the dramatic equivalent of the "raising" poems, is distinguished by the same exaggeratedly "spiritual" aura as those poems. In these works the writer seems to equate consciousness-raising with the necessity of restraint or stultification. After straining to reshape the degraded black man into the glorious "ancient image," Baraka seems to conclude suddenly that the image was never completely lost. He asserts that it is present in the tremendous energy of the black style and consequently attempts to infuse his works with this vital energy (compare the incessant movement of Slave Ship to the stylized manner of A Black Mass). The author perceives a spirituality or African continuity in the vigor of the popular dances of the day, as, for example, in his coingage "boogaloruba," an Africanization of the popular "boogaloo." As he asserts in In Our Terribleness, the soulful essence of black life shines brightly just under the veneer of urban depravity. The same message is rendered in even more compelling manner in the electrifying release of Slave Ship, Baraka's most ambitious play.