Martin Luther King and the African-American fight for justice

From fairly early on, the Civil Rights Movement, in many instances, was a carefully managed affair. Bonnie Greer examines the role of the black middle class in the Civil Rights Movement and the March on Washington.

“Letter From A Birmingham Jail”, Martin Luther King’s declaration of purpose, is the B-Side to “I Have A Dream”.

Less well-known and less celebrated, this is MLK’s “J’accuse” directed not only to what he called “white moderates” but also, in a sense what we in the UK call the black middle class. They are the ones that a friend of mine called the NAACP: “National Association Of Certain People.”

From fairly early on, the Civil Rights Movement, in many instances, was a carefully managed affair. Enough boats were being rocked, propriety didn’t have to be one of them.

In Montgomery, Alabama, Rosa Parks was chosen to be the one who would not give up her seat to a white person.

But nine months earlier, a teenager Claudette Colvin, had refused to give her seat to a white woman. But Miss Colvin was deemed unsuitable. The fight had to be mainstream.

My upset at discovering that we were moving from our West Side of Chicago neighbourhood to the South Side was not because I would miss being mugged for my mother’s cigarette money, or falling asleep to gang initiations outside my bedroom window.

It was because the South Side was “middle class”, people more concerned about their lawns; their fraternities and sororities; their cars and clothes and not looking “country”: that dreaded sign that they had roots somewhere in the rural South.

Because of them, and certain of the “church people”; and just for overall white acceptance, the March on Washington had to be a “user friendly” experience. It was, after all, going to be the biggest thing that TV had ever done. The American press made a bet and decided to side with the ladies and gentlemen of the Civil Rights Movement. But the fear was still there.

You can view it on the Meet the Press interview conducted a few days before the march with Dr King and Roy Wilkins, head of the NAACP. What can only be described as the utter fear of the fact that “100,000 Negroes” as one journalist said, marching down the Mall is still palpable. He didn’t fear nice Dr King nor Mr Wilkins, but people like my people, the folks with roots in the “ghetto”.

But the journalist needn’t have worried. Internal housekeeping had been conducted.

Bayard Ruston, who had been one of the initiators of the idea way back at the beginning of the 1940s, and had laid it on the table to FDR during the beginning of World War Two was a troublesome inconvenience: he was gay. And not only was he gay, he was out, and he didn’t give a damn who knew it. Add to this the fact that he was an avowed left-winger, a prominent place for Rushton was not on. Neither was it for Paul Robeson an all-singing rebuke to American hypocrisy.

James Baldwin wasn’t invited to speak, either, not only because he was homosexual and not in hiding with it, but he was also considered to be too loose a cannon. The biographer who has claimed “that the politician had sabotaged the writer” simply doesn’t get that Baldwin owed his allegiance to the working class, to the ghetto. Even John Lewis, now the only survivor amongst the main speakers, had his speech vetted for fear of what the young student firebrand might say.

The smoke and mirrors that have always been used to obscure the African-American fight for justice and turn it into a Broadway show or a three popcorn tear-jerker at the multiplex, was always something, I believe, that Dr King knew. He didn’t move fast enough for my generation, but he knew what was going on, the direction things could end up.

Kitsch and the March on Washington may be inevitable. Most people who talk about it and write about it did not experience it, nor the events leading up to it. But that’s ok. We’re in a post-movement era and analysis and insight from that point of view is as valid and important as any other. Maybe more important.

Maybe next year, President Obama can ditch Martha’s Vineyard for his annual summer break, and go back home to his house on the South Side of Chicago. Even though his property is surrounded by guards, he can still get a flavour of what folks are going through there: the gang violence; the school closures; the fight to avoid what Dr King wrote in his Letter:". . .living constantly at tiptoe stance, never quite knowing what to expect next. . . plagued with inner fears and outer resentments; . . .forever fighting a degenerating sense of 'nobodiness'."

But that famous picture of Dr King peering through the bars of his cell in that Birmingham Alabama jail is of a man looking into the future. Not his own. But ours.

 

 

 

Martin Luther King waves to supporters from the steps of the Lincoln Memorial during the March on Washington. Photo: AFP/Getty Images

Bonnie Greer is a playwright, author, and the Chancellor of Kingston University.

Calvert 22/Courtesy of the artist, Danila Tkachenko
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Ruin porn: the art world’s awkward obsession with abandoned Soviet architecture

Deserted fairgrounds, disused factories and forgotten military bases may look cool, but are we fetishising the remnants of such a cruel history?

Armenia, where one side of my family is from, was one of the first members of the USSR, annexed by Russia in 1922. A few years ago, when I visited this little country that perches precariously in the south of the Caucasus, I was struck most by its Soviet architecture.

Although its landscape is a hotchpotch of medieval Orthodox churches, a smattering of Persian-era domes, and brutalist concrete, it was the latter that particularly stuck out. From unfelled statues of Stalin to giant tower blocks spelling out the letters “CCCP” from a bird’s-eye view (well, half spelt-out – construction stopped partway through, with the fall of the Soviet Union), I’ve never forgotten it.

Perhaps it was so compelling because such stark physical symbols make recent history all the more tangible. A history still profoundly affecting the country of my ancestors (and all post-Soviet and communist states). But also, it just looked really cool.


Mixed air corps, Mongolia. Photo: Calvert 22/Courtesy of the artist, Eric Losito

It’s a bit passé now to mock the hipster obsession with reclaimed industrial detritus, exposed pipes and bare concrete. An aesthetic – that of a post-industrial wasteland, but a chic one – which has gripped western cities for years, and crept worldwide.

But it could be this tendency to find disused stuff visually intriguing, and a morbid fascination with cruel regimes, which has led to the art world’s obsession with abandoned Soviet architecture. A whole wave of artists and photographers have been poking around the eastern bloc’s architectural graveyard in recent years.

Late last year, we saw the hugely popular disused Soviet bus stop series by photographer Christopher Herwig, echoing photographer Sergey Novikov’s equally absorbing collection of abandoned Soviet cinemas from 2013.

Following Russian filmmaker and photographer Maria Morina’s “Atomic Cities” project four years ago, London-based artist Nadav Kander explored the “aesthetics of destruction” in his exhibition, Dust, in 2014, snapping “radioactive ruins” of secret cities on the border between Kazakhstan and Russia. The same year, Moscow photographers Sasha Mademuaselle and Sergey Kostromin travelled to the disputed region of Abkhazia, capturing fragments of its deserted infrastructure.


Fighter aviation regiment, Mongolia. Photo: Eric Losito
 

And photojournalist Anton Petrus’ now iconic pictures of Chernobyl’s abandoned amusement park have long been an internet favourite, as have numerous haunting images of Pripyet – the city famous for lying deserted following the nuclear disaster.

Jamie Rann, a lecturer in Russian at Oxford University, has written that the quality and technical accomplishment of most of this photography make the style more “ruin erotica” than “ruin porn” (the tag being used by some critics), but argues: “The enormous online popularity of this genre . . . combined with their voyeuristic, almost exploitative feel, certainly has something porny about it.”

The latest exploration of Soviet society’s skeletons can be found at the Power & Architecture season at London’s Calvert 22 Foundation. In an exhibition called Dead Space and Ruins, we see abandoned military bases and formerly mighty monuments, forgotten space ports freezing in the tundra, the ghost of an entire unused, unfinished city in Armenia lying derelict.



The unfinished "ghost city" built in Armenia to house earthquake survivors (water added by artist). Photo: Calvert 22/Courtesy of the artist, Vahram Aghasyan

The works are beautiful, but do they feed in to this zeitgeisty lust for Soviet ruins?

One of its curators, Will Strong, laments this trend. “I was keen that this didn’t become like a kind of ‘ruin lust’, ‘ruin porn’ thing; this slightly buzzwordy term that there is at the moment, this kind of fetishisation of dead space,” he tells me.

“This history is incredibly loaded, and it did not end in 1991. To sort of fetishise it in the very bourgeois western way of, ‘oh yeah, look at all this wonderful Soviet architecture, isn’t it fantastic?’ Obviously a lot of people who lived in that time hated it . . . a lot of people were very miserable under these regimes, so it’s important not to forget that.”


Gym at the Independent Radar Centre of Early Detection, Latvia. Photo: Eric Losito

He adds: “It’s more a point of reflection on how buildings were designed, what their legacy is, what their narrative is, and who the people are who live with that story. This show looks at the aftermaths of when utopia hasn’t been delivered.”

This view is echoed by the Moscow artist, Danila Tkachenko, whose work is featured in the exhibition. “It is rather a metaphor for the future, not the past,” he says. “It represents an image of a possible future. When there is a visualisation of this issue [utopia], it evokes a response in people; they see this utopia in their lives . . . There is disappointment in all utopias.”


The world's largest diesel submarine, in Russia's Samara region. Photo: Calvert 22/Courtesy of the artist, Danila Tkachenko

His Restricted Areas series explores great behemoths of European communism left to lie forgotten in the tundra of remote regions in and around Russia and Kazakhstan: the world’s largest diesel submarine, like a beached whale in the snow; a giant satellite, thatched with antennae, built to communicate with Soviet bases on other planets some day; the deserted flying saucer-like communist headquarters in a region of Bulgaria. The structures hover in blank, white space, making the photos appear black-and-white.


Deserted observatory, Kazakhstan's Almaty region. Photo: Danila Tkachenko
 

Anton Ginzburg is an artist who grew up in St Petersburg in the Eighties as the Soviet Union was disintegrating. He believes studies like his film, Turo, of disused modernist constructions in the post-Soviet bloc, appeal to people’s connection to history. After all, picking through the architectural carcasses of former societies isn’t exactly a new thing:

“Russian culture is still haunted by its Communist past, and constructivist architecture is a decaying shell for its ghosts. It is an active reminder of the recent history,” he reflects. “Perhaps [its appeal] is a mixture of memento mori, with its thrill of beauty and destruction, along with a Romantic tradition of contemplation of Greek and Roman ruins.”

(Anton Ginzburg Turo teaser from Visionaireworld on Vimeo.)

The Power & Architecture season is on at the Calvert 22 Foundation, London, from 10 June-9 October 2016. Entry is free.

Anoosh Chakelian is deputy web editor at the New Statesman.