Arak Journal

Expression with an Expectation: The Harlem Renaissance and its Effects on Contemporary Storytelling

By Krisha Parekh, Honors College, Class of 2026

Art: a vessel for social change. For centuries, artists have created pieces centered around issues they found relevant. So, to understand other communities’ perspectives, it was important to me to indulge in stories about different experiences of living in American society. While searching for films, though, it was hard to ignore the large number of films about slavery or violence. These topics are large parts of American history and should not be forgotten. Nonetheless, the fact that this genre made up a great amount of Black-created films made it clear that there are outlying factors influencing the types of films minorities make. After remembering Black producers like Marsai Martin advocate for films without Black suffering, as well as Black actors wanting a range of roles they can play instead of those that are racism-based, I was left with a few questions: why are Black trauma movies popular, and why do artists still create these movies considering the preexisting quantity of similar films? Since movies and other forms of art are reflections of societal values, what does this genre imply about society’s views of Black Americans

The prominence of these stories stems from the Harlem Renaissance: a revival of Black culture. As more Black people moved to Harlem, a strong community was created, leading to the flourishing of African American culture. Greater quantities of Black art were produced, specifically literature. In these pieces, Black creators took pride in their identity. They discussed their struggle for equality, and they shared their experiences of living in an oppressive white society. Still, having a white audience reduced the authenticity of some of these works. Even after the Harlem Renaissance ended, these limitations on Black art prevailed. While these issues Black artists continue to endure have been thoroughly studied, the connection between the past and present constraints is not as frequently noticed. Ultimately, the constraints during the Harlem Renaissance continue to affect modern Black creators, as they still have to create work for white audiences. Even though these stories have spread awareness about racism in the country, the industry demands to still create trauma-related race narratives actually limit Black artists, thus hindering social development.

During the Harlem Renaissance, numerous works by Black artists were being published. However, Aderemi Bamikunle, a literature professor at the University de Saint Louis in Senegal, analyzes the setbacks of the period. In, The Harlem Renaissance and White Critical Tradition,” Bamikunle mentions that many authors, depended on the patronage of white men?” (83). At this time, most of the mainstream publishing houses were white. While there were Black publishing houses, the work released by these companies was outside the mainstream. As a result, the pieces were not often considered successful. In Black Writers, White Publishers, professor John K. Young writes about The Hindered Hand. The novel was written by Sutton Griggs, a Black author and social activist, and it was released by Black-owned presses. Unfortunately, it was considered a “financial failure,” because there was a smaller audience (Young 12). Hence, Black writers who wanted to be successful often relied on white publishing companies and their large audiences, though, at a cost. In order for pieces of literature to get produced, publishers have to like and approve of the work. Similarly, the artists knew the target audience of these companies would primarily be white people. So, to have their work published and read, many Black artists felt pressured to write about Black life in a way that was appealing to them. Ergo, these texts became compromised” because of the internal conflict artists faced: they had to question whether they wanted their work to be honest and not read, or accepted by a white audience.

Writers who were popular during the Harlem Renaissance spoke out about these issues creators faced. Years after the Harlem Renaissance?in 1950? Zora Neale Hurston, an author prevalent during the period, reflected on the constraints Bamikunle and Young mention. In her essay, What White Publishers Won’t Print,” she mentions that white people could not imagine Black people outside of racial stereotypes (Hurston 2). In fact, according to Hurston, readers were uninterested in Black stories that focused on subjects other than racial conflict. They wanted to consume media that they thought was believable; they expected the literature they read to uphold the caricatures of Black people they had in mind. Due to ignorance, white people refused to believe that minorities could harbor the same deep emotions that they feel (Hurston 2). For instance, a common stereotype was that Black people were sexually promiscuous. Consequently, love stories?and other stories unrelated to race?were not common, as they did not adhere to the shared beliefs of the audience.

On the other hand, frequency biases made it easier for audience members to digest stories regarding abuse. Violence against Black people was not uncommon, as many were lynched or brutalized in other forms. Hence, white people were used to hearing about these topics and felt comfortable reading about them; since this sort of trauma was typical,” stories that highlighted the pain they experienced were becoming increasingly popular compared to other genres. For example, Young discusses the marketing of James Weldon Johnson’s novel The Autobiography of an Ex-Colored Man. Van Vechten, a promoter of the book, wrote, There is even a lynching” (Young 13). Because lynchings were a public matter, many white people became dissociated from the pain that Black people experienced. Instead, they became spectacles: something for white people to watch with curiosity or interest. Accordingly, white commercial interest in Black lives was limited to these violent experiences. Since publishers approved of work that they believed people would purchase and help make them money, the audience’s desires were a priority. Therefore, to make a profit, publishers sought after works that perpetuated these beliefs.

