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“An Aesthetic of Blackness: Strange and Oppositional” by bell hooks: Summary and Critique
“An Aesthetic of Blackness: Strange and Oppositional” by bell hooks first appeared in 1995 in the journal Lenox Avenue: A Journal of Interarts Inquiry.
Introduction: “An Aesthetic of Blackness: Strange and Oppositional” by bell hooks
“An Aesthetic of Blackness: Strange and Oppositional” by bell hooks first appeared in 1995 in the journal Lenox Avenue: A Journal of Interarts Inquiry. Published by the Center for Black Music Research at Columbia College Chicago, this essay explores the unique aesthetic qualities and political significance of Black art and culture. Hooks argues that Black aesthetics often defy dominant cultural norms, offering a radical and oppositional perspective. By challenging traditional notions of beauty and value, Black art can empower marginalized communities and foster social change. This essay has become a foundational text in Black studies, literary theory, and cultural criticism, contributing to a deeper understanding of the intersections of race, aesthetics, and power.
Summary of “An Aesthetic of Blackness: Strange and Oppositional” by bell hooks
Learning Aesthetics Through Everyday Life: bell hooks begins by recounting lessons on beauty and aesthetics learned from her grandmother, Baba, who believed that “we must learn to see.” Baba emphasized that objects and space shape our experience and that beauty is a force to enhance inner well-being. This view was a sharp contrast to the materialistic, anti-aesthetic values of the house hooks grew up in, where possessions were prioritized over beauty and creative expression. (“She has taught me ‘we must learn to see.'”)
Aesthetic of Blackness and Resistance: hooks highlights how African American aesthetics have historically functioned as a form of resistance against racism and oppression. Black cultural production—whether through art, music, dance, or other forms—was a testimony to black humanity and creativity in the face of white supremacist ideologies that dehumanized Black people. The creation of beauty, particularly within the black community, was seen as essential to survival and cultural retention. (“Art was necessary to bring delight, pleasure, and beauty into lives that were hard, that were materially deprived.”)
Consumerism vs. Aesthetic Yearning: The essay critiques how advanced capitalism has altered black communities’ capacity to engage with aesthetics. Consumerism, hooks argues, has shifted focus away from the yearning for beauty to a desire for material possessions. Despite the damaging effects of capitalism, black communities maintained a rich tradition of cultural expression that often pushed back against these forces. (“Now many of us are only yearning for things.”)
The Black Arts Movement and Its Limitations: hooks critically discusses the Black Arts Movement of the 1960s and 1970s, which linked art with revolutionary politics. While this movement was a powerful force for asserting black identity, its essentialist nature often restricted artistic freedom by creating rigid criteria for what was considered “black art.” This movement dismissed works that did not conform to political agendas, limiting the diversity of black artistic expression. (“Rather than serving as a catalyst promoting diverse artistic expression, the Black Arts Movement began to dismiss all forms of cultural production by African-Americans that did not conform to movement criteria.”)
Need for a Radical, Inclusive Aesthetic: bell hooks calls for the rethinking of aesthetics in black cultural production. She advocates for a radical aesthetic that embraces artistic diversity and complexity, breaking away from narrow cultural nationalism. This aesthetic should allow black artists to explore various modes of artistic creation while maintaining a connection to the black liberation struggle. (“To re-open the creative space that much of the black aesthetic movement closed down, it seems vital for those involved in contemporary black arts to engage in a revitalized discussion of aesthetics.”)
Art as a Tool for Liberation: hooks argues that art, especially within marginalized communities, should be a tool for empowerment and liberation. She emphasizes the need for art to not only serve as a reflection of beauty but also to act as a force for developing critical consciousness and promoting resistance. She draws from personal experience and the legacy of black ancestors, underscoring the importance of seeing and creating beauty as part of the struggle for freedom. (“I remain passionately committed to an aesthetic that focuses on the purpose and function of beauty, of artistry in everyday life, especially the lives of poor people.”)
