Hughes and Du Bois, Locke and Toomer, and What the Heck They Have to Do with Me

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Kelli E. Casey Prof. C. Watson ENGL 2145 7/29/2009 Hughes and Du Bois, Locke and Toomer, and What the Heck They Have to Do with Me Langston Hughes and W.E.B. Du Bois were two sophisticated African America gentlemen who are best remembered for their contributions to the Harlem Renaissance. Both men lived to experience a period when African Americans wished to pour their every being into their art. This art was not limited to literature, as genres of the Harlem Renaissance varied from written forms to musical and theatrical forms of art. However, every artist of the Harlem Renaissance understood the need for African Americans to take part in this movement that sought to progress the success and beauty of the Negro race. Hughes and Du Bois shared two major commonalities: they both had an extreme passion for art, and they both wanted to see the full acceptance of black art in a predominately white society. In their essays, “The Negro Artist and the Racial Mountain” (Hughes) and “Criteria for Negro Art” (Du Bois), Hughes and Du Bois recognize the role that race plays in art. They both point out that artists have been adjusting their art to suit the white race: “So I am ashamed for the black poet who says, “I want to be a poet, not a Negro poet,” as though his own racial world were not as interesting as any other world. I am ashamed, too, for the colored who runs from the painting of Negro faces to the painting of sunsets after the manner of the academicians because he fears the strange un-whiteness of his own features” (Hughes 95). They understand the need for African American artists to change their perspectives from “white is right” to “black life is beautiful.” Hughes and Du Bois agree on their expectations for colored artists. Hughes does not hope, rather he expects “to see the work of a growing school of colored artists who paint and

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