Trends in demographic shifts, progressive grass roots movements aimed at correcting blatant social injustices, and social media have had transformative effects that strongly encourage revisiting and reflecting on images of Black men's realities in 2017. The prototypes identified in "The Many Ways of Looking at Black Man" are still important. They have, however, expanded considerably.
Signs of Our Changing 2017 Times
Both before and during the Harlem Renaissance of the 1920s through the 1940s gifted African-American actors and performers like Ira Aldridge and Paul Robeson at times left the States to find outlets for their talents where they could work without the hindrances of extreme racism. In 2017, that scenario has reversed as performers of African descent from countries outside the U.S. make their way to Hollywood, Broadway, and central strongholds of hip-hop to reap the financial rewards of professional gains made during Blacks' historic struggles for equality.
When giving interviews about his 2013 Academy-award-winning film, 12 Years a Slave, director Steve McQueen Afro-Britain noted he was able to adapt Solomon Northup’s book for the screen as successfully as he did because of the Transatlantic slave trade common to the history of Black people on different continents in the western hemisphere. That simple acknowledgment underscored an aspect of African American men’s' identity often overlooked: that African Americans are also members of the African Diaspora, or, if you will, African Diasporans. Despite the United Nations-endorsed 2011 International Year of People of African Descent, the profound implications and potential of the McQueen's observation is routinely overlooked.
In addition to McQueen, actors David Oyelowo, Idris Elba, DelRoy Lindo Del, and Chiwetel Ejiofor are only a handful of British actors of African descent whose artistry has been employed to dramatize interpretations of African-American men's lives. Such interpretations have ranged from Elba's portrayal of druglord Russell “Stringer” Bell to Oyelowo's acclaimed performance as Martin Luther King Jr. in the film Selma, directed by Ava DuVernay.
Echo Kellum's recurring role as Curtis Holt, a gay Black man married to a Latino on the hit television show ARROW, reflects an aspect of one population subgroup which many in the larger community still have extreme difficulty accepting. Yet, so far as popular television series go, Jesse L. Martin's role as Joe West in The Flash is no less a challenge to stereotypes and assumptions. As the Black adoptive father of a White son––Barry Allen (a.ka The Flash, a.k.a. actor Grant Gustin) who is involved in a romantic relationship with West's biological daughter Iris (Candice Patton )––his is a comic-book world where race is defined not so much by color as by those who have super powers and those who do not.
The Obama Legacy Effect
In his farewell addess, President Barack Obama quoted the late great novelist Harper Lee in which her character Atticus Finch states the following in To Kill a Mockingbird: “You never really understand a person until you consider things from his point of view…until you climb into his skin and walk around in it.”
Finch's words may contain the wisdom necessary to help members of an increasingly diverse democracy better support one another as Americans rather than continually battle each other as cultural and political separatists. The president also wisely pointed out the need for African Americans to recognize the value of adopting the following practice:
"...Tying our own struggles for justice to the challenges that a lot of people in this country face – the refugee, the immigrant, the rural poor, the transgender American, and also the middle-aged white man who from the outside may seem like he’s got all the advantages, but who’s seen his world upended by economic, cultural, and technological change...." (Barack Obama)
Mr. Obama's commentaries on race and the American identity over the past nearly 10 years have not brought about an end to racial divisiveness or violence in the country. But they have played a major role in helping to decrease the magnitude of assumptions and racial bias that seemingly prompt the dismissal of Black folks' lives. His two-term presidency has allowed Americans and citizens of the global community to experience a black man as a "leader of the free world." That singular comprehensive achievement surpasses any categorical way of looking at African-American men that would have been considered possible in 1997.
If, however, someone did feel inspired to duplicate "The Many Ways of Looking at a Black Man" with fresh 2017 faces, it would be easy enough to do with another seven individuals such as: Chance the Rapper, Colson Whitehead, T.D. Jakes, Semaj Clark, Jay Z, Michael B. Jordan, and Tyler Perry. Their celebrity or non-celebrity status would not really comprise the core issue. The main point would be a definitive demonstration that as catastrophic as violence and oppression have been in our lives, they have not and will not erase the most beautiful and essential truths represented by our stories and realities.
Author-Poet Aberjhani is currently completing a book of nonfiction narratives about race relations, histories of erasure, the cultural arts, and practices of slavery in his hometown of Savannah, Georgia, USA.
The Harlem Renaissance has long been a favorite subject of discussion and exploration during Black History Month. One of the reasons that make a lot of sense is because the observations of African-American history first proposed by historian Carter Godwin Woodson (1875-1950) were started during the Harlem Renaissance. In more recent years, the celebrated era has also become a popular topic for students and teachers participating in National History Day.
Now also known as a nonprofit organization, National History Day (NHD) got its start when the late historian David Van Tassel (1928-2000) established History Day in 1974 at Case Western Reserve University in Cleveland, Ohio. Prof. Tassel’s hope at the time was to provide a corrective response “to numerous reports focusing on the decline in scholarship and inadequate teaching in American school systems. At that time, History Day was only a pilot project involving 129 secondary school students in the Greater Cleveland area” (Encyclopedia of Cleveland History).
The initiative since then has grown to engage participants on an international scale:
“Today, in every state, the District of Columbia, Guam, American Samoa, and international affiliates in several countries, NHD contestants become writers, filmmakers, playwrights, web designers, and artists as they create unique, contemporary expressions of history.”
The theme for the 2016 National History Day is one particularly suitable as a lens through which to view the Harlem Renaissance: Exploration, Encounter, and Exchange in History.
A Digital Notebook
Commentators are accurate when they point out that documentation of these different aspects of the movement got off to a good start with the publication of Encyclopedia of the Harlem Renaissance (Facts on File/Infobase Publishing) in 2003). However, quite a few articles since then by this author (as well as others, many of which are currently available to read online free of charge) have expanded on that original contribution to affirm the Renaissance’s relevance to studies of contemporary history, cultural diversity, and the cultural arts. Taken together, these works comprise a digital notebook on the Harlem Renaissance. The following sections link to articles and essays which observers of National History Day and Black History Month might find useful:
The Global Scope (2015)
The Harlem Renaissance Dialogues Series
Contemporary award-winning author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism.