Negro Essay

Why Dig Up the Past? This article “The Negro Digs Up His Past’’ by Arthur schomburg on 1925, elaborates more on the struggles of slavery as well as how history tend to be in great need of restoration through mindfully exploring on the past. The article, however started with an interesting sentence which caught my attention, especially when the writer says ‘’The American Negro must remark his past in order to make his future’’ (670). This statement according the writer, explains how slavery took

instructed over the years, whether it is fiction of facts. Living in a world, where only certain race can be seen as superior to others. Schomburg was a pioneer beyond his times. In the article “The Negro Digs up His Past”. The beginning of this essay revealed a powerful statement, “The American Negro must remake his past in order to make his future” (Arthur Schomburg). It is very clear, Schomburg realized the importance of being knowledgeable on your true history. “History must restore what slavery

referred as the “Old Negros” and the newer generation referred to as the “New Negros” took different outlooks on life. American Negros goal in life at this point in time was to change their mentality. But how? Locke had introduced many readers to the vibrant wondrous world of African Americans. He opened the eyes to what American Negros can do and not what they cannot do, no one should be restricted by any boundaries. One of his most influential writings was “Enter the New Negro”, its open the mind

20th centuries Blacks in America were debating on the proper way to define and present the Negro to America. Leaders such as Alain Lock, W.E.B. Dubois, Marcus Garvey, and Tuskegee University founder Booker T. Washington all had ideas of a New Negros who was intellectually smart, politically astute, and contributors to society in trade work. All four influential leaders wrote essays to this point of the new Negro and their representations in art and life. In “Art or Propaganda”, Locke pleas not for corrupt

religion, norms, values, national origins, our pasts, and our creeds, we all combine under one common denominator. Alain Locke addresses this issue of cultural pluralism in his article, "Who and What is `Negro'?" In this article, Locke states that, "There is, in brief, no `The Negro'. " By this, he means that blacks are not a uniform and unchanging body of people. He emphasizes that we, as Americans, need to mentally mature to a point where we do not view

The Negro Artist and the Racial Mountain In the essay “The Negro Artist and the Racial Mountain” by Langston Hughes, Hughes discussed how African Americans felt belittled about their culture and of themselves because they were not white. The African Americans sensed that white people were better than them, so they embraced the white peoples ‘art, music, and literature instead of their own. Hughes then go on to talk about one of the main problems in the African American families, by conversing that

consciousness, identity, protest, and violence. Adrienne Kennedy's 1964 play, Funnyhouse of a Negro is one work that embodies the BAM era. The play is about an African American woman named Sarah who lives in an apartment and she struggles schizophrenia. Sarah has four other personalities that all have significant roles throughout the play, and they each represent a specific issue Sarah has with herself. Funnyhouse of a Negro embodies the BAM era by exposing societal problems with African Americans struggle

In the book The Future of the American Negro, Booker T. Washington related that the African-Americans “only a few centuries ago… went into slavery in this country pagans, that they came out Christians; they went into slavery as so much property, they came out American citizens; they went into slavery without a language, they came out speaking the proud Anglo-Saxon tongue” (24, 25). Washington’s focus was on assimilation, forging the black identity not as individuals with a proud heritage and strong

was Mark Kendall and the story title was called The Magic Black Negro and Other Blackness. This moment that stood out to me in the grand scheme happened during the middle or close to the end of the play. Its funny this stood out to me because as the theatre would erupt in laughter, I was just plainly curious as to why a black man was using the injustice the black people go through as a punch line. Mark Kendall was the Magic Black Negro, but he didn’t take on that persona in all of his sketches. 3.

Baraka brought the power of art into the limelight. Wright’s perception of art was for it to be used as a means of guidance, one that could uplift the Negro towards bigger and better goals. Baraka’s perspective of art was for it to be used as an active agent, one that could kill and then imprint society permanently. Baraka and Wright both wanted the Negro to see that there was a much brighter future ahead of them. Both wanted art to leave a stain, a stain that could not be easily erased, washed, or bleached