Schuyler is extremely cynical of the "Negro Arts" movement, which he believes is still yet to make an appearance in Harlem. He believes that with every piece considered 'Negro' there is some European, Anglo-Saxon influence. Negroes cannot shake off the influence of the white man. The artworks should not be created to please the white man, or the black man, they should be authentic representations of the culture if that is what they are going to label it. Negroes even during the Renaissance, did not live so differently than Caucasians. Most work in similar places, attended similar schools, practice the same religion, live in the same types of houses, drive the same types of cars and spend their time and money on the same types of entertainment. Beyond skin color, what separates the Negro from the Caucasian?
If art is an expression of identity, and the artist claims that it is his/her racial identity, how can they make that claim? Schuyler is obviously unhappy with the way black artists advertise their art as Negro. "How can the black American be expected to produce art and literature dissimilar to that of the white American" (98)? Schuyler at least acknowledges that coming up with artistic movements that are solely of the black culture is difficult when surrounded by white influence. He ends the piece by saying that only intelligent people reject this art, knowing the reasoning behind it.
Works Cited
Schuyler, George. "The Negro Art-Hokum."
The Portable Harlem Renaissance Reader. Ed. David Lewis. New York: 1995. 96-99.
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