The New Negro Movement (1920s-30s) was a pivotal period that redefined African American advocacy, identity, and cultural expression. Emerging from the Harlem Renaissance, this movement rejected the passive, accommodating approach of previous generations and embraced a new identity that championed self-worth, racial pride, and active resistance against the dehumanization and systemic injustices that African Americans endured. Alain Locke, a prominent scholar and Harlem Renaissance leader, articulates this shift in his essay, “The New Negro.” He argues that the Old Negro formula was a psychological problem: “Through having had to appeal from the unjust stereotypes of his oppressors and traducers to those of his liberators, friends and benefactors [the Old Negro] has had to subscribe to the traditional positions from which his case has been viewed” (4). Thus, Locke contends that to make radical progress, Black Americans must first free themselves from white-imposed identities.
As part of claiming agency, Locke asserts that the New Negro must understand their true self. He observes, “lacking self-understanding, we have been almost as much of a problem to ourselves as we still are to others” (4). In other words, a group "spiritual Coming of Age" is also crucial for genuine progress. Only by recognizing their strengths can African Americans cultivate racial pride and properly pursue greater goals.
Harlem Renaissance artists, like Countee Cullen, reinforce Locke’s assertion by renouncing the Old Negro lifestyle in their literary pieces. In his poem From the Dark Tower, Cullen declares:
We shall not always plant while others reap
We shall not always plant while others reap
The golden increment of bursting fruit,
Not always countenance, abject and mute,
That lesser men should hold their brothers cheap
These lines imply that white oppressors expect Black Americans to continue to silently accept economic exploitation as the so-called “lesser men.” Cullen’s repetition of the phrase “[shall] not always” illustrates a rejection of that submissive convention and claims agency in pursuit of racial equality.
These lines imply that white oppressors expect Black Americans to continue to silently accept economic exploitation as the so-called “lesser men.” Cullen’s repetition of the phrase “[shall] not always” illustrates a rejection of that submissive convention and claims agency in pursuit of racial equality.
As part of claiming agency, Locke asserts that the New Negro must understand their true self. He observes, “lacking self-understanding, we have been almost as much of a problem to ourselves as we still are to others” (4). In other words, a group "spiritual Coming of Age" is also crucial for genuine progress. Only by recognizing their strengths can African Americans cultivate racial pride and properly pursue greater goals.
Countee Cullen reinforces Locke’s message of racial pride in the sestet of From the Dark Tower, proclaiming, “White stars is no less lovely being dark” Through this metaphor, Cullen challenges the dominant white aesthetic of his time by affirming that the Black aesthetic is equally worthy of pride. He also suggests that African Americans possess unique talents and potential that cannot flourish under oppression, stating, “there are buds that cannot bloom at all / in light, but crumple, piteous, and fall.” By stressing the importance of an environment that nurtures Black identity, Cullen reinforces Locke’s call for cultural self-respect.
Hi Kaylee! I find it amusing how you explain the shift from the Old Negro to the New Negro, and the way you tie Locke’s ideas to Cullen’s poetry. The breakdown of Cullen’s lines explicate how his imagery pushes back against exploitation while also building a sense of pride and possibility. I also thought your point about “buds that cannot bloom” was especially strong because it shows how both authors are arguing for an environment where Black creativity and identity can actually grow. Your blog post made the connection between cultural expression and self-definition feel very vivid. Overall, solid post!
ReplyDeleteHi Kaylee!! Your blog on the New Negro Movement through poetry was very solid. Through Countee Cullen's "From the Dark Tower," you lay out the old negro lifestyle of submission and living in the sidelines that this movement is rejecting. The excerpts that you chose to support Locke's views use vivid images and emphasize not only the idea of embracing Black identity, but a clear rejection of the previous expectation, instead taking up space proudly. Through the New Negro Movement, many speak of their frustration with the societal expectation for African Americans to be grateful and not ask for too much, which we can see in BTW's views on "cast down your buckets where you are." I like that you conclude your analysis with highlighting the importance of a environment that validates and embraces Black identity as the foundation of this movement, because being prideful of your culture in a society that villainizes and belittle it is one of the largest acts of protest. Overall, I think you touched on many good points, and your use of Cullen's poem really tie in with Locke's ideas!
ReplyDeleteKaylee, your blog on Black Americans coming out of their shells and truly living, and that act alone being an act of protest, was really interesting! I think Cullen's rejection that you point out of always being oppressed connects with the whole Coltrane Jazz scene, where they similarly reject a future that does not include change for racial inequality. I wonder how this could support or reject Karenga's views on art like the Blues, since it sends a similar message of not dwelling in oppression. I'd be interested to know what you think!
ReplyDeleteHi Kaylee, I love how you used Cullen as well Locke in this blog. My support for this is because in many works we see Cullen critiqued for rejecting his African or African American self however your blog analyzing quotes from Cullen's works where he talked about black people making themselves feel important when the world makes them feel small is very empowering. Thank you for allowing me to see Cullen in a new light!
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