Intersection of Beauty and Politics: Finally, hooks examines the relationship between art, aesthetics, and politics, arguing that art should not be divorced from political struggles. She critiques both white Western traditions and narrow black cultural nationalisms for failing to offer a space for creative freedom and expression. Instead, she advocates for a more expansive critical dialogue that fosters artistic growth and challenges oppressive structures. (“Black artists concerned with producing work that embodies and reflects a liberatory politic know that an important part of any decolonization process is critical intervention and interrogation of existing repressive and dominating structures.”)
Literary Terms/Concepts in “An Aesthetic of Blackness: Strange and Oppositional” by bell hooks
Term
Definition in the Context of the Article
Aesthetics
A way of inhabiting space, a way of looking and becoming. It is not about possessing things but about creating a space that reflects beauty, peace, and harmony.
Black Aesthetic Movement
A self-conscious articulation by many African-American artists and critics of the deep fear that the power of art resides in its potential to transgress boundaries. It emphasized a connection between artistic production and revolutionary politics.
Critical Consciousness
The ability to think critically about the world around you, including the power structures that oppress marginalized groups.
Essentialist
A perspective that believes that people’s identities are fixed and determined by their race, ethnicity, or gender.
Ideological Content
The ideas and beliefs that are embedded in a work of art.
Marginalized Groups
Groups of people who are excluded from or given less power within a society.
Oppressive Structures
Systems of power that advantage some groups of people and disadvantage others.
The state of being different from the dominant group in a society.
Transgressive
Breaking the rules or going beyond what is considered acceptable.
Vernacular Culture
The everyday culture of a particular group of people.
Contribution of “An Aesthetic of Blackness: Strange and Oppositional” by bell hooks to Literary Theory/Theories
Postcolonial Theory: Decolonizing Aesthetics: bell hooks’ essay contributes to postcolonial theory by challenging the dominance of Eurocentric aesthetics and advocating for the decolonization of art. She argues that Black cultural production must break away from Western standards of “high art” and beauty, proposing that aesthetics grounded in African American experiences should be valued on their own terms. This decolonizing approach reflects postcolonial concerns with resisting the cultural domination imposed by colonizing powers. (“Cultural decolonization does not happen solely by repudiating all that appears to maintain connection with the colonizing culture.”)
Critical Race Theory: Intersection of Race and Aesthetics: By examining how Black aesthetics are shaped by the historical realities of racism and oppression, hooks contributes to critical race theory. She argues that Black cultural production is a form of resistance to white supremacy and that art within African American communities cannot be separated from the racial struggles that define Black life in the U.S. This insight aligns with critical race theory’s focus on how race and racism shape cultural and social institutions. (“Art was necessary to bring delight, pleasure, and beauty into lives that were hard, that were materially deprived.”)
Cultural Studies: Aesthetic as Political Praxis: In line with cultural studies, hooks views aesthetics as inseparable from political praxis. She argues that Black art serves both to foster beauty and to promote political consciousness, positioning cultural production as an essential tool for resisting oppression and cultivating critical agency within marginalized communities. This reflects cultural studies’ concern with how culture and politics intersect to shape social dynamics and resistance movements. (“I remain passionately committed to an aesthetic that focuses on the purpose and function of beauty, of artistry in everyday life, especially the lives of poor people.”)
Marxist Theory: Critique of Consumer Capitalism: hooks critiques advanced capitalism for its damaging effects on Black aesthetics, arguing that consumerism has distorted Black people’s capacity to see and yearn for beauty. She points out how capitalist structures prioritize materialism over creative expression, which aligns with Marxist critiques of how capitalism commodifies culture and reduces art to mere products for consumption. (“Now many of us are only yearning for things.”)
Feminist Theory: Gender and Aesthetic Knowledge: In her discussion of learning aesthetics from her grandmother, Baba, hooks highlights how Black women, particularly those in agrarian, working-class contexts, played a central role in transmitting aesthetic values. This contribution intersects with feminist theory, which often emphasizes the importance of women’s knowledge and experiences in shaping cultural and artistic production. hooks also challenges the elitist notion that only those with educational privilege have the capacity for critical thought about aesthetics. (“Her memory stands as a challenge to intellectuals, especially those on the left, who assume that the capacity to think critically…is a function of class and educational privilege.”)
