Art's Animus: Black Am. Lit

Throughout the decades, black Americans have had many race-related titles come and go in a touchy battle of what is politically correct for the rest of America to say. Where once their existence was hardly acknowledged, black Americans have stormed the scene of pop culture. Despite the endless changes they have seen, one thing remains true: the purpose of black American art, which is, according to Maulana Karenga, “to make revolution, using its own medium” (1974).

During the Harlem Renaissance, much debate revolved around this issue. In his controversial article in the June 1926 issue of the Nation, Schuyler argues:

As for the literature, painting, and sculpture of Aframericans --- such as there is --- it is identical in kind with the literature, painting and sculpture of white Americans: that is, it shows more or less evidence of European influence… Now the work of these artists is no more �

He goes on to point out that the leaders in “Aframerican” art were educated and popularized by American or European institutes. His idea that black Americans didn’t create black art at all did not sit well and, in fact, evoked a response from Langston Hughes the following week.

Hughes, Langston. “The Negro Artist and the Racial Mountain.” Gates, Jr. 1267-1271.

I believe that this very spirit, this revelry and pride in one’s heritage and skin color, is the foundation on which black American literature should be built. This proclaimed self-respect also permits a call for collectiveness amongst the black community.

Some topics in this essay:
Bessie Smith, Maulana Karenga, Langston Hughes, Black American, Black Aesthetic, Robinson Throughout, Styron American, Nation Schuyler, Christine Gould, American European, gates jr, black americans, american literature, black american, black american literature, black art, literature painting sculpture, black people, “the negro, black writer, painting sculpture, literature painting,