There have been many compelling documentaries highlighting image makers: Vivian Maier. Maybe the film medium particularly shines when presenting particularly vivid photographs. Now we have another remarkable example, by filmmaker Yemi Bamiro, chronicling the extraordinary life's work of Kwame Brathwaite—a photographer, artist and African American activist who exemplified a unique politico-aesthetic perspective.
In partnership with his sibling Elombe, he virtually invented the expression “Black Is Beautiful” in the sixties by photographing the African American women in New York: young African American women who transformed into the transformative standard for visual appeal, abandoning conventional beauty standards and the usual Eurocentric ideal of female beauty.
The Power of Three Words
This powerful statement evolved into a powerful unifying message, an visionary memorable prose poem for transformation. Just stating that people of color possessed beauty became a empowering influence in society, politics and the arts. The artist emerged as a key figure in the social justice African diaspora struggle by documenting the sports icon before his historic championship fight in the seventies.
He became the official photographer for the band's continental journey, and later became the resident artist for the legendary Apollo theatre, assembling an amazing archive of musical pioneers. In collaboration with his brother, he was the key organizer behind securing Nelson Mandela to address the public in the community.
Personal Journey
His son the younger Brathwaite is interviewed the personal campaign to ensure appropriate credit for his parent's achievements after he was hurtfully excluded in Washington DC's cultural museum, inaugurated by Barack Obama in this century.
This documentary also recounts the deeply tragic genesis of Brathwaite's dedication to visual storytelling: the shocking photographs of Emmett Till, the adolescent Black murder victim whose bereaved parent courageously requested an uncovered casket so the brutal truth of racist violence might not be hidden.
From Tragedy to Hope
In this vision of tragedy, the artist discovered a form of anti-epiphany that directed him toward visual representations of community. His images were eloquent of community pride and typically not overtly political: he established a new symbolic representation of strength upon which political movements could mobilize.
It is an captivating testament of creative genius that continues to empower through the years.
