that tradition. It encompasses most of the usable elements of the Third World culture. The motive behind the Black aesthetic is the destruction of the white thing, the destruction of white ideas, and white ways of looking at the world."The Black Aesthetic also refers to ideologies and perspectives of art that center on Black culture and life. This Black Aesthetic encouraged the idea of Black separatism, and in trying to facilitate this, hoped to further strengthen black ideals, solidarity, and creativity. In The Black Aesthetic (1971), Addison Gayle argues that Black artists should work exclusively on uplifting their identity while refusing to appease white folks. The Black Aesthetic work as a "corrective," where black people are not supposed to desire the “ranks of Norman Mailer or a William Styron”. Black people are encouraged by Black artists that take their own Black identity, reshaping and redefining themselves for themselves by themselves via art as a medium. Hoyt Fuller defines The Black Aesthetic "in terms of the cultural experiences and tendencies expressed in artist’ work" while another meaning of The Black Aesthetic comes from Ron Karenga, who argues for three main characteristics to The Black Aesthetic and Black art itself: functional, collective, and committing. Karenga says, "Black Art must expose the enemy, praise the people, and support the revolution". The notion "art for art’s sake" is killed in the process, binding the Black Aesthetic to the revolutionary struggle, a struggle that is the reasoning behind reclaiming Black art in order to return to African culture and tradition for Black people. Under Karenga’s definition of The Black Aesthetic, art that doesn’t fight for the Black Revolution isn’t considered as art at all, needed the vital context of social issues as well as an artistic value. Among these definitions, the central theme that is the underlying connection of the Black Arts, Black Aesthetic, and Black Power movements is then this: the idea of group identity, which is defined by Black artists of organizations as well as their objectives. The narrowed view of The Black Aesthetic, often described as Marxist by critics, brought upon conflicts of the Black Aesthetic and Black Arts Movement as a whole in areas that drove the focus of African culture; In The Black Arts Movement and Its Critics, David Lionel Smith argues in saying “The Black Aesthetic,” one suggests a single principle, closed and prescriptive in which just really sustains