The New Negro


The Diaspora’s Perspective on the Colonialism, Pan Africanism, and the New Negro Movement

November 8, 2021 by Essay Writer

Perspectives from the Diaspora on colonialism, Pan Africanism, and The New Negro Movement are three African Diaspora & the World concepts that should be taught to high school students. As a first-year student in college, it wasn’t that long ago that I was in a high school history class. I know that the curriculum that is taught comes from the perspective of a white patriarchal society. In these curriculums, what is missing are the perspectives and acknowledgement of significant moments history. The perspective of the Diaspora on colonialism, Pan Africanism, and The New Negro Movement are three concepts missing when history is being taught in high school.

Coming to Spelman College and learning about these concepts through the readings from African Diaspora & the World, made me realize that these are concepts and parts of history that I should have known about sooner. Why aren’t these aspects of history taught to high school students? Acknowledging the many dimensions of history in high school classes will encourage the increased knowledge in the areas of culture, identity, intersectionality, and allow the problem solving of deeper issues such as racism and classism. Not only this, but learning about this history can increase the morale and self-confidence in Black students. The opportunity to be informed about such cultural, political, and social movements may prove to increase Black unity and give Black students a better sense of who they are. All in all, the awareness of these concepts can help produce more socially aware people, which will benefit society as a whole.

To go more in depth on the concepts that should be taught to high school students, the perspectives from the Diaspora on colonialism in Africa is a concept that should be included when teaching about colonialism in general. These perspectives are important to include because it will help examine and assess the long-term effects of colonialism in Africa and how this is impacting lives today. In W.E.B. DuBois’ “Worlds of Color,” he elaborates on the geopolitical shifts and colonies in both Europe and in the United States, which have ultimately exploited both race and labor (DuBois). The geopolitical shifts are what are taught in the current high school curriculum but how these affected the colonies in Africa is lost in translation. This reading explores how the unsolved problems of race relations developed as a result of the rivalries of economic imperialism. As another example of the detrimental effects that Dubois was trying to explain, the quote in the beginning of Walter Rodney’s “Some Questions of Development” by Che Guevara exposes the wrath of the exploitation of dependent countries by developed capitalist countries. Guevara explains the nature of a capitalist system in which dependent countries face “the most abusive and barefaced forms of exploitation” (Rodney).

These perspectives from the Diaspora on colonialism are important for high school students to learn. In the process, students are being taught about the root of the issue with race relations. Issues that many students still face. Students will learn how imperialism and the exploitation of dependent countries by capitalist countries contributed to the system that we live in today. This history can help students to develop a critical consciousness about the society we live in. Unraveling these aspects of history for students will allow them to see the global impact of colonialism and why colonialism correlates to experiences of different types of people globally. Altogether, having this knowledge may even encourage students to explore their history more thoroughly, exposing and reconstructing contemporary ideas about race relations.

Another concept that should be taught to high school students is the Pan Africanism movement. Marcus Garvey, the center of this movement, was one of the first Black leaders “in American history to capture the imagination and loyalty of the black masses, the first to profoundly stir their racial pride by asserting that black, too, was beautiful, that theirs was a strong, proud race with its own exciting history, tradition, and culture, and with an equally exciting future to be won through racial solidarity” (Lynch). As the “Introduction” to Philosophy and Opinions of Marcus Garvey explains, Marcus Garvey influenced the Black Power movement and other pan-African nationalist. “His paramount political goal was to wrest the continent from the tyrannous European imperialist grasp and build a free, united, black Africa” (Lynch). Another aspect that this concept of Pan Africanism teaches is its impact on the Spanish Caribbean and Central America, an impact that is often overlooked as stated by Pedro R. Rivera in “Carlos A Cooks”: Dominican Garveyite in Harlem.

Pan Africanism is a concept that should be taught to high school students, especially students of color, because this concept dismisses the construction of how history has defined black people. Exposing this complexity will help reshape the views about race and society that many students face. Not only this, but for black students, learning this can assist in increasing diasporic consciousness and cultural confidence. Students learning about the greatness in their history, such as Marcus Garvey and the Pan Africanism movement, will allow them to see greatness in themselves and to critically critique the system in which we live in. This knowledge recognizes the presence of people of color is prominent movements and time periods, which will ultimately globalize the mindset of many students. Lastly, this concept should be taught in high school students because it may encourage the same passion for change that Marcus Garvey or that Carlos A. Cooks had.

