This paper re-examines Amiri Baraka's seminal work, Blues People: Negro Music in White America (1963), sixty-two years after its initial publication. By situating the text within the sociopolitical climate of the 1960s and the Civil Rights Movement, the study analyzes Baraka's biographical evolution—from his formative years at Howard University to his immersion in the Greenwich Village art scene—and how these experiences shaped his theoretical framework. A central focus is the intellectual and ideological debate between Baraka and Ralph Ellison, exploring their conflicting perspectives on bebop, swing music, and the position of African Americans within U.S. culture. Furthermore, the paper investigates Baraka's challenge to traditional jazz historiography and his critique of Black middle-class assimilation. Drawing on contemporary scholarly reconsiderations by Ingrid Monson, Scott DeVeaux, and others, this research concludes that the enduring legacy of Blues People lies in its function as a foundational social theory and a manifesto for Black liberation, rather than a mere work of musicology.
Huang Shiyuan (Thu,) studied this question.