Introduction
Black Artist
Difficulty of Acceptance
Being an artist means facing the challenges of creating original work and finding those who would admire it. Famous authors have their names and reputation working for them, while new emerging ones struggle to claim their spot in the vast field of creativity. The difficulties become even more apparent when not just one individual but a whole race is searching for its identity in American literature, which black authors and artists had to do for centuries.
Du Bois describes how out-of-place African American descendants feel in the U.S. as they long to be a part of the new society but feel the need to keep their originality and traditions. On the one side, they want to become dedicated citizens of America. On the other side, their views on art, nature, and family values are significantly different from those of white people. Du Bois uses an example of visiting a lake: he and the locals prefer quiet observation while white American tourists turn it into a noisy social event. As he describes it, the visitors are “not evil but wrong” (Du Bois 981). He urges the black artists to push forward, realizes themselves, and teach the U.S. about the original natural beauty that stays alive in each one of them. Unfortunately, many African Americans choose not to concentrate on their roots in an attempt to resemble the rich white people.
Hurston writes about the problems and stereotypes black artists have to face as they try to establish their spot in the white American’s World. She points at the varieties of beauty that are infinite and that society needs to accept the “new appreciation” for African art (Hurston 1162). It is not inferior because a man of color has created it, but unique in its presentation. Once the black people achieve middle-class status, some of them start to propagate the superiority of the white artworks, which is unfortunate and discouraging to the creative representatives of their race. It would not be enough to write a novel, paint a picture, or sing a jazz song about the African descendants. The audience has to be open and intelligent enough to see its beauty, truth, and goodness after the years of discriminatory upbringing. Du Bois states that “until the art of the black folk compels recognition, they will not be rated as human” (987). The creative work always represents propaganda, but the promoted message can take various forms and support either the virtues or stereotypes.
Hurston writes about the lack of understanding of the emotions and motivation of the minorities. The audience, including the middle-class Blacks, demanded stories about the white people, so the publishers would also support Caucasian authors writing about their society and traditions. In their works, Black characters are presented as servants most of the time and rarely as well-educated or successful in their careers. To some white Americans, a black person with a degree would be just an “interesting problem” (Hurston 1159). In modern society, ignoring the feelings of any race representative would be immoral and inappropriate. Yet, in the past, it was a norm to separate and segregate humans in the U.S. based on their skin color. Some Caucasians supported the idea that “people who do not look like them cannot feel what they do” (Hurston 1161). The stereotype of being worried mainly about the African roots, bright clothes, or hairstyle stopped black artists from being accepted by the white people when they described the same social problems as any other race.
Adapting to a foreign, and in some cases, hostile environment affects human goals and expectations. Hugues wrote about the “urge towards whiteness” among Black artists and their desire to be “as American as possible” (Hugues 1313). Such passion was expected in middle-class black families; they lived in Caucasian neighborhoods, read white newspapers, and sent children to mixed schools. This attitude could lead to the loss of originality and creativity for African American artists. Hugues also describes the “common element,” Blacks who were less eager to meet white people’s expectations and embraced their roots and culture through religious services, jazz music, and social traditions. The mix of inherited cultural values and a new environment could create something beautiful and unique. Society needs to accept this possibility to learn something new instead of forcing Black artists to follow the white American guidelines. After all, creative spheres should allow writers, painters, musicians, and dancers to express themselves and present a unique product to the audience.
Reasons for Rejecting
The social norms change through time, and what was acceptable two centuries ago may seem outrageous at present. Even after the end of slavery, black people in America struggled to be accepted as working members of society. The authors have reflected this unfortunate reality in their works by describing what was expected of the African descendants in the U.S. at that time. Du Bois starts his presentation at the Chicago Conference of the National Association for the advancement of the people of color by stating that the topic of his speech, the Criteria of Negro Art, may leave some people indifferent. The potential reason for that, according to the author, is in contrast to all the struggles black people had to survive in their battle for true citizenship and art creation (Du Bois 980). Indeed, the expression of culture through literature and paintings may seem insignificant when compared to gaining fundamental human rights. Yet, the community members need to identify themselves as a part of a group with historical values and opinions.
Hurston mentions that African Americans were viewed as an unskilled labor force by Anglo-Saxons. Even before work analysis or an evaluation through conversation, it was assumed that Blacks could not have talents in creative or business activities because of their slave past (Hurston 1203). The white people did not realize that ability to learn was genetically programed in every human of any race and could be developed into something of high value. Instead of inviting the African descendants into their Western society, the Caucasians chose to support the outdated stereotypes about their values and goals. Moreover, Blacks were regarded almost as animals that could be trained but reverted to their old habits as soon as the control was lifted (Hurston 1159). White people were interested in reading about themselves, not accepting the new and foreign values of the black citizens. Publishers wanted to earn money, so they supported the stories about middle- and upper-class Caucasian families. They aimed to wait until the racial tensions weaken instead of affecting the process by raising awareness about different cultures.
