Abstract: Critical accounts of the Black Arts era have often treated mass media as marginal or antagonistic to its aesthetic politics, obscuring the extent to which writers engaged film, radio, and recording technologies as sites of theoretical inquiry. This essay argues that Amiri Baraka's largely overlooked work for the Black Communications Project reveals how mid-twentieth-century mass communications infrastructures shaped emergent conceptions of Black collectivity. Drawing on recently recovered archival materials—including the film Black Spring , episodes of Baraka's radio program Black New Ark , and audio recordings associated with Black Spirits and It's Nation Time —the essay shows how Baraka transposed an African diasporic mode of call and response onto the abstracted situation of mass address. These experiments did not merely disseminate Black content; they staged Black sociality as an antiphonal and processual formation forged within the simultaneous temporality of broadcast media. By situating this aesthetic practice within the regulatory and infrastructural limits placed on Black access to the airwaves, the discussion reframes the Black Arts Movement as a sustained interrogation of how racial collectivities are mediated, scaled, and contested in mass media environments.
Andrew Michael Gorin (Sun,) studied this question.