The last African Diaspora & the World concept that should be taught to high school students is the New Negro Movement. The New Negro movement is significant because it is evidence of a cultural presence of Blacks in America. The presence is often overlooked when dissecting the history of literature and musical movements. Within the New Negro Movement were publications such as Fire!, which included short stories, poetry, and art by Black artists. The excerpts from Negritude: Black Poetry from Africa and the Caribbean were edited and translated by Norman Shapiro, a professor known for translating from French in theatre, verse, and black francophone literature (Shapiro). The exposure to this aspect of culture had beneficial influences on the black community as a whole when they were published. The language and the lives that these different outlets depicted commemorated a cultural pride and value in the lives of people. It also deconstructed the idea of what was considered to be artistic, that art did not only come from non-black people.

The Negro Movement and other movements like it should be taught to high school students because it exposes them to literature, poetry, and art that’s by different types of people. This is important for two reasons; it teaches students about a presence other than the white-European in major types of art, it also allows black students to identify with other artistic figures than those from white-European background. Just as the art from these movements uplifted black communities, students could also feel uplifted and feel further encouraged to purpose outlets of artistic expression. All in all, high school students should be taught the perspectives from the Diaspora on colonialism, Pan Africanism, and The New Negro Movement, because without the knowledge of ALL of our ancestors we will forever be lost as a society. The ability to acknowledge and understand the complexity of history will prove to benefit the outlooks and ideals of society today.

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The Factors and Historical Context of the New Negro Movement

November 8, 2021 by Essay Writer

Rising up from the oppression, discrimination, violence, and lynching that was the Nadir, African Americans rose up and adopted new values that gave way to a concept known as the “New Negro” during the early third of the 20th century. African Americans of this era were idealistic after experiencing war and risking their lives for their country. They developed a new attitude that exhibited the attributes of fighting back against the oppressive violence and the old slavery era and Jim Crow era’s stereotypes and beliefs of both blacks and whites. They gave meaning to a “new” Negro by fighting back rather than adopting a submissive stance in order to tear down incorrect beliefs of inferiority. They fought back against the belief that it was shameful and wrong to be black and instead celebrated their African heritage and history with pride. A new kind of African American arose right after WWI ended and from the mass exodus of blacks leaving the South to the urban cities where there were less racism and violence, more jobs from the advent of World War I, and the opportunity and potential to prove themselves and fight back against the culture that looked down on people of African descent. The New Negro is then defined not by blacks who adopted the old belief system of tolerating and becoming something pleasing to white standards, but by a new generation of African Americans, who resented the constant discrimination and left the South, and who had created their own standards and fought back socially, politically, and artistically, in order to achieve the goals of freedom to advance in a white dominated society, and of freedom to express their various identities unfiltered by thoughts of inferiority.

Alain Locke defined the New Negro as a group in the offensive attacking position and Old generation as defensive in his essay “The New Negro.” In it he wrote, “The intelligent Negro of to-day is resolved not to make discrimination an extenuation for his shortcomings in performance, individual or collective; he is trying to hold himself at par neither inflated by sentimental allowances nor depreciated by current social discounts. Locke also pointed how the New Negro’s objective lay in his own control of her or his “inner life” which “are yet in process of formation” and is “an attempt to repair a damaged group psychology and reshape a warped social perspective.” Locke explained above that the Negro was a movement to empower oneself without the need for help based on “sentiment.” Basically the New Negro called for the values of society to be changed and appreciated so that he or she can be judged through merit. When faced with discrimination, he will no longer just take it at face value or figure out a way to bypass his limitations without confrontations, but instead will fight to somehow change the racist system. Before this, the old generation had to be subservient and give respect even to the most rude or incorrect white man. Locke also described the New Negro as having the “realization that in social effort the co-operative basis must supplant long distance philanthropy, and that the only safeguard for mass relations in the future must be provided in the carefully maintained contacts of the enlightened minorities of both race groups.” The New Negro had to figure out how to work together and unite to ensure a society based that doesn’t discriminate on race. New Negro that represented this new mood is seen in Claude McKay’s “If We Must Die.” The poem included lines such as “If we must die let it not be like hogs / Hunted and penned in an inglorious spot” and “Like men we’ll face the murderous cowardly pack, / Pressed to the wall, dying, but fighting back. The rhetoric and ideology of black people shifted from appeals to human sympathy to notions of fighting back no matter what the costs because the black race had had enough; African Americans had realized that in order to progress themselves and changed society for the better they had to take the reins of civil rights and activism into their own hands and unique expression, untainted by the history of white notions of what’s best for black people.

