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LT
THE
EIGHTEENTH
of this month The Metropolitan Museum of Art will open an
exhibition that has nothing to do with art in the narrow sense- but everything to do
with this Museum, its evolving role and purpose, what we hope is its emerging position
as a positive, relevant, and regenerative force in modern society. The title of the exhibition is "Harlemon My Mind": The CulturalCapitalof Black America, I9oo-I968.
It is an exhibition that attempts, through photographs, films, television, documentary recordings of sounds and voices, music, and memorabilia, to convey that most
difficult of things, a cultural and historical experience, a total environment - one particular world, in fact, which has been known intimately only to the Black people of
New York City - Harlem. It doesn't interpret or explain. It sticks to the facts, Harlem's
historical events over the past sixty-eight years, its literature, theater, politics, music,
art, and business.Three Blacks and three whites conceived the show and put it on, in
thirteen of the Metropolitan's Special Exhibition Galleries.The Henry Luce Foundation, Inc., acting with imagination and concern, generously underwrote the cost of
the exhibition.
Why The Metropolitan Museum of Art? The question was asked of us right from the
beginning, posed almost as a challenge, and it will, I am sure, continue to be asked.
Let me say first that our Charter, which is almost a hundred years old, enjoined the
Museum to apply itself vigorously not only to the study of the fine arts but to relate
them to "practicallife" as well. "Practical life" in this day can mean nothing less than
involvement, an active and thoughtful participationin the events of our time. For too
long museums have drifted passively away from the center of things, out to the periphery where they play an often brilliant but usually tangential role in the multiple lives
of the nation.
ON
Contents
The Black Artist in
America: A Symposium
ROMARE
SAM
BEARDEN
GILLIAM,
RICHARD
JR.
HUNT
LAWRENCE
JACOB
TOM LLOYD
WILLIAMS
WILLIAM
HALE
WOODRUFF
245
N.
SCHWARTZ
262
PRISCILLA
265
Salvation Art
FRANK
CONROY
270
An Interview
WITH
SCHWARZ,
JANE
WILSON
BURