Journal #28

"Albert Barnes was convinces that African Americans had unique artistic powers to contribute to the nations." He even says that African Americans are naturally more gifted in the arts than Caucasians. He proclaims that art is exotic, an indulgence. Facing adversity allows Negro artists to tap into a creative flow of mind that those who have not experienced it cannot compete with artistically.

Art is a reflection of race and civilizations. Take spirituals for example, they are so innately part of the Negro culture, rooted from their culture as slaves, teeming with bitterness and sadness. These powerful songs are expressions of art in its purest form. "The cultured white race owes to the soul-expressions of its black brother too many moments of happiness not to acknowledge ungrudgingly the signficant fact that what the Negro has achieved is of tremendous civilizing value." Barnes is confident that if Negroes were given the same education and opportunities of whites that works will emerge out of the next generation beyond the capacity that Negro art has ever experienced.

I disagree with Barnes when he says that African Americans are superior artistically because of their deep spiritual endowment. I do not mean to say that this art does not hold value, only that art is totally subjective. No race is superior to another in an artistic sense.

As Bearden says, modern art has been heavily influenced by Negro sculpture. Art changes and evolves as influences progress. The vitality of Negro sculpture and design was very popular and so set the framework for future representations. It is almost impossible for any artist not to be influenced by a previous one. Bearden states that there are several factors that hunder the development of Negro art. There is no valid standard for criticism, encouragement can sometimes be a crutch and it has no social philosophy. I'm not really sure what he means by social philosophy, maybe he means that art needs to meet a certain social expectation for people to like it. He actually welcomes negative criticism from white critics regarding Negro art. One such critic claimed that the sculptures were quite backward and primitive.

When you don't have anything worthwhile to say through your art, it becomes impossible to make it. Bearden says that no artist should be content with merely recording a scene as a machine. They should not confine themselves or conform to racial stereotypes.

Works Cited

Barnes, Albert. "Negro Art and America." The Portable Harlem Renaissance Reader. Ed. David Lewis. New York: 1995. 128-133.

Bearden, Romare. "The Negro Artist and Modern Art." The Portable Harlem Renaissance Reader. Ed. David Lewis. New York: 1995. 138-141.

Locke, Alain. "The Negro Takes His Place in American Art ." The Portable Harlem Renaissance Reader. Ed. David Lewis. New York: 1995. 134-137.

Journal #27

In Leslie Collins's interview with Aaron Douglas, readers can actually experience the Harlem Renaissance from the perspective of one of it's famed paritipants. Douglas recounts the biggest moments of the renaissance, including his participation in Fire!! He was a famed illustrator during that time period, working with many of it's famed artists such as Zora Hurston, Hughes and Claude Mckay.

Douglas recounts the excitement that he experienced being a part of America's first all black society. He believes that young African Americans today share some of the passion that existed then. Douglas emphasizes that it was a movement that began with them, but they only lit the fire so-to-say. It is up to future generations to maintain that excitement, to have bold ideas and make them known. Fire!!'s creation disappeared quickly, as their hearts were bigger than their minds, they should have realized the funds involved in developing such a magazine. Although the magazine literally went up in flames, the ideas behind it remained and impacted the Harlem Renaissance culture.

The last couple of readings actually makes me think of talking to my grandfather about events from long ago, the way life used to be. He would talk about people I've never met and places I've never seen, all I could do was imagine, but never really know what it was like. McKay similarly attempts to set up a scene, telling readers how he used to admire James Weldon Johnson and how Hubert Harrison encouraged his work because it was for the good of the race. I prefer the short stories to the biographies of the people involved in the Renaissance (with the exception of Zora Neale Hurston's biography, she is such a fascinating woman!) because I can engage in the text without knowing the background story of all of the characters involved.

McKay was obviously a very important writer/poet during the Harlem Renaissance and he has a lot to tell about his life. But even he decided to get out and explore what the rest of the world had to offer, traveling across Europe to pursue new meaning. I think that McKay definitely comes off as a tough critic and even egotistic at times. He constantly judges the work of the other contributers of the renaissance.

Works Cited

Douglas, Aaron. "Chats About the Harlem Renaissance." The Portable Harlem Renaissance Reader. Ed. David Lewis. New York: 1995. 118-127.

McKay, Claude. "The Harlem Intelligentsia and The New Negro in Paris." The Portable Harlem Renaissance Reader. Ed. David Lewis. New York: 1995. 157-172.

Journal #26

The 1920's began the class struggle and the real social instigation of "inferior and superior races and civilizations." Obviously there were racial problems before this era, but they didn't seem as significant because the blacks were not even considered people, only slaves to be bought and sold. In the 1920's they were people, and a lot of people disagreed with this. This discourse became a national problem concerning all people. The Renaissance was important because in the years prior to this intellectual Negro movement few black people could properly express the emotional turmoil of the race and help to make the nation realize that Negros are no different than anyone else. Blacks were always capable of achieving the same intelligence as whites, but not given the education or opportunity to prove it up until this point. The Harlem Renaissance provided black people the chance to express themselves and although it was accompanied by much white criticism, they were able to show the nation the struggles and strife that the race endured.

Johnson overviews many of the contributors to the Harlem Renaissance in "The Negro Renaissance and Its Significance." Cullen, Toomer, McKay, Du Bois, Dunbar, Hughes, Locke and others are quoted in this selection. These writers brought grace, style and beauty to the movement, boldly inviting readers of any color to engage in their stories and poems, to grasp the hardships of the race.

"Black No More" is a very interesting concept. A fictional piece about black people being able to turn white, Schuyler reveals all of the problems that might unfold without the African American race. The NAACP declines, the KKK has nothing to do (I'm not sure why he thought that was a problem; I think it's more comical imagining them twittling their thumbs and trying to figure out a real purpose), Garvey's literature

I think that Schuyler's scenario examines the idea of societal status, race was a determining factor of status during this time. This idea of turning everyone into Caucasions plays a detrimental role in how social status was viewed. Can a society function without the class system?

Why is it that the Dr. Grone character is doubly respected by the Negroes because he is respected by the whites? Schuyler is challenging the Negroe view of white society. Just because the high class white people think that they are better doesn't mean that they actually are, it's as if the black people truly believe it and therefore put more stock and respect into those who are accepted by Caucasions. All in all this story was very strange and confusing to me, maybe because it was just so irrational or because there were so many different characters with different motives within 10 pages of reading.

Works Cited

Johnson, Charles. "The Negro Renaissance and Its Significance." The Portable Harlem Renaissance Reader. Ed. David Lewis. New York: 1995. 206-218.

Schuyler, George. "Black No More." The Portable Harlem Renaissance Reader. Ed. David Lewis. New York: 1995. 655-666.

Journal #25

Du Bois's "Criteria of Negro Art" discusses the value of Negro art and the way that it has been accepted into American culture. The work of blacks has always been highly criticized and often been called inferior. Du Bois proposes that the only solution to this is to act as if there is no color line. After years and years of suppressing the true Negro talent, it is tragic to imagine how many artistic geniuses have been silenced simply because of skin color. African Americans were denied the right to learn their crafts. White America has stifled the efforts of many black artists which poses the question, is the only surviving Negro image the one that was supported by White America? There were and still are many forms of Negro art that have survived racial discrimination, but they may not have had the recognition or spotlight that they deserved. There is no telling how many African American art forms have been created and shut down before the Civil Rights Movement. It is the duty of Black America to preserve what they still have and to make known the creations that have been overlooked in the past.

"Blue Print" provides an overview to black literature and the criticism that it underwent in the early years. White critics didn't offer blacks any serious criticism, most were simply astonished that they could write at all. The stereotypes were heavily ingrained into most white critics and this is why they had no real expectations for any African American literature. Wright questions whether or not Negroes take advantage of their minority status because their situations are unique. I think that in most cases the answer is yes, just like every writer strives to be set apart from the rest, to create an original work. We all have to take advantage of our differences in order to provide something fresh to the audience, otherwise all of literature would be monotonous and boring. There is no harm in taking advantage of culture unless the situation is fabricated. People care about what is true and real to the author, and if the author does not include his/her culture in the material, his/her identity can be lost and lose the reader's attention as well. Negroes have a rich culture centering around church, folklore and their struggles for basic human rights.

Works Cited

Du Bois,W.E.B. "Criteria for Negro Art." The Portable Harlem Renaissance Reader. Ed. David Lewis. New York: 1995. 100-105.

Wright, Richard. "Bluepringt for Negro Writing." The Portable Harlem Renaissance Reader. Ed. David Lewis. New York: 1995. 194-205.

Journal #24

"The White Witch"draws attention to the white race that deceives other races. There is no "ancient hag and snaggle tooth... the witch appears in all the glowing charms of youth." The poem's sends the message, do not trust the white witch, alluding to the white race as a whole. Johnson works with adjectives that are opposites, describing the white witch as a seemingly beautiful, graceful and soft character. She is none of these things, her lips burn and sear, she has the spirit of a vampire, she is fierce and her glance is a snare. What we see on the surface is not what we get. External beauty cannot match internal kindness. This poem is meant to show minority groups, mainly African Americans, that the white race cannot be trusted. No matter how beguiling they may be, the hatred and contempt for other races does not show on the outside, but it does exist. I think that this poem is a little stereotypical, if the witch does represent the white race as a whole I would say that not every white person is appealing, or racist and not every white person hides their true feelings about their beliefs.

"Go Down Death" is a funeral sermon in honor of Sister Caroline. Today, we might assume 'Sister' meant that she was a nun, but in this time period the terms 'sister' and 'brother' were extremely common terms that African Americans used for those of their race to identify gender. Sister Caroline was probably a slave who dies because she is over worked. I think it is important to reference the strong presence of religion in this poem, God's presence, as well as the presence of Jesus, Angels and Death itself. Death is characterized as a pale being on a white horse. Death is not something to be feared, but instead a relief from Caroline's toils in life.

"Go Down Death" is an appropriate name for this poem because he has to descend to earth and go south to Georgia in order to collect Sister Caroline. Through heaven's pearly gates death rode, on and on and on. The poem calls attention several times the journey that Death must take to get Sister Caroline. Perhaps Johnson is telling the audience that Georgia is far far away from Heaven, in physical distance maybe, but more certainly farther away in terms of morals. Georgia is a slave state, a violent and terrible place for these brothers and sisters of god. No place so immoral could be a close distance from Heaven. "Death didn't frighten Sister Caroline" because she was relieved to go. Finally at the poem's end, Caroline gets her rest. At first I thought that this poem might be more appropriately named "Rest Sister Caroline," or something related to that. But then I realized that the title "Go Down Death" is meant to draw more attention to the fact that death must travel a great distance to get to Georgia. Down, down, down alludes to the depths of hell itself, and at that time Georgia might not have been far from it, at least according to African Americans.

"The Creation" describes God's creation of the world, but with the aid of metaphors, Johnson reveals a twist to this age old story. God made darkness first. The darkness represents the black race, creating images of the beginning of time. Next came the light. The light seemed to have invaded the dark, taking away the things that the dark had first. The light stole God's attention in a way that the dark had never had before. It is important to note that when God made the light he smiled and rolled darkness up on one side. Whites invaded black territory, they became the center of the universe, they were given the power and the privileges. The light was considered good, evolving ideas that all that is white is pure.

The sun represents the white race while the moon represents the black. The stars are their mixed children. The contrast between the dark and the light and the sun and the moon appear often in the poem. Johnson attempts to show the deep contrasts between the two races, that have existed since man's beginning through the story of Creation.

Works Cited

Johnson, James. "Poetry Selections." The Portable Harlem Renaissance Reader. Ed. David Lewis. New York: 1995. 279-288.

Journal #23

It all started with an invitation. An invitation for Hughes and his brethren to Moscow to shoot a film titled "Black and White." Some of the entourage only had enough money for the ticket. The Russians were astonished to behold twenty-two Negroes of all shades and were not prepared for their arrival. Three weeks passed and Langston was finally given a translation of the script from Russian to English. Russia was experiencing economic hard times, but the cast was still paid as promised. Langston found he was treated differently for being a foreignor. Unlike in America, their color was seen as a badge of honor.

They were seeking adventure on this trip, but also understanding. Learning about the communist system and filming was supposed to expand their knowledge. But this was not the case, as the film was rejected and it was an outrage to Negros. However, it was only the begining for Hughes, as he spent many months in intensive contact and study of the customs, culture and economy of the Turkiman and Uzbeck peoples.

Langston learned a lot from his travels to Russia. How fast a country can turn from a majority of the population being illiterate to educating all children, exchanging serfdom for wages and getting rid of segregation altogether in less than a decade! If anything, Hughes got hope from this, that change can occur.








Patterson, Louise. "With Langston Hughes in the USST." The Portable Harlem Renaissance Reader. Ed. David Lewis. New York: 1995. 182-189.

Frazier, E. Franklin. "La Bougeoisie Noire." The Portable Harlem Renaissance Reader. Ed. David Lewis. New York: 1995. 173-181.

Journal #22

The Negro Digs Up His Past
Negros need to become motivated to strive for the good of the race. Such a dark history is painful to be 'dug up' yet it must be done in order for blacks to face the future. Understanding and learning from the past is how people move on. Repairing the social damage that slavery had upon Negros is not easily done, the only way to move past it is to look for the good moments, moments of pride and moments of determination that led to a revolution. "The work our race students now regard as important, they undertake very naturally to overcome in part certain handicaps of disparagement and omission too well-known to particularize."

"The Negro has been a man without history because he has been considered a man without a worthy culture." There is no way to forget the past or to change it. Slavery will always be a black mark on our nation's history. The only way to move on from it is to accept that it did happen, and hopefully the world learned a harsh lesson from it, in order to progress.

McDougald similar to Schomburg, fights for the image of Negroes past, except McDougald focuses her analysis on women. She urges the public, no longer should black women be ridiculed, used simply a tool to portray feminine viciousness or vulgarity. There is a softer side that has yet to be discovered. Why is it that what is left of chivalry is not directed towards them? Negro women are often times less confident and in doubt when it comes to the portrayal of themselves. Getting beyond this lack of self-esteem, these women are making progress, overcoming occupational and educational obstacles to establish a firm place in American society.

"We find the Negro woman, figuraively struck in the face daily by contempt from the world about her. Within her soul, she knows little of peace and happiness." It is a constant struggle, but accomplishing a sense of hope and pride to the long stereotyped and mistreated African American woman, it is worth the struggle.

Both authors have experienced their frustrations with the African American past. Yet both write to prove that there is hope, there is a chance to forget the evils of the past and still learn from the mistakes of generations long gone. The African American race has accomplished a lot since the days of slavery, and has so much more to achieve.


Works Cited
Schomburg, Arthur. "The Negro Digs Up His Past." The Portable Harlem Renaissance Reader. Ed. David Lewis. New York: 1995. 61-67.

McDougald, Elise. "The Task of Negro Womanhood." The Portable Harlem Renaissance Reader. Ed. David Lewis. New York: 1995. 68-75.