While artists like Zora Neale Hurston wrote candidly about their experiences as African Americans in a white society, many were pressured to succumb to white expectations. Many of these texts have informed audiences about racial injustices. Nevertheless, even these pieces that provide an insight into Black life had to be altered to make white readers comfortable. Ultimately, the expectation to stick to these topics stagnated Black art: this genre became the standard idea of the Black experience, restricting other perspectives from being shared. Eventually, as more of these types of texts were produced, the audience expected these similar types of stories to be told, even after the end of the Harlem Renaissance around the 1930s. Meanwhile, Black artists still relied on this white audience for success. As a result, a vicious cycle was created: to appease white people, many Black artists felt pressured to write about their race, furthering the assumptions held by the audience.

Today, these expectations still exist for Black artists. While literature is still a common form of art, films have become a more popular mode of storytelling. Since they also reflect societal issues and their perceptions, the constraints of the movie industry have been analyzed.

In her research article, Do African Americans Direct Science Fiction or Blockbuster Franchise Movies? Race Genre, and Contemporary Hollywood,” Maryann Erigha, an assistant professor of sociology and African American Studies at the University of Georgia, analyzes the types of films African Americans most commonly direct. According to Erigha, Black directors are underrepresented” in different film genres (Erigha 552). In her analysis, she mainly focuses on the number of Black directors in science fiction, as it is the most lucrative genre for filmmakers. Though, she notes that the issues she describes are widespread, as they are experienced by creators in other genres, such as action. In either case, there are few Black directors in Hollywood creating films outside of the genre of racial trauma. While many Black creators are not given the chance to participate in other mainstream film genres, those who try to do so are limited by Hollywood executives. For example, director Mario Van Peebles wanted to create a Black family drama. However, Hollywood studios restricted his films to racial trauma.

After reading testimonials, such as one recorded by Jesse Rhines, the author described how executives tried to add racial stereotypes, like putting the family in the ‘hood or on crack,” to the story (qtd. Erigha 553). Then, they planned to create plots in which these factors would lead to the characters suffering, as that would make more money” (Erigha 553). Like publishing companies in the 1920s, a majority of Hollywood studios are dominated by white executives. To make a profit in the business of filmmaking and releasing, they mainly approve of and fund projects that they believe would be enticing. In doing so, many studios prioritize the desires of their white viewers; they often consider whether having certain elements will be digestible for their target audience. Even today, many white people are used to hearing about Black people regarding social issues, like police brutality. So, studio members often greenlight trauma films to uphold these expectations of white viewers. Hence, to have their films created and viewed, Black artists continue to have to appease white people      in positions of authority.

The impact of Black-trauma films has been debated. At first glance, neo-slave narratives or stories about police brutality seem useful, as they inform the white audience about these painful experiences that only Black people have undergone. The violence and viciousness that are depicted in the films have become increasingly counterintuitive, though. These films often retraumatize Black viewers. Police brutality, violence at protests, and hate crimes are all issues that are enacted against Black people in everyday life. So, having a high saturation of films with Black suffering can be more triggering than helpful for Black viewers. Furthermore, the scenes initially served as a purpose to bridge the gap between past events and the audience’s knowledge. However, as Black trauma became a commodity and one of the main ways to depict Black struggles, it became more exploitative. Instead of portraying these racial issues in a new and informative way for the audience, these types of narratives often simplify racism to white spectators, as they fail to depict the complexities of the issue, such as systemic racism or colorism. Therefore, the pressure to still make Black trauma films hinders any impactful discussion about race and related issues.

While many Black creators are overlooked when making art of different genres, they mainly receive recognition when sticking within this genre. For example, the film 12 Years a Slave received multiple Academy nominations and awards. The film itself is based on an autobiography written in 1853 and is meant to detail the audience about the treatment of enslaved individuals. In both the film and autobiography, Solomon Northup is a Black man who is kidnapped and enslaved for twelve years in Louisiana (Smithsonian). The film itself is incredibly important, as it reminds the audience?specifically the white audience?about the physical and psychological torture that enslaved people faced. Stephanie Li, an author of multiple books analyzing race in books related to slavery, discusses its significance in, 12 Years a Slave as a Neo-Slave Narrative.” According to her text, 12 Years a Slave, as well as other trauma-based narratives, depict the visceral and haunting” abuse enslaved people endured (Li 328). In addition, the film brings attention to the ways enslaved women specifically were treated, as they were often raped. Clearly, white watchers benefit from seeing films about these subjects, as they educate audience members about the hardships Black people endured through visuals that a textbook cannot contain.