The old generation had two idealistic black leaders named Booker T. Washington and W.E.B. Dubois who were the precursors to the New Negro attitude but they weren’t quite there yet because their rhetoric either entailed some form of accommodation to white ideology or idealizing only a certain subset of blacks rather than uniting the race for common goals. Alain Locke’s defined the New Negro as “birth of a new racial consciousness and self-conception…frank acceptance of race…lacks apology” and the “wearying appeals to pity, and the conscious philosophy of defense.” Washington on the other hand said that the “wisest among my race understand that the agitation of questions of social equality is the extremist folly, and that progress in the enjoyment in the enjoyment of all the privileges that will come to us must be the result of severe and constant struggle.” Locke would say Washington does not represent the New Negro because Washington is admitting that the Negro needed to prove himself worthy of rights just because their skin is darker. He is apologizing for the race even though they have done nothing wrong. The New Negro instead argued that they should be proud to black, unite against such a system of discrimination, and fight for the opportunity to work based on merit. Dubois although more in tune with the New Negro than Washington, argued that only the talented tenth will save and “may guide the Mass away from the contamination and death of the Worst, in their own and other races” . The New Negro called for the race as a whole to work together to fight back against the bigots. It wasn’t just up to the talented tenth. The masses and common folk had their own important experiences and stories to tell that offered a clearer picture of race relations. Dubois and Washington in this essay will be proven wrong as the following paragraphs will discuss stories and accounts of struggles even among the Negroes who were most respectful to whites and worked to death for greedy white men.

The old generation of African Americans was different from the New Negro because all their identities, hopes, and dreams were crushed by years of bone breaking labor and mind numbing servitude to white superiority and they appealed mainly through sad human stories. This can be seen in the short story “A Summer Tragedy” by Arna Bontemps. Bontemps told a story of an old black couple with the wife Jennie having a “wasted, dead leaf appearance…body scrawny as a string bean.” The husband Jeff who is a “black share farmer” of at least forty years looks no better and is so weak that his fingers are too shaky to put on a bow tie. The story’s most tragic scene was when the couple resigned and accepted suicide as Bontemps pointed out, “All the grief had gone from her face. She sat erect, her unseeing eyes wide open, strained and frightful…Now, having suffered and endured the sadness of tearing herself away from beloved things, she showed no anguish. She was absorbed with her own thoughts” Bontemps, an African American writer from the New Negro, aptly depicted how the old generation differed from the new. Their hopes and dreams are repressed until there is nothing left in their tortured souls but the resolve and relief of death. Their inner lives were never fulfilled as Locke would put it. Langston Hughes wrote poem called “Harlem” that can be related this this old couple’s story. In the poem he wrote “What happens to a dream deferred? / Does it dry up / like a raisin in the sun? Or fester like a sore– / And then run? / …Maybe it just sags / Like a heavy load. / Or does it explode?” The couple in Bontemps short story had had their dreams “deferred” and their unjustly suppressed dreams dried up, festered, and sagged, but it was always there till the end. Their dreams never “exploded” as they committed suicide and tried to remember their lost youth and hopes. Alain Locke would say “With the elder generation…it began and ended in humanitarian and moral appeal…full of pathos and self-pity…but in no very commanding way” The New Negros hopes and dreams would not be tethered like black sharecroppers to the land and instead they will try to take those dried up old dreams and attempt to express their real identity and fight back through militancy, politics, rhetoric, arts, or whatever way possible because they were tired of knowing tragic stories like Jeff and Jennie’s.

Many African Americans had left the harsh South by the end of the 1930s so that “one-fifth of the nation’s nearly twelves million African Americans lived in the North.” They left in the Great Migration to escape harshness and constant fear that entailed living in the South. Mark Robert Schneider wrote that the “most important” reason for this migration was “disgust with the Jim Crow system…Black people had to defer to whites in every interaction with them.” As stated earlier, blacks always had to be mindful of what they said or else the consequences were severe. Schneider again noted that “any showing of resentment against this state of affairs would provoke white violence. An individual could be beaten of killed just for talking back to an insulting white person.” Blacks, who could leave the south, chose to leave because of the whites who out of bigotry refuse to allow blacks any space to succeed in their world.

