We have witnessed numerous fascinating features highlighting image makers: Martin Parr. It could be the film medium particularly shines when presenting exceptionally powerful photographs. Today comes one more outstanding instance, from creator Yemi Bamiro, documenting the remarkable career of Kwame Brathwaite—an artist, musician and African American activist who exemplified a unique artistic-political approach.
In partnership with his family member Elombe, he pioneered the expression “Black Is Beautiful” during the sixties by photographing the Harlem models in Harlem: youthful women of color who became the groundbreaking archetype for beauty, rejecting typical beauty standards and the predominant Eurocentric ideal of womanhood.
The Power of Three Words
This powerful statement evolved into a radical rallying cry, an brilliant three-word declaration for progress. Just stating that African Americans were beautiful became a empowering influence in culture, politics and creative expression. The photographer became a key figure in the civil rights global Black struggle by documenting the legendary boxer before his iconic Zaire bout in that era.
He served as the exclusive photographer for the Jackson 5's African tour, and later was named the house photographer for the historic cultural institution, creating an amazing collection of African American artists. In collaboration with Elombe, he was the driving force behind securing the South African leader to address the public in Harlem.
Historical Recognition
The photographer's offspring the younger Brathwaite shares the family's campaign to secure due acknowledgment for his father's legacy after he was unjustly overlooked in Washington DC's Smithsonian institution, established by the political leader in 2016.
The film further reveals the profoundly sorrowful origin of the photographer's dedication to photography: the shocking images of the lynching martyr, the teenage civil rights lynching victim whose grieving mother courageously demanded an open coffin so the violent nature of racial hatred would not be concealed.
From Tragedy to Hope
From this image of tragedy, the visionary encountered a form of anti-epiphany that directed him toward images of community. His images powerfully conveyed empowering beauty and frequently not overtly political: he established a new iconography of pride upon which activist groups could unite.
The documentary stands as an inspiring record of artistic vision that persists in inspire across generations.
