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Footnotes 1437
‘praying,’ ‘resting,’ ‘working,’ ‘gardening,’ ‘traveling,’ ‘sitting around,’ ‘using snuflf,’
‘helping to make others happy,’ ‘policy playing,’ ‘automobile riding,’ etc.” pp.
269-270.)
Charles S. Johnson, Th^ Negro College Graduate (1938), p. 339.
Alain Locke, Negro Art: Past and Present (1936), pp. 34-42 and 93-117,
^^Time (May ii, 1942), p. 53.
Black Manhattan^ p. 87.
Brown, “The Negro in American Culture: Section D—^The Negro on the Stage,”
p. 16.
Ibid,y pp. 7 and 1 2.
James Weldon Johnson gives the following evaluation of the minstrel shows:
“Minstrelsy was, on the whole, a caricature of Negro life, and it fixed a stage tradi-
tion which has not yet been entirely broken. It fixed the tradition of the Negro as only
an irresponsible, happy-go-lucky, wide-grinning, loud-laughing, shuffling, banjo-playing,
singing, dancing sort of being. Nevertheless, these companies did provide stage training
and theatrical experience for a large number of coloured men. They provided an
essential training and theatrical experience which, at the time, could not have been
acquired from any other source. Many of these men, as the vogue of minstrelsy waned,
passed on into the second phase, or middle period, of the Negro on the theatrical stage
in America; and it was mainly upon the training they had gained that this second
phase rested.” {Black Manhattan^ p. 93.)
Alain Locke, The Negro and His Music (1936), pp. 57 and 70.
®®See Vernon Winslow, “Negro Art and the Depression,” Offortunity (February,
1941), pp. 42 and 62.
Sterling A. Brown, “The Negro in American Culture: Section G—Music,”
pp. 208-212.
Locke, The Negro and His Music pp. 18-27.
Ibid.y p. 30.
“Part of the ‘coon-songs’ popularity comes from the vicarious enjoyment by
white audiences of things forbidden. Goldberg says that ‘what the whites were thinking
in the gilded Nineties, the blacks were singing.’ (Isaac Goldberg, Tin Pan Alley
[1930], p. 156.) The franker side of sex, the ‘gold-digging,’ fighting for one’s man or
one’s woman, the various degrees of sexual proficiency, could be mentioned if the actors
involved were Negro. But to approach the borderline between the genteel and the
gross, to venture into the risque, to mention the unmentionable, was ‘not damaging to
one’s social or business reputation,’ if the songs wertf about Negroes. Negro life was the
fantastic Cockaigne, beckoning to the inhibited, offering escape no less attractive for
being droll. Today Hollywood stars, such as Mae West and Marlene Dietrich, in the
roles of sirens of the ’nineties, sing as throatily as they are able, the hot numbers ol
Negro honkytonks as their mating-calls.” (Brown, “The Negro “in American Culture:
Section G—Music,” p. 90.)
®®See, for example, Nick Aaron Ford, The Contemforary Negro Novel (1936),
fassiniy especially pp. 94-102.
®® Time (August 28, 1933), p. 32.
“The Negro-Art Hokum,” Nation (June 16, 1926), p. 66a.
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