Hughes, though, does not describe the negative historical expectations about the Blacks but focuses on how much African Americans would like to distance themselves from their heritage and follow the “white” lifestyle. They deny their past, upbringing, and other racial particularities to become a part of Western society (Hughes 1314). It seems unnatural to the modern reader, especially when describing literature and poetry authors. They tend to use their history, heritage, and personal emotions as inspiration for their works instead of suppressing them. Unfortunately, the upper-class Blacks convinced themselves that the “white” way of living was not only different from theirs but superior to it.
Forming Factors
Black art is unique in many ways due to several forming factors. First of all, as Du Bois points out, most African Americans were the descendants of slaves (981). That meant that several generations of Blacks were deprived of their heritage, education, possessions, and fundamental human rights. It affected the mindset of the African American people making them either feel undeserving of a comfortable life and freedom or brave and firm in their desire to fight for their values. The black authors knew these subjects better than any white ones and could describe in detail the feelings and emotions of their community. Whether the Caucasian society was ready to accept the new reality stays unknown, as it took many decades for the Black art to be presented openly and proudly.
Hurston describes the lack of curiosity about the new racial values among the Caucasians. They remained focused on their interests, motivations, and success stories, ignoring other communities (Hurston 1159). It is a natural reaction for any group of people, so readers need to be introduced to the new materials to provoke their thoughts toward developing the new concepts. Any author should expect resistance and skepticism as they present the new and possibly provocative topic. Still, art is the area for self-expression and experimenting, and no creative person should be discouraged from revealing their ideas to the world unless they are harmful. Thought-provoking content that could damage the readers psychologically could be presented to the mature audience and with prior warnings and explanations to avoid misunderstandings between the artist and the public.
Hugues writes about all the material things that became a goal for the black community in America to prove that they belong to U.S. society. It includes going to a particular church, having a specific job, and admiring the light skin color (Hugues 1314). The reasons for that may be in a class difference that had been propagated in society around that time. The Blacks wanted to prove to the world and themselves that they are equal to Caucasians, but not through presenting their historical values. Instead, they chose to follow the new system’s rules to become the best “white” citizens they could be. This attitude had to be harmful psychologically, and the Blacks had to convince themselves that their roots were no longer critical. Those African Americans lived for the future without connecting it to the past. It is possible that they feared the rejection or simply did not consider the alternatives. Another reason could be their weariness of continuous fighting for their rights and freedom. Accepting the new rules of society seemed a less energy-consuming way to be American.
Common Points
All three authors encourage black readers to be proud of their heritage and skin color. Du Bois says that admitting and admiring the beauty and truth in their numerous expressions is not something shameful, but the opposite (982). Understanding and accepting the undiscovered aspects of human art could be beneficial for people all over the world. Creating a supportive atmosphere for all the races could help build the fair and productive united community of the future.
Hurston suggests that the literature work centered around a black professional, such as an insurance agent or a general practitioner, could be “most revealing” when understanding the Black culture. It could help the general public realize that African Americans are similar to any other race in terms of skills, study abilities, and talents (Hurston 1162). The tone of Hurston’s description suggests firm action on both sides, from the authors and the publishers. This could destroy some of the romantic traditions of American society, but such is the price of human progress.
Hugues praises the so-called “common element,” the African American people who do not try to be like the White society but co-exist with it. They live in America and follow the Federal and local laws, but still praise the Lord loudly in churches, sing their hearts out listening to the jazz bands, and do not try to earn as much money as possible (Hugues 1314). The author seems very inspired by the originality of Black culture and attempts to show all the readers, including every race, that expressing the historical values in America is beautiful.
Differences
Every writer who covers the topic of accepting the new race in the world of literature would have a different point of view even if the main direction of thought is similar. That depends on their position in society, race, and life experiences. Du Bois, being a black American psychologist, uses an academic tone and America’s overall goals in his speech. The aim is to change society and its members’ attitudes, not to start accepting African American authors. Du Bois sees blacks’ potential to appreciate the beauty of nature more than a wealthy white society could (Du Bois 982). His message is focused on creating a harmonized atmosphere in which every race would feel comfortable and appreciated instead of revolutionizing the current political state.
Hurston, an American anthropologist, uses emotional language and shocking descriptions to show how wild and outdated is the idea of racial segregation. She describes the Museum of Unnatural History as a place where white Americans came to laugh at the comical representations of Blacks, Indians, Latinos, and other non-white American exhibits, almost as if it was a zoo. The African Americans had a tribal past, like nearly all other races, but that does not mean they revert to their “leopard skin and drums” every time American society stops controlling them (Hurston 1161). Her speech is graphic and contains vivid descriptions to motivate the readers to accept the new reality through their imagination and emotional pressure.
Hughes, a poet, and an activist uses many U.S. citizens, including both white and people of color) as examples of those resisting appropriate opportunities for black artists. He tries to show all the positive aspects Black authors and painters could contribute to society. Hughes states that a black artist could use the “heritage of rhythms and warmth, and his incongruous humor” in the works to make them unique (Hugues 1315). He also writes about his expectations about artists presenting and promoting the black beauty of dark skin tone in their works over the next several decades. Hughes celebrated his black heritage and appreciated its many aspects, especially jazz. His attitude about the “mountain” African American writers had to overcome to be successful is optimistic; he considers it mainly a stage that will lead to the renaissance and prosperity of black art (Hugues 1316). Hughes’ speech about African-American poetry reflects his pride and appreciation of the heritage and the desire to promote and support it in the future.
Reflection through Time
The authors worked at different times: Du Bois reflected people’s attitudes in the 1870s, Hurston in the 1920s, and Hughes, closer to the middle of the twentieth century. As the readers can notice, the black artist’s struggle is continuous in their works. Attitude toward a specific race in a particular profession cannot be changed over a decade or two. It is a complicated process that involves all the social classes and adjusting their manner of thinking. The African American writers have to persist, reflect their values through their work, and remain firm even if the circumstances are not supportive of their careers. The public needs to become open to changes and accept different cultures; that does not mean that white Americans should change their habits. Instead, the curiosity and demand for learning about other traditions may be beneficial for such a diverse society presented in the U.S. America is a nation of immigrants; on its territory, talents and hard work should mean more than racial background. Immigrants and their descendants can contribute to the new country’s future instead of trying to forget their past. The country develops, and so do social norms; thus, preserving past attitudes as accepted standards may hurt the progress.
From today’s perspective, the need for change in accepting black art after abolishing slavery seems logical and necessary for a diverse and ethical society. However, diving into the literature of the past shows that times define the accepted behavior in the professional market and society as a whole. The new perspectives and broader variety of beauty and wisdom through the African American traditions may have been perceived as unnecessary by the white community a hundred years ago until the voices and works of the artists eventually convinced the majority that change was good.
The Necessity of Faith
Even in the modern world, young and unknown writers struggle to express themselves and be accepted by the audience. Criticism is expected at any stage of the creative work for both mature poets and artists and those at the beginning of their professional careers. For the black writers described by Du Bois, Hurston, and Hughes, the challenge was even more difficult since most readers, publishers, and sponsors were ready to criticize any work they provided even before becoming familiar with i. The authors were pioneers in their field, and that required much faith in their talent and abilities.
The idea that the black perspective would eventually be accepted and demanded by both white and colored communities had to drive the authors forward, just like Du Bois had suggested, despite the difficulties (Du Bois 982). At some point, when African American authors were published, but the readers were unfamiliar with the topics they wanted to write about, the poets and artists had to insist on including their culture in descriptions despite the money offered for writing about the “white” values. In some cases, like with Cane by Jean Toomer, the critics have characterized the work as valuable, but the public refused to accept it as they were afraid of it (Hughes 1316). Today the readers all over the world have access to a wide variety of works reflecting African American roots and traditions. Still, it is only possible because of the brave black literature pioneers of the nineteenth and twentieth century.
Conclusion
Du Bois, Hurston, and Hughes all represent a brave group of influencers that supported black literature and encouraged African American authors to write about their values and culture. They wrote about the negativity and disbelief toward this movement that authors had to overcome to be published. Surprisingly, the challenges came not only from the white community but from the black as well. African descendants wanted to become Western people, to be successful citizens of the U.S. instead of carefully adapting to it without losing racial pride and identity. The black authors had to do double work of convincing both communities that the cultural knowledge about races other than white could also benefit society as a whole. While today diversity is still a controversial topic, and many minority representatives struggle to express themselves and have the same privileges as the majority, black literature made significant progress toward universal acceptance over the last century.
Works Cited
Du Bois, William. “Criteria of Negro Art.” The Norton Anthology of Theory and Criticism, edited by Vincent Leitch, W.W. Norton & Company, 2001, pp. 980-987.
Hughes, Langston. “Criteria of Negro Art.” The Norton Anthology of Theory and Criticism, edited by Vincent Leitch, W.W. Norton & Company, 2001, pp. 980-987.
Hurston, Zora. “What White Publishers Won’t Print.” The Norton Anthology of Theory and Criticism, edited by Vincent Leitch, W.W. Norton & Company, 2001, pp. 1159-1162.