The first chapter of the Black Atlantic describes the double-consciousness maintained by Africans in the diaspora.[1] The chapter asserts that Black identity is multifaceted and difficult to define due to the multinational position of Blackness. Gilroy utilizes the imagery of the slave ship to demonstrate the position of Black bodies between two (or more) lands, identities, cultures, etc. which is unable to be defined by borders.[2] Additionally, Gilroy discusses how western nationalism results from a narrative created by whites that ties western nationalism to whiteness.[3] This narrative inherently others Black folk who often partly belong to the same national identity. He highlights artistic expression (particularly through music from Black diasporic communities) as a means of exploring the transient nature of Blackness.[4] Pointedly, he speaks of the song "Keep on Moving" which he asserts expresses "the restlessness of spirit which makes that diaspora culture vital".[5] In many ways, the song exemplifies the state of the diaspora as Black bodies have existed in numerous spaces and cannot be defined solely by where they have been, where they are, or where they are going. Black diasporic music remains of great importance to Gilroy's narrative as it is demonstrative of the manner in which Black individuals are able to embrace a communal identity despite many individuals in the diaspora's original cultures being stolen from them. Ultimately, Gilroy asserts that the Black experience is coupled with the varied narratives relating to belonging and history, still, in many ways, the narratives are mitigated by music which allows for Black expression and community to be shared beyond borders.[6]
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