Portal:Pan-Africanism

The Black Panther Party (BPP), originally the Black Panther Party for Self-Defense, was a political organization founded by Bobby Seale and Huey Newton in October 1966. The party was active in the United States from 1966 until 1982, with international chapters operating in the United Kingdom in the early 1970s, and in Algeria from 1969 until 1972.

At its inception on October 15, 1966, the Black Panther Party's core practice was its armed citizens' patrols to monitor the behavior of officers of the Oakland Police Department and challenge police brutality in Oakland, California. In 1969, community social programs became a core activity of party members. The Black Panther Party instituted a variety of community social programs, most extensively the Free Breakfast for Children Programs, and community health clinics to address issues like food injustice. The party enrolled the most members and made the greatest impact in the Oakland-San Francisco Bay Area, New York, Chicago, Los Angeles, Seattle, and Philadelphia.

Henry Sylvester Williams (15 February 1869 – 26 March 1911) was a Trinidadian lawyer, councillor and writer, most noted for his involvement in the Pan-African Movement. As a young man he went to North America to further his education, and subsequently to Britain, where in 1897 he formed the African Association to challenge paternalism, racism and imperialism; the association aimed to "promote and protect the interests of all subjects claiming African descent, wholly or in part, in British colonies and other place, especially Africa, by circulating accurate information on all subjects affecting their rights and privileges as subjects of the British Empire, by direct appeals to the Imperial and local Governments." In 1900 Williams organised the First Pan-African Conference, held at Westminster Town Hall in London. In 1903 he went to practise as a barrister in South Africa, becoming the first black man to be called to the bar in the Cape Colony.

Jim Crow laws were state and local laws that enforced racial segregation in the Southern United States. All were enacted in the late 19th and early 20th centuries by white Democratic-dominated state legislatures after the Reconstruction period, the laws were enforced until 1965. In practice, Jim Crow laws mandated racial segregation in all public facilities in the states of the former Confederate States of America, starting in the 1870s and 1880s, and were upheld in 1896, by the U.S. Supreme Court's "separate but equal" legal doctrine for facilities for African Americans, established with the court's decision in the case of Plessy vs. Ferguson. Moreover, public education had essentially been segregated since its establishment in most of the South, after the Civil War (1861–65).

African art describes the modern and historical paintings, sculptures, installations, and other visual culture from native or indigenous Africans and the African continent. The definition may also include the art of the native African, African diasporas, such as African American, Caribbean and other American art. Despite this diversity, there are some unifying artistic themes when considering the totality of the visual culture from the continent of Africa.

Masquerade, metalwork, sculpture, architecture, fiber art, and dance are important art forms across Africa and may be included in the study of African art. The term "African art" does not usually include the art of the North African areas along the Mediterranean coast, as such areas had long been part of different traditions. For more than a millennium, the art of such areas had formed part of Islamic art, although with many particular characteristics. The art of Ethiopia, with a long Christian tradition, is also different from that of most of Africa, where traditional African religion (with Islam in the north) was dominant until relatively recently. African art includes ancient art, Muslim art of North and West Africa, the Christian art of East Africa, and the ritualistic art of these and other regions. Most African sculpture was historically in wood and other natural materials that have not survived from earlier than, at most, a few centuries ago; older pottery figures can be found from a number of areas. Masks are important elements in the art of many peoples, along with human figures, often highly stylized. There is a vast variety of styles, often varying within the same context of origin depending on the use of the object, but wide regional trends are apparent; sculpture is most common among "groups of settled cultivators in the areas drained by the Niger and Congo rivers" in West Africa. Direct images of deities are relatively infrequent, but masks in particular are or were often made for religious ceremonies; today many are made for tourists as "airport art". Since the late 19th century there has been an increasing amount of African art in Western collections, the finest pieces of which are now prominently displayed.

African mask art has had an important influence on European Modernist art, which was inspired by their lack of concern for naturalistic depiction.

West African cultures developed bronze casting for reliefs, like the famous Benin Bronzes, to decorate palaces and for highly naturalistic royal heads from around the Bini town of Benin City, Edo State, in terracotta as well as metal, from the 12th–14th centuries. Akan goldweights are a form of small metal sculptures produced over the period 1400–1900; some apparently represent proverbs, contributing a narrative element rare in African sculpture; and royal regalia included impressive gold sculptured elements. Many West African figures are used in religious rituals and are often coated with materials placed on them for ceremonial offerings. The Mande-speaking peoples of the same region make pieces from wood with broad, flat surfaces and arms and legs shaped like cylinders. In Central Africa, however, the main distinguishing characteristics include heart-shaped faces that are curved inward and display patterns of circles and dots.