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Part II - A Global Worldview

Published online by Cambridge University Press:  06 January 2022

R. Joseph Parrott
Affiliation:
Ohio State University
Mark Atwood Lawrence
Affiliation:
University of Texas, Austin

Summary

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Figure 0

Figure 4.1 A secondary theme of OSPAAAL imagery was the political value of solidarity. Rising identification with North Vietnam and revolutionary movements went hand in hand with hostility to US interventions in the Global South. OSPAAAL, Olivio Martinez, 1972. Offset, 54x33 cm.

Image courtesy Lincoln Cushing / Docs Populi.
Figure 1

Figure 5.1 Tricontinental movements won support by combining political and social revolution, which often promoted the liberation of women alongside national independence. This image also attests to the global movement of iconography via Tricontinental networks. The Cuban artist Lazaro Abreu adapted this poster from an Emory Douglas illustration in The Black Panther depicting African revolutions. The combination of woman, gun, and baby appeared in Asian and African revolutionary imagery, which proved popular with young leftists in Europe and the United States. Lazaro Abreu after original by Emory Douglas, 1968. Screen print, 52x33 cm.

Image courtesy Lincoln Cushing / Docs Populi.
Figure 2

Figure 6.1 A central tenet of Tricontinentalism was the interlinked revolutions of the three continents, which appeared in the iconography as unity between peoples of various non-white races. Even as states like Algeria moved away from direct invocations of militarism, the idea of multiracial struggle remained central to various political and economic challenges to the international system. OSPAAAL, Alfredo Rostgaard, 1968. Offset, 54x33 cm.

Image courtesy Lincoln Cushing / Docs Populi.

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