The baseless hate and racism caused the old blacks to suffer in their inner world and social lives because they in the attempted to reduce white aggression; they tried to put on the act of a stereotypical subservient Negro to whites but the end result was only inner suffering and lack of progress. Evidence of the racist culture and southern society the old Negro experienced that Schneider stated is seen in Richard Wright’s biographical story, “The Ethics of Living in Jim Crow” in which he detailed a one sided situation in favor of Mr. Pease, a white man, who accuses Richard of not using the respectful title “Sir” when addressing him. Richard was doomed no matter what he said because “the worst insult that Negro can utter to a Southern white man” was to say he was wrong. In the end, Richard had to leave his job surrounded by racists who taught him nothing of the trade. Mr. Pease deviously created the unfair situation to intimidate and bully and not give blacks the ability to learn a trade or even keep a job. To live as a black person in the South, Richard’s folks noted, was “to ‘stay in your place’” . Black experience in the South and rural areas entailed a life where no matter how deferential one was to the dominant race, the white man will still find a way to cheat them out of progress and advancement, and yet still blame black failure upon racial inferiority. This old generation had to put on a persona of subservience that drained away potential for inner growth. Paul Dunbar had put this feeling accurately in the poem “We Wear the Mask” when he said, “We wear the mask that grins and lies, / It hides our cheeks and shades our eyes, – / This debt we pay to human guile; / With torn and bleeding hearts we smile / … Why should the world be over-wise, / In counting all our tears and sights? / Nay, let them only see us, while / We wear the mask.” This passage is an example of how the old generation was oppressed psychologically because it shows the ordeals they went through just in order to survive; they wore a mask to hide their suffering while going through the ordeals and obstacles that white people made blacks go through. The old generation could not be outgoing and expressive or proud like the New Negro. Eventually blacks became fed up with this kind of treatment in northern industrial cities and began to the great migration and steps toward a new identity.

The New Negro’s origin came at the end of WWI and at that time and the years afterward, there would be violence and bloodshed as whites felt threatened by the new attitude that came from African Americans who felt bolder to assert how they justly and deservedly had rights and opportunities similar to those of white men. African American veterans of the war were a big factor to the new generation. This is seen in Robert Schneider’s book African Americans in the Jazz Age: A Decade of Struggle and Promise where he stated that veterans

showed that black men had courage, a fact that most white people denied. Almost four hundred thousand black soldiers served, half of them in France and thirty thousand of these had seen battle….Their most famous hero, Sergeant Henry Johnson, killed or captured over twenty Germans. One lesson of the war was that black soldiers could face and kill a white enemy. Black soldiers also learned that not all white people were hostile.

Before the war, a black person that fought courageously on the battlefield or even killing white people was unheard of and crazy. This was an example how deep and ingrained the stereotypes of the old generation ideals were and how they still carried over to the 1920s. Schneider pointed out the “lessons” black people learned: the ability to fight back and even kill white men and that not all whites were racist and violent toward blacks. From this realization they gained confidence and knowledge that the values of the society they lived in and rarely traveled in was not as fixed in stone as it seemed. Consequently, a new attitude came out from this new realization. Black people were angry that African Americans had risked their lives and died for their country yet were still treated with disrespect and hostility.

The most representative man and institution of the New Negro is Marcus Garvey and his United Negro Improvement Association in my opinion. The “New Negro” arose as a response to the still an ingrained culture of racism and of blaming blacks for many things by whites. As Mark Schneider stated,

the rapid changes and conflicts of the year after the war led many white people to look for a scapegoat for their troubles. Capitalists caused the strikes, a virus caused the flu, and stubborn politicians caused the diplomatic chaos. Yet during the Red Summer, white Americans blamed a familiar victim….the New Negro would no longer serve as anybody’s scapegoat.

Even though he was economically and politically a failure, I believe Marcus Garvey best represented the male New Negro. In his “If you believe the Negro has a Soul” speech he stated that “If anything stateworthy is to be done, it must be done through unity, and it is for

that reason that the Universal Negro Improvement Association calls upon every Negro in the United States to rally to this standard. We want to unite the Negro race in this country. We want every Negro to work for one common object.” And Schneider commented that Garvey was great because he “told black people to be proud of themselves and that they should cease copying whites” and he told them to “build their own community institutions and businesses.” (78) He pretty much was the definition of the New Negro. He had his own shipping business which was a failure but most importantly he flaunted himself as being black and proud of it. He didn’t apologize for it and he didn’t care what other people thought about it. Being the New Negro meant to be who you are without being socially restrained by artificial values. This was a problem among early African Americans as seen in the short story “No Day of Triumph” by J. Saunders Redding which told the story of a young black man lost in a world where growing up darker skinned African Americans were meant to feel shame and inferior even by supposedly their “own” people. He stated that “depressingly, and without shock there entered into my consciousness the knowledge that Grandma Conway believed that a black skin was more than a blemish. In her notion it was a taint of flesh and bone and blood, varying in degree with the color of the skin…fixed in blood.” This passage suggested that African Americans had adopted the white belief that being dark was inferior. They had ingrained it into the beliefs and this prevented them from working together to attain betterment for all blacks. Garvey is thus the most important New Negro because by inspiring blacks to be proud and have self-respect, he could have prevented a lot of youths from practicing self-hate and loneliness like the main character in “No Day of Triumph.”

