James Baldwin and the Doctrine of the Black Revolutionary Theatre: An analysis of Blues for Mister Charlie

Abstract

The relationship between black Africa and Euro-America has been defined and dictated by distinctions in race differentials. From the initial contact between these two distinctly dichotomous races, there ensued what could best be ascribed as ‘never-ending war’ of the world’s two large races with the white race claiming superiority over the black people of Africa and blacks in the Diaspora. This article investigates the interloping issues of racism, identity and fundamental human rights of the African-American within the context of the doctrine of the Black Revolutionary Theatre, using James Baldwin’s Blues for Mister Charlie as a working paradigm. The paper concludes that despite the gains that have been attained in improved race relationship between blacks and whites in the United States, a lot still need to be done. Since racism and racial prejudice cannot be completely eradicated, the imperative is for compromise and accommodation, as well as mutual respect between blacks and whites regardless of distinctions of colour.

Keywords: Doctrine, black, revolutionary, theatre, racism and racial discrimination.