While these movies can have some positive effects, this genre remains problematic as Black artists are still expected to create work about trauma or slavery. Over the past few decades, 12 Years a Slave is one of the only Black-directed films that received an award for Best Film.” To receive these accolades, members of the Academy of Motion Picture Arts and Sciences vote on films that they believe are most deserving. Considering that the academy members are predominantly white, it becomes clear that filmmaking is inherently a subset of institutional racism, as the film industry relies on these prejudicial practices. By creating art in such proximity to whiteness, other aspects of Black history and culture are suppressed from seeping into films: in a predominantly white society, minorities have little agency in the way they express themselves, as they rely on the resources and opportunities that white industry members control. As a result, creators adhere to these standards stemming from the Harlem Renaissance instead of branching out to other genres.

In addition, according to a research paper published by Andrew J. Weaver, white audiences still do not want to consume content in which Black characters are the lead in genres outside of race-related stories. The telecommunications professor at Indiana University wrote that, in the study, eighty-eight undergraduate students were selected: seventy-nine members were white, while the rest were split between African American, Asian, and Hispanic (Weaver 373). They were given a plot synopsis of twelve made-up films, as well as made-up cast lists. Some movies had all-white casts, some had one Black and one white lead, and some had an all-Black cast. When looking at romantic comedies, fewer of the white participants displayed an interest in seeing the film when it had a higher percentage of Black actors in the movie. The same level of interest was demonstrated in other films unrelated to race.

Ultimately, these constraints placed upon Black art exacerbate the issues Black people face regularly. When comparing the types of films white and Black creators release, white creators have more options; they are able to create films in practically any genre and garner success and accolades. As a result, the types of white characters seen on-screen are greatly varied: they undergo different journeys and feel a variety of emotions. Meanwhile, there is a lack of diversity and cultural representation in Hollywood. Thus, when a large amount of representation results from these race-related stories, Black people are reminded that society views them primarily for their race and background rather than as individuals. Similarly, Black people are viewed as inherently different from others, as the only experiences audiences view are related to these extremely gruesome events to which most cannot relate. Black characters are not portrayed in a mundane setting, as their experiences are not deemed universal. Essentially, these portrayals of Black life have actually separated communities further, diminishing the hope of unity as they continue to be created.

While new art forms were arising during the Harlem Renaissance, and Black people were gaining recognition for these pieces of work, many were doing so under pressure. The dependence on a white audience and white publishing executives shaped what they were going to write about, diminishing a sense of authenticity in their work. Today, these violent images are still discussed, as they are what white people became used to seeing from Black creators. These expectations from white people continue to limit Black creators to only creating trauma stories or stereotype-related stories about race. While there should be films still discussing these issues, these limitations affect the way these stories are told, as well as how Black people continue to be perceived. Hopefully, as more BIPOC artists gain control in Hollywood, the way they are represented changes in a positive direction.

Works Cited

Bamikunle, Aderemi. The Harlem Renaissance and White Critical Tradition.” CLA Journal, vol. 57, no. 2, 2013, pp. 81?94. https://delcat.on.worldcat.org/oclc/7787999583. Accessed 24 Oct. 2022.

Erigha, Maryann. Do African Americans Direct Science Fiction or BlockbusterbFranchise Movies? Race, Genre, and Contemporary Hollywood.” Journal of Black Studies, vol. 47, no. 6, 2016, pp. 550?69. https://delcat.on.worldcat.org/oclc/6750087623. Accessed 26 October, 2022.

Giadom, Louise. Why It’s Time to Step Away From Films about Black Trauma.” Birds Eye View. 27 Oct. 2022. https://www.birds-eye-view.co.uk/why-its-time-to-step-away-from-films-about-black-trauma-by-louise-giadom/. Accessed 11 November, 2022.

Hurston, Zora Neale. What White Publishers Won’t Print.” Negro Digest, 1950, University of California San Diego, https://pages.ucsd.edu/~bgoldfarb/cogn150s12/reading/Hurston-What-White-Publishers-Wont-Print.pdf. Accessed 27 October, 2022.

Li, Stephanie. ?’12 Years a Slave’ as a Neo-Slave Narrative.” American Literary History, vol. 26, no. 2, 2014, pp. 326?31. JSTOR, http://www.jstor.org/stable/43817634. Accessed 29 November, 2022.

National Museum of African American History and Culture. Twelve Years a Slave’ by Solomon Northup.” “Twelve Years A Slave” by Solomon Northup | Smithsonian Digital Volunteers, https://transcription.si.edu/project/35197. Accessed 28 October, 2022.

Weaver, Andrew J. The Role of Actors’ Race in White Audiences’ Selective Exposure to Movies.” Journal of Communication, vol. 61, no. 2, 2011, pp. 369?385., https://doi.org/10.1111/j.1460-2466.2011.01544.x. Accessed 07 November, 2022.

Young, John K. Black Writers, White Publishers.” 2006. https://www.fulcrum.org/epubs/th83m210v?locale=en#page=65 Accessed 30 November, 2022.