Using political and critical theory, this article identifies in James Baldwin a
model for citizenship unique to the Black artist who assumed the dual
responsibilities of art practice and political activism. I engage with
Baldwin’s fiction and his writing about other Black artists working in
theater, film, dance, and music during the period of the civil rights movement.
Across his career, Baldwin’s prevailing view was that, because of their
history, Black artists have the singular, and indeed superlative, capacity to
make art as praxis. Baldwin explains that the craft of the Black artist depends
upon representing truths, rather than fantasies, about their experience, so that
they are at once artists pursuing freedom and citizens pursuing
justice. This article pays particular attention to the tension between living a
public, political life and the need for privacy to create art, and ultimately
the toll this takes on the citizen artist. Baldwin demonstrates how the
community of mutual support he finds among Black artists aids in their survival.
In his writings on Sidney Poitier and Lorraine Hansberry, his friendships with
Beauford Delaney and Josephine Baker, as well as his reviews of music and
literature, Baldwin assembles a collective he refers to as “I and my
tribe.”