Covarrubias In Hungston Hughes's Slave On The Block

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The 1920s bring to mind colorful images of dancing flappers with pearl necklaces and headbands, sparkling champagne, slick and charming men, and old black cars wheeling down cobbled streets dimpled with puddles. Music plays in the background of the scenes, sometimes upbeat and impossibly fast, other times radically sensual or sad. A black musician plunks away on a piano, a grin stretched across his face, his eyes bright. A black dancer flips over her partner in a dance, her body flying inconceivably fast. White and black people laughing and drinking side by side. These images we conjure up, however, are unfortunately superficial. We like to think of the white public finally embracing black people because they realize them as equals. But the …show more content…

The idea of blackness was all that mattered to them, because they didn’t actually care about or understand real black culture. In the couple’s collection of “black’ art, “they owned some Covarrubias originals. Of course Covarrubias wasn’t a Negro, but how he caught the darky spirit!” The couple and--as Hughes implies--white people in general didn’t intend to actually treat black people as human beings with a depth of emotions and thoughts. They instead wanted to reduce them into objects, easy to fit into boxes and stereotypes and therefore easy to consume. The white public’s view of black people limited black individualism and expression. As Paul Laurence Dunbar wrote in his poem, “We wear the mask that grins and lies... With torn and bleeding hearts we smile.” Problems between blacks and whites didn’t go away in the Harlem Renaissance. Some problems were even exacerbated, as in the case with the mask. The close contact between black artists and hungry white spectators and consumers forced black people to put on a show. Sometimes shows might have been true to the performers, but many pandered to the white audience in order to avoid conflict and

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