New Historicism: Aesthetic as Historical Testimony: hooks’ argument that African American cultural production serves as historical testimony against racist ideologies aligns with new historicism’s emphasis on how cultural texts reflect and respond to historical power dynamics. She illustrates how Black aesthetics, particularly in music, dance, and visual arts, served as a means for African Americans to assert their humanity and challenge white supremacist notions that denied Black people artistic and intellectual capacities. (“Art was seen as intrinsically serving a political function…challenging racist thinking which suggested that black folks were not fully human.”)
Essentialism vs. Anti-Essentialism in Cultural Theory: hooks critiques the essentialism within the Black Arts Movement, which she argues restricted artistic freedom by insisting that Black art must directly serve political purposes. This critique contributes to anti-essentialist cultural theory, which advocates for a more flexible and inclusive understanding of identity and culture. By rejecting the idea that all Black art must conform to a singular political vision, hooks promotes a view of Black aesthetics that embraces complexity and diversity. (“Rather than serving as a catalyst promoting diverse artistic expression, the Black Arts Movement began to dismiss all forms of cultural production by African-Americans that did not conform to movement criteria.”)
Aesthetic Theory: Expanding Definitions of Art: hooks’ essay broadens the scope of aesthetic theory by including everyday cultural practices—such as quilting, music, and performance—as valid forms of artistic expression. This expansion challenges traditional notions of what constitutes “art” and pushes aesthetic theory to recognize vernacular cultural production as equally important to high art forms. hooks’ insistence on valuing Black popular culture within an aesthetic framework aligns with the larger push within aesthetic theory to democratize the definitions of beauty and art. (“Performance arts—dance, music, and theater—were the most accessible ways to express creativity.”)
Postmodernism: Anti-Aesthetic and Resistance to Norms: In her engagement with the concept of an “anti-aesthetic,” hooks draws from postmodernist critiques that question the separation of art from political and social concerns. She argues that art produced by marginalized groups can disrupt traditional aesthetic categories and challenge dominant norms. Her critique of the Black Arts Movement’s restrictive definitions of art resonates with postmodernism’s challenge to essentialist and prescriptive definitions of artistic value. (“Foster opens up the possibility that work by marginalized groups can have a greater audience and impact.”)
Examples of Critiques Through “An Aesthetic of Blackness: Strange and Oppositional” by bell hooks
Literary Work
Critique Through bell hooks’ Lens
Key Concept from hooks
Toni Morrison’s Beloved (1987)
Morrison’s portrayal of the trauma of slavery and its effects on African American identity can be critiqued through hooks’ focus on how Black aesthetics serve as resistance and healing. Beloved is an aesthetic work that intertwines beauty and horror to reclaim history and memory for Black people.
Art as testimony and resistance: Morrison uses art to counter the dehumanizing effects of slavery and to reclaim a Black aesthetic.
Zora Neale Hurston’s Their Eyes Were Watching God (1937)
Hurston’s exploration of Black womanhood and agency can be critiqued using hooks’ focus on how Black aesthetics resist white, male-dominated views of beauty and identity. The protagonist Janie’s self-discovery through personal and aesthetic expression challenges societal norms.
Black women as creators of aesthetic spaces: Hurston celebrates Black female empowerment through self-expression and natural beauty.
Ralph Ellison’s Invisible Man (1952)
Through hooks’ lens, Invisible Man critiques the way capitalist society devalues Black identity. The protagonist’s struggle for visibility mirrors hooks’ critique of how Blackness is rendered invisible and how consumer capitalism distorts authentic Black aesthetic experience.
Critique of consumerism: Ellison shows the alienation of Black individuals within a capitalist system, echoing hooks’ critique of materialism.
Alice Walker’s The Color Purple (1982)
Applying hooks’ theory, The Color Purple can be seen as an aesthetic of survival and resistance. Walker portrays Black women’s use of art and storytelling as a form of empowerment, which reflects hooks’ emphasis on the importance of artistic creation in the lives of oppressed individuals.
