The following is a conversation between Winter Intern Naima Nigh ’23 and Professor Grady-Willis about the Black Panther materials in the Tang Teaching Museum collection, conducted on Tuesday, July 25, 2023, in the Tang’s Print Study Room.
Naima Nigh: What events occurred in the years leading up to the foundation of the Black Panther Party, and how did they influence the Party’s ideology?
Winston Grady-Willis: The key context is the Black Power movement. As early as 1965, but certainly by 1966, there is a demand for Black community control of resources and institutions, a feeling that non-violent direct action wasn’t enough, that there needed to be an embrace of armed self-defense, and an increasing number of folks were arguing for armed revolution.
What revolution meant was not the same for an activist who might be in the Bay Area as for another activist who might be in Lowndes County, Alabama. So, there was no monolithic sense of what revolution meant. But there absolutely was a sense that there is no other choice but to move in a more radical direction and to confront institutional racism unapologetically. This belief propels itself after the assassination of Dr. King in 1968. However, you see community protests as early as 1965 in Birmingham, in Atlanta, in Los Angeles, of course, the Watts Rebellion, but also in New York City, in Rochester, in Chicago, and particularly in Detroit. These were major grassroots protests. In some cases, neighborhoods were on fire. That’s the combustible moment in which the Black Panther Party comes into fruition.
NN: How do you think teaching with the Black Panther Party ephemera can enhance learning and understanding of the movement and this combustible moment in history?
WGW: It’s game changing. The reason why using the materials is so game-changing for me is that the Panthers were so interested in culture at large. Their material culture specifically had an appreciation for the way that the visual could capture the attention of working-class, Black folk. To be able to work with the objects that Panther activists used themselves is really a window, not only into the time but into the power that visual material culture can have for impacting society. And there is a marriage, if you will, between amazing visual content (often supplied by Emory Douglas and other artists) with solid journalism. You have individuals who got news from around the world in ways that they simply couldn’t get from the mainstream newspaper in their own hometown, wherever that might be.





