Experience black Briton created a singular and unifying framework based on the building up of

the identity across ethnic and cultural difference between the different communities .These
communities could be from African Caribbean and south Asian locations. Yet they were united
through the representation of a common “Black “community .This served two purposes first, it
raised the question of right access to representation by a black writer and artists, and second,
it enabled the stereotypical and derogatory representations of black people at large to be
contested by positive images of the black community often through the coherence of an
essentialist black subject who typified black experience in general.
But in the second moment these unifying modes of representation become contested from
within the black community ,as individuals begin to question the existence and purpose of
believing in an essential black subject .In it’s place, extraordinary diversity of subjective
positions, social experiences and cultural identities (p:444)are accepted and explored.
Diaspora identities are presented instead as multiplied and mobile, with their own inner
tensions. This ‘inevitably entails a weakening or a fading of the notion that “race” or some
composite notion of race around the term black will either grantee the effectivity of any
culture practice or determine in any final sense it’s aesthetic value (p,443).In other words black
artist, and writers no longer work on behalf of the black community ,because that community
can not be easily homogenized .Further more, the work they produce can not be celebrated
simply because