Art as a tool for empowerment: Walker, like hooks, highlights the transformative power of creative expression in the lives of Black women.
Criticism Against “An Aesthetic of Blackness: Strange and Oppositional” by bell hooks
Essentialism: Hooks’s approach has been criticized for relying too heavily on essentialist notions of blackness, often reinforcing stereotypes and limiting the complexity of black experiences.
Overemphasis on the Political: Some argue that hooks’s focus on the political function of Black art overshadows its aesthetic value and can lead to a narrow interpretation of its significance.
Neglect of Individuality: Hooks’s emphasis on collective identity and experience can sometimes overlook the individuality and diversity of Black artists and their work.
4. Limited Historical Scope: Critics have pointed out that hooks’s analysis primarily focuses on the twentieth century, neglecting the rich history of Black aesthetics and cultural production in earlier eras.
5. Neglect of Intersectionality: While hooks acknowledges the importance of intersectionality, some argue that her analysis could benefit from a more explicit exploration of how race intersects with other factors, such as gender, class, and sexuality.
6. Oversimplification of White Culture: Hooks’s portrayal of white culture can be overly simplistic, failing to acknowledge the diversity and complexity of white experiences and perspectives.
Neglect of Postcolonial Theory: Some critics argue that hooks’s analysis could benefit from incorporating postcolonial theory to provide a more nuanced understanding of the relationship between race, power, and cultural production.
Representative Quotations from “An Aesthetic of Blackness: Strange and Oppositional” by bell hooks with Explanation
“Aesthetics then is more than a philosophy or theory of art and beauty; it is a way of inhabiting space, a particular location, a way of looking and becoming.”
Hooks emphasizes that aesthetics is not just about art or beauty, but also about how we perceive and interact with our surroundings.
“In one house I learned the place of aesthetics in the lives of agrarian poor black folks.”
This quote highlights the importance of aesthetics in the lives of marginalized communities, particularly those facing economic and social hardship.
“Art was seen as intrinsically serving a political function.”
Hooks argues that Black art often serves a political purpose, challenging racist ideologies and promoting social change.
“There was a sense of history.”
This quote suggests that the aesthetic traditions of Black communities are deeply rooted in historical experiences, particularly the legacy of slavery and racial oppression.
“We had to create a world that would renew the spirit, that would make it life-giving.”
Hooks emphasizes the importance of Black art and culture in providing a sense of hope and renewal for marginalized communities.
“Aesthetics has no place.”
This quote highlights the absence of aesthetics in certain environments, such as the ugly house Hooks grew up in.
“It was not an aesthetic documented in writing, but it did inform cultural production.”
Hooks acknowledges that the aesthetic traditions of Black communities were often not explicitly articulated in writing, but were nonetheless influential in shaping cultural production.
“Art was to serve black people in the struggle for liberation.”
Hooks emphasizes the political role of Black art in challenging racism and promoting social justice.
“The Black Arts Movement was fundamentally essentialist.”
This quote highlights the limitations of the Black Arts Movement, which often reinforced essentialist notions of blackness and limited artistic expression.
“An aesthetic that seeks to uncover and restore links between art and revolutionary politics.”
Hooks argues for a radical aesthetic that combines artistic expression with political activism.
Suggested Readings: “An Aesthetic of Blackness: Strange and Oppositional” by bell hooks
hooks, bell. “An Aesthetic of Blackness: Strange and Oppositional.” Lenox Avenue: A Journal of Interarts Inquiry, vol. 1, 1995, pp. 65-72. http://www.jstor.org/stable/4177045
Taylor, Clyde. “We Don’t Need Another Hero: Antithesis on Aesthetics.” Blackframes: Critical Perspectives on Black Independent Cinema, edited by Mbye B. Cham and Claire Andrade-Watkins, MIT Press, 1988, pp. 80-85. https://mitpress.mit.edu/9780262530760/blackframes/
