ENGL207 response 5
mometag
blackcriticism1-engl207.pptxDubois and Hughes and a lil’ Locke, oh My!
Dr. Vincent Williams
Alain Locke’s “New Negro”-1925
Three Reasons for Harlem Renaissance: WWI, Great Migration and Marcus Garvey
Clear break from slavery/post-slavery aesthetic
Names the phenomenon but, important to note, not really PART of the phenomenon
W.e.B. Dubois’ Criteria of Negro Art
Dubois was the most important black intellectual of the first part of the twentieth century
This 1926 essay was one of many that he used to critique the role of black art. Importantly, he wasn’t really known as an artist himself
Viewed all art as propaganda
Nature of black American status
Historically, it’s notable that Dubois interrogates black citizenship, especially compared to other, newer, white immigrants
Although he doesn’t use the phrase, “double consciousness” in this essay, much of his view of black’s outsider/insider status presupposes it
Views that outsider status as an advantage to see what’s truly important
What is beauty, specifically, black beauty?
Again, Dubois frames the challenges of life as a black person as unique positioning for creating/understanding beauty
Note the specificity of example of black experience as fodder (passing, fear of white rape accusations, etc.)
Langston Hughes’ “The negro artist & the racial mountain”
This is the big boy; if Dubois is most famous intellectual, Hughes is the most famous artist
Face of the Harlem Renaissance
First real black aesthetic mission statement
Artists and Black artists
Draws the line between what he views as the nature-and responsibility-of the black artist
Also frames any attempt to create outside of a black vernacular as an attempt to ape and copy the white world
Vigorously pro-black and black beauty
Nature of the black aesthetic
Should draw from black origins (blues, spirituals, oral tradition, etc.)
Jazz is ultimate expression of the black aesthetic
Still, a bit troubling how he equates black poverty with black authenticity
White audiences & gatekeepers
Discusses black pressure and what we would call respectability politics
Mainly critiques white audiences of black art, however: “don’t challenge too much and we will pay you”
Finally, he acknowledges the role of white editors, publishers, etc.
questions
Who do you agree with? Why?
Black authenticity=black poverty?
Is a white/outsider audience intrinsically toxic?
