Detroit’s Black Power murals arose in neighborhoods that had seen the most violence during urban unrest in 1966 and again in July 1967. Their imagery spoke to the range of cultural and political movements going on in Detroit at the time while offering visions of a Black past and future.
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Political and Historical Contexts for the Portraits on the Murals
In the late 1960s, the Wall of Dignity and the Wall of Pride murals were created in Detroit to commemorate influential Black activists. One panel of the Harriet Tubman Memorial (Let My People Go) also incorporated portraits of Black activists and politicians. These murals featured depictions of various leaders, each representing distinct perspectives within the struggle for civil rights and Black empowerment. Among the most significant individuals portrayed were Dr. Martin Luther King Jr., Malcolm X, and Stokely Carmichael. The inclusion of these figures symbolized different approaches to addressing systemic racism and inequality, resonating deeply with the diverse Black community in Detroit.
Dr. Martin Luther King Jr. represented the ideals of nonviolent resistance and the pursuit of racial harmony through integration and cooperation. He advocated for peaceful protests, such as the March on Washington and the Montgomery Bus Boycott, emphasizing the power of unity and moral persuasion. For many Detroiters, especially those who believed in collaboration with white allies and gradual societal change, King’s philosophy provided a hopeful vision of equality. His presence on the Wall of Dignity likely inspired a sense of possibility and reinforced the belief in the effectiveness of peaceful civil disobedience.
In contrast, Malcolm X embodied a more militant perspective, emphasizing Black self-reliance, cultural pride, and the right to self-defense against systemic oppression. As a prominent leader within the Nation of Islam before his later shift toward broader Pan-African ideals, Malcolm X resonated with those in Detroit who experienced the harsh realities of segregation and police brutality. His message of empowerment and resistance appealed to younger and more radicalized segments of the community who felt that passive measures were insufficient. His depiction on the walls highlighted the urgent need for immediate, transformative change and symbolized the unapologetic assertion of Black identity.
A group of men and children run down 12th Street during the first day of the civil unrest.
Photo credit: Image Courtesy of the Tony Spina Photographs. Detroit News Photograph Collection, Walter P. Reuther Library, Archives of Labor and Urban Affairs, Wayne State University.
Stokely Carmichael, a key proponent of the Black Power movement, offered yet another perspective. As a former leader of the Student Nonviolent Coordinating Committee (SNCC), Carmichael later embraced more revolutionary rhetoric, calling for political autonomy and economic independence for Black communities. His advocacy for self-determination resonated with Detroiters who sought grassroots solutions to local challenges, including poverty and disenfranchisement. Carmichael’s presence on the Wall of Pride symbolized the shift from integrationist strategies toward an emphasis on self-sufficiency and the reclaiming of cultural heritage.
The inclusion of these three figures on Detroit’s walls reflected the complexity of the civil rights movement and the varied ideologies within the Black community. For the people of Detroit, the murals served as both a source of inspiration and a call to action. Residents could see their own struggles and aspirations mirrored in the diverse philosophies of these leaders, fostering conversations about the best paths to freedom and equality. Ultimately, the Wall of Dignity and the Wall of Pride stood as enduring tributes to the resilience and multifaceted spirit of the Black community during a pivotal era in American history.
The Detroit Riots of 1967, also known as the 12th Street Riot, were a pivotal event rooted in long-standing racial tensions in the city. Detroiters at the time, and to this day, have debated on whether to term them riots, a Rebellion, or an Uprising. The events, which began on July 23, 1967, and lasted five days, were one of the most destructive episodes of civil unrest in U.S. history. Here's a breakdown of the causes, the recovery process, and the cultural significance of artistic monuments like the Wall of Dignity and the Wall of Pride.
12th Street in flames because of the riots, July 1967. A bird's-eye view as the block at 12th Street and Linwood is reduced to rubble by fires during the second day of the civil unrest.
Photo credit: Walter Reuther Library, Wayne State University, Detroit News Collection
Tensions in Detroit
Before what is known as the Detroit riots occurred, racial tensions in the city grew. Racial inequality and oppression were a horrific yet familiar aspect of Black Detroters' lives. Economic discrimination, police brutality, and segregation in housing caused Black people to be tired of the cruel treatment. Enough was enough. Many Black residents faced systemic barriers in employment, housing, and education despite Detroit being an industrial hub. White flight to the suburbs exacerbated economic divides, leaving African Americans concentrated in underfunded neighborhoods. Restrictive housing covenants and discriminatory practices confined Black residents to overcrowded and poorly maintained areas like the lower east and west sides. Efforts to desegregate led to resentment from white residents, heightening racial tensions. The Detroit Police Department was overwhelmingly white and had a long-standing reputation for targeting Black residents. Incidents of police brutality and racial profiling created deep mistrust. The city was underlined with a murmuring tone of frustration and anger.
Then it happened… The riot began after a police raid on a party being held at a “Blind Pig” (an unlicensed bar) in a predominantly Black neighborhood. The situation escalated as residents protested against police treatment. The riots resulted in 43 deaths, over 1,400 buildings burned, and thousands arrested. Federal troops were deployed to restore order. Businesses fled, and Detroit's economy suffered a significant decline.
The Aftermath
In the aftermath, Detroit launched several urban renewal projects. However, many failed to address systemic racial inequalities and were criticized for displacing Black residents. Grassroots organizations worked to rebuild neighborhoods and promote Black empowerment, focusing on creating opportunities for education, employment, and cultural expression.
The Murals
Created within a year of the 1967 Uprising, the Wall of Dignity, the Wall of Pride, and the Harriet Tubman Memorial murals celebrated Black leaders and activists, including figures like Malcolm X, Martin Luther King Jr., and local Detroit figures. They symbolized dignity, pride, and resistance in the face of oppression. Located in predominantly Black neighborhoods, the murals served as a rallying point for unity and a reminder of the contributions of Black leaders to the Civil Right Movement. The Wall of Pride expanded on the themes of the Wall of Dignity, celebrating both worldwide and local heroes through time while also becoming part of the everyday lives of the Black community. The Harriet Tubman mural placed the struggle for freedom in biblical and historical context. The three murals emphasized cultural pride, resistance, and resilience, portraying the richness of African American heritage and its vital role in Detroit's history. These murals represented more than art: they were tools for social cohesion and empowerment. By depicting Black activists and community leaders, they reinforced a narrative of resilience and hope. They provided a visual counter-narrative to the destruction of the riots, reminding residents of their collective strength and the importance of fighting systemic injustice.
Written By Tacey Moore
Joel Stone, Detroit 1967: Origins, Impacts, Legacies ( Wayne State University Press, 2017).
Sidney Fine, Violence in the Model City: The Cavanagh Administration, Race Relations, and the Detroit Riot of 1967 (Univ. Michigan Press, 1989).