora: Information]
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