The New Negro had a big cultural impact on American society. As Schneider said, “Their most important contribution to American life was the literature itself. The poems and stories caused thousands of readers to understand their lives mattered”(85). I referenced several stories and poems throughout the essay and the stories of the New Negro writers gave a more three dimensional look into how blacks were forced into the appearance of an inferior position just to survive white abuse.

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The Significant Role of the New Negro Movement in the Struggle For Equality

November 8, 2021 by Essay Writer

Jim Crow laws were a set of laws that limited the rights of African American individuals and the response to those laws were a move towards equality. One of those campaigns being the New Negro Movement, a start to a civil rights movement that took place in the 20’s. The drive came about due to the movement of African Americans from rural areas to urban areas due to the pressure of Jim Crow laws. The act sparked a literary push and social and economic opportunities for black individuals and gave way to new black culture. The literary and artistic movement created from the New Negro Movement which was called the Harlem Renaissance. The Harlem Renaissance was an artistic movement with close ties to civil rights. The Harlem Renaissance was a movement during the 20’s looking for a basis of African American culture and civil rights. Artists during the Harlem Renaissance like Archibald Motley helped paint a picture of a more refined black culture.

Archibald John Motley was born on October 7th, 1891 in New Orleans, soon after his family moved to Chicago which would become his childhood home. Motley’s sister Florence *Flossie* Motley was born 1895 a year after the move. Motley attended Englewood High school and received a full ride scholarship for architecture at the Chicago Armour Institute but turned it down to go to the School of Art Institute Chicago. Motley’s studies at the Art Institute were focused on the human figure and art history. Motley after college “began painting primarily portraits, and he produced some of his best-known works during that period, including Woman Peeling Apples (14), a portrait of his grandmother called Mending Socks (1924), and Old Snuff Dipper (1928.)” (Naomi Bloomberg). A breakout piece he produced was Mending Socks a portrait of his grandmother knitting socks with a portrait of her hanging on the wall behind his grandmother. The illustration was taken very well by critics and even earned him a Harmon Foundation award. in 1924 Motley married Edith Granzo, a white woman he had dated in secret during high school. His wife inspired him to paint many portraits of her. In 1925 Archibald Motley starred in a one-man art exhibit in New York City the first African American to do so. In 1928 he started releasing his jazz-inspired works which received critical acclaim. In 1929 Motley received a Guggenheim Fellow and moved to Paris, There he started releasing jazz-inspired works which brought fame like none of his works before. During the Great Depression Motley was subsidized by the government to paint the conditions of the people.In 1948 Archibald Motley’s wife died he stopped painting for eight years, working instead at a company that manufactured hand-painted shower curtains” (Naomi Bloomberg). Motley’s return to art after the assassination of Martin Luther King JR. The Assassination inspired him to make his final work: The First One Hundred Years, where “Motley captured in a single painting how the optimism of the Civil Rights movement crumbled in the wake of the assassination of Dr. Martin Luther King Jr. and racial unrest”(Emily Shire). Archibald Motley died shortly after the showing of The First One Hundred Years on January 16th, 1981 in Chicago.

Archibald Motley’s first artistic interests sprouted in the Chicago Art Institute where he first studied the human form which combined with nightlife and jazz inspired allowed the formation of a unique style. Motley’s grandmother is a commonly focused on figure, having two dedicated portraits which gave him early success because of the undertones and complex details giving meaning to his work. Motley had a lot of European influence for example his depiction of the human form was taken from a lot of Renaissance works. His influence to the Harlem Renaissance was bringing out a sort of elegance to black people through minor details and an undermining of racism

Motley combined old English works focusing on the human form with the nightlife of the city. Motley’s style was unique compared to other Harlem Renaissance Artists who focused on highlighting the negative areas of African American lifestyle while Motley showed positive and negative sides of African American life. Motley was trying to show that African Americans could be as cultured as white people, “His 1948 Portrait of a Cultured Lady is a strikingly restrained yet powerful image of a regal, sophisticated older African-American woman sitting in a modern-looking home while one of Motley’s own paintings hangs on the wall behind her.” (Emily Shire). The picture itself is a restrained protest against the racism of the time just like the majority of his art.

Archibald Motley an Artist mostly looked over when looking at the Harlem Renaissance showed significant impact towards Black culture and civil rights. Portraits of Blacks in Motley’s works show that Blacks were just as refined as anyone else could be by subtle details. Motley showed Black culture like no other artists, he focused on aspects that went against stereotypes and painted a more refined picture of Black people.

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