But as much
as the Harlem Renaissance spread internationally, and received a lot of good black,
and white response like the already mentioned negrotarians, there were others
that were not, that were not very fond of this black rebirth, with obvious
examples of the KKK, but there were even fellow blacks who opposed of the
Harlem Renaissance.
George Schuyler who was a social commentator, known or his conservative views, published an article “The Negro-Art Hokum (nonsense)” meant to view the Harlem renaissance in a negative manner, most specifically art, which stated as 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.” Talking about literature, and with art, “If one wishes to speak of the musical contributions of the peasantry of the south, very well. Any group under similar circumstances would have produced something similar. It is merely a coincidence that this peasant class happens to be of a darker hue than the other inhabitants of the land.”, and finally, “This nonsense is probably the last stand or the old myth palmed off by Negrophobists for all these many years, and recently rehashed by the sainted Harding, that there are “fundamental, eternal, and inescapable differences” between white and black Americans. That there are Negroes who will lend this myth a helping hand need occasion no surprise. It has been broadcast all over the world by the vociferous scions of slaveholders, “scientists” like Madison Grant and Lothrop Stoddard, and the patriots who flood the treasure of the Ku Klux Klan; and is believed, even today, by the majority of free, white citizens. On this baseless premise, so flattering to the white mob, that the blackamoor is inferior and fundamentally different, is erected the postulate that he must needs be peculiar; and when he attempts to portray life through the medium of art, it must of necessity be a peculiar art. While such reasoning may seem conclusive to the majority of Americans, it must be rejected with a loud guffaw by intelligent people.” This article basically rejected any form of black art, or any form of black awareness, that black culture was as diverse as the white culture, and to expect any form of unity among the culture is counterintuitive, explaining that this was equally as insulting as the stereotypes being rejected.
George Schuyler who was a social commentator, known or his conservative views, published an article “The Negro-Art Hokum (nonsense)” meant to view the Harlem renaissance in a negative manner, most specifically art, which stated as 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.” Talking about literature, and with art, “If one wishes to speak of the musical contributions of the peasantry of the south, very well. Any group under similar circumstances would have produced something similar. It is merely a coincidence that this peasant class happens to be of a darker hue than the other inhabitants of the land.”, and finally, “This nonsense is probably the last stand or the old myth palmed off by Negrophobists for all these many years, and recently rehashed by the sainted Harding, that there are “fundamental, eternal, and inescapable differences” between white and black Americans. That there are Negroes who will lend this myth a helping hand need occasion no surprise. It has been broadcast all over the world by the vociferous scions of slaveholders, “scientists” like Madison Grant and Lothrop Stoddard, and the patriots who flood the treasure of the Ku Klux Klan; and is believed, even today, by the majority of free, white citizens. On this baseless premise, so flattering to the white mob, that the blackamoor is inferior and fundamentally different, is erected the postulate that he must needs be peculiar; and when he attempts to portray life through the medium of art, it must of necessity be a peculiar art. While such reasoning may seem conclusive to the majority of Americans, it must be rejected with a loud guffaw by intelligent people.” This article basically rejected any form of black art, or any form of black awareness, that black culture was as diverse as the white culture, and to expect any form of unity among the culture is counterintuitive, explaining that this was equally as insulting as the stereotypes being rejected.