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Nikki Giovanni was a foremost member of the Black Arts Movement (BAM). This movement started as the cultural section of the Black Power Movement and focused on expanding Black Nationalism through music, literature, drama, and visual arts. It aimed to promote the work of Black artists and intellectuals.
BAM started in 1965 in New York City with the foundation of the Black Arts Repertory Theater by poet Amiri Baraka. Baraka founded the theater on the same day Malcolm X was assassinated, so the movement symbolically started with his death. The 1960-1970s in the United States were a period when politics was at the forefront of artistic expression. According to the Poetry Foundation, the BAM “emphasized self-determination for Black people, a separate cultural existence for Black people on their own terms, and the beauty and goodness of being Black.” Black artists in the BAM used their respective mediums to push for civil rights and carve out a respected place for Black culture in America.
Prominent poets in this movement include Amiri Baraka, Maya Angelou, James Baldwin, Gwendolyn Brooks, Audre Lorde, and Sonia Sanchez. The movement disbanded in the 1970s for various reasons, including an economic recession.
Giovanni wrote “Quilts” three decades after this movement formally disbanded. Of course, the BAM continued to influence her writing. Her work still focuses on the importance of community and culture to the Black experience in the United States. “Quilts” touches on motifs of Black art, though not focused on revolutionary politics. Giovanni wrote this poem after years of working as a distinguished lecturer; her role in Black art turned from activist to mentor.
In 2007, the United States was in a strange financial stasis, and the central cultural conflict was the wars in Iraq and Afghanistan. Popular culture largely posited (incorrectly) that large-scale racism had been solved in the 1990s, other than the staggering double standards of the response to Hurricane Katrina in 2005. Racism targeted Muslim individuals of Middle Eastern descent following 9/11, though this racism didn’t limit itself to Muslims. This year was a cusp between the end of the Bush era, the political rise of Barak Obama, and the Great Recession. The tensions held in by this decade spilled over after the start of the Recession in late 2008.
Giovanni likely wrote “Quilts” in the mid-2000s since it was published in Acolytes in January 2007. Like most Americans, the ersatz prosperity of this time may have lulled her into a false sense of security. She was in her mid-sixties, moving from middle age into old age for the first time. The generation entering old age in the late 1990s and early 2000s—the Silent Generation—largely disappeared from the generational lexicon. The cultural dialogue focused on Baby Boomers, Gen Xers, and the coming-of-age Millennials. Never one to acquiesce to security or miss the chance to leave her mark, Giovanni pivoted her work to address these concerns.
“Quilts” appeared at a juncture before Giovanni took the national stage again, after the Virginia Tech mass shooting in April 2007. Her sustained fame in the national consciousness today demonstrates that some anxieties in “Quilts” were unfounded.
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By Nikki Giovanni