As a result of post-civil rights activism in the United States of America in the 1960s, 'black' and 'blackness' became terms of empowerment and were resemanticized to move away from their connotations of abjection, discrimination and subordination. Likewise, Black Power and Black Aesthetics were also terms used at the time to reclaim black subjectivity for political and creative use. Earlier still, the Rastafari in Jamaica, influenced by Marcus Garvey (18871940) through his Universal Negro Improvement and Conservation Association and African Communities League (UNIA), founded in 1914, reclaimed and resemanticized Africa and African identity. By these means, black as a concept was also used to rewrite, with the power of a political movement, the sense of abjection built into the word 'Negro'. Blackness thus became a 'membership norm' (Cambridge, 1996, p. 163) in which one is located positively through political self-definition. Studying the black British experience, Alrick Cambridge in 'The beauty of valuing black cultures' indicates that "black" describes the constituency of those who have suffered anti-black racial discrimination and who accordingly employ it as a term of political self-description and cultural counter-assertion' (1996, p. 163). Thus, in the context of the arrival in the United Kingdom of a number of formerly colonized subjects from various locations (Africa, Asia, and the Caribbean, in particular), 'black' became a unifying self-description for all those people of colour, 'groupings of Asian and Afro-Caribbean constituencies' defined negatively by the dominant racist context as unwanted, 'who assert their blackness against whatever is anti-black' (p. 163).