On the Black Panther Party’s Free Clothing Program: Q&A with Alondra Nelson

Then there are the images within the picture; the images on the wall. There is the iconic poster of Huey Newton seated in a wicker chair brandishing both a sword and a rifle. There are several pieces of art that appear to be the work of Emory Douglas, the Party’s Minister of Culture. There’s also a familiar portrait of Eldridge Cleaver floating just above the boy’s head. This “gallery” links the boy’s sartorial joy and practical needs to the Black Panthers’ style and their politics.

MP: I love that. It really articulates my sense of the significance of the Black Panther Party’s health-based programs, which I think go beyond physical survival. That Eldridge Cleaver’s iconic image is part of this scene of sartorial joy really suggests to me that the BPP understood the political and psychic significance of clothing, that “health activism” for the BPP had much broader implications than physical health. Can you elaborate on this?

AN: Yes, that’s absolutely right. The Party appreciated that clothing could be both a basic need and a form of self-expression.

Also, the Black Panthers’ had a broad and politicized understanding of well-being that I describe as “social health.” Social health was their vision of the good society. The Party drew a connection between the physical health of individuals and social conditions in the U.S. They believed that achieving healthy bodies and communities required a just and equitable society.

The Black Panthers took a similarly holistic approach with their health activities. They provided basic health care services at their People’s Free Medical Clinics, for example. At these clinics one could also get free groceries or clothing, or advice on how to deal with a difficult landlord or help finding a job. For the Panthers, all of these issues were interconnected.

MP: Do you think it’d be fair to say that in the popular imaginary, it isn’t the group’s community programs for which they’re best remembered but their distinctive look? I’m thinking about the circulation and consumption of the BPP’s fashion practices and styles (e.g., Afros, berets, and military jackets) today in fashion magazines (under the sign of “radical chic”) and in the Internet (one blogger offers advice on how to “recreate the Panther look”). How important was the distinctive look of the BPP to its political mission and legacy then and now?

AN: The Black Panther Party emerged during a golden age of mass media: at a time when artists like John Lennon and Yoko Ono were pioneering some of the earliest music videos, when Marshall McLuhan was proclaiming the “medium” as “the message,” and when racially stereotypical television shows such as “Amos ‘n’ Andy” (which ran in syndication until the late 1960s) were giving way to integrated dramas like “The Mod Squad” and “Star Trek” (the latter of which was the setting for American TV’s first interracial kiss). Media mattered; image mattered.

Given this context, the fact that the Black Panthers were not only bold, but also beautiful, definitely contributed to their association with style in the popular imagination up to today. And, what the Shames photo of the boy captures so well is the fact that the Party’s image and its mission could overlap.

At the same time, we shouldn’t let our collective memory of the Party be so preoccupied with its imagery that we lose site of the activists’ urgent critique of racial and economic inequality and their efforts to imagine a better society. As Angela Davis stressed in her stirring 1994 article “Afro Images: Politics, Fashion, and Nostalgia” (a MUST read!), we shouldn’t reduce a “politics of liberation to a politics of fashion.”

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