We have witnessed countless compelling documentaries highlighting visual artists: Tish Murtha. It could be the film medium particularly shines when displaying remarkably striking visual compositions. Here comes a new outstanding example, directed by filmmaker Yemi Bamiro, exploring the impressive professional journey of Kwame Brathwaite—an artist, performer and African American activist who embodied a unique cultural-activist vision.
In partnership with his brother Elombe, he pioneered the phrase “Black Is Beautiful” throughout the 1960s by photographing the Harlem models in Harlem: youthful Black women who transformed into the sensational standard for visual appeal, moving beyond typical cosmetic products and the established Caucasian standard of womanhood.
The Influence of a Simple Phrase
The iconic phrase became a powerful call to action, an brilliant three-word manifesto for progress. Just declaring that people of color possessed beauty emerged as a transformative influence in culture, activism and the arts. The photographer grew into integral to the civil rights African diaspora struggle by documenting Muhammad Ali before his iconic Zaire bout in 1974.
He was appointed the official photographer for the Jackson 5's continental journey, and eventually was named the house photographer for the historic Apollo theatre, assembling an amazing portfolio of musical pioneers. Alongside his sibling, he became the driving force behind arranging for the South African leader to speak in Harlem.
Personal Journey
His son his namesake recounts the family's mission to ensure appropriate credit for his parent's achievements after he was painfully overlooked in the prestigious Smithsonian institution, opened by Barack Obama in 2016.
This documentary also recounts the deeply tragic inspiration of Brathwaite's interest in image making: the shocking photographs of Emmett Till, the young civil rights murder victim whose bereaved parent courageously requested an public viewing so the horrific reality of racial hatred might not be concealed.
From Tragedy to Hope
In this vision of tragedy, Brathwaite discovered a type of anti-epiphany that directed him toward visual representations of community. His work powerfully conveyed celebratory strength and frequently not overtly political: he established a new symbolic representation of empowerment around which activist groups could mobilize.
The documentary stands as an captivating testament of creative genius that continues to resonate decades later.
