We have witnessed numerous fascinating features about photographers: Martin Parr. Perhaps cinematic storytelling naturally comes alive when showcasing remarkably striking visual compositions. Now we have a new remarkable example, directed by filmmaker Yemi Bamiro, chronicling the extraordinary career of Kwame Brathwaite—a photographer, performer and social justice champion who exemplified a distinct artistic-political approach.
Alongside his sibling Elombe, he effectively created the slogan “Black Is Beautiful” during the sixties by capturing the Grandassa Models in New York: youthful Black women who transformed into the sensational archetype for aesthetics, rejecting conventional beauty standards and the usual white model of female beauty.
The Power of a Simple Phrase
This powerful statement became a transformative call to action, an inspired three-word prose poem for progress. Just stating that black people were beautiful became a liberating influence in art, social movements and the arts. Brathwaite became integral to the social justice global Black struggle by capturing images of the legendary boxer before his historic Zaire bout in that era.
He was appointed the primary visual documentarian for the musical group's African tour, and eventually became the house photographer for the historic Apollo theatre, creating an incredible archive of black musicians. In collaboration with his sibling, he became the key organizer behind bringing the South African leader to address the public in New York.
Historical Recognition
Brathwaite's son his namesake recounts the their mission to ensure due acknowledgment for his parent's achievements after he was hurtfully ignored in the prestigious Smithsonian institution, opened by the political leader in recent years.
This documentary further reveals the profoundly sorrowful genesis of Brathwaite's interest in photography: the shocking pictures of Emmett Till, the young African American lynching victim whose grieving mother courageously requested an public viewing so the violent nature of racist violence might not be concealed.
Amidst Sorrow to Hope
From this vision of violence, the visionary encountered a type of anti-epiphany that directed him toward photographs of aspiration. His work were eloquent of community pride and often not overtly political: he established a new iconography of empowerment around which social causes could unite.
The documentary stands as an inspiring chronicle of creative genius that persists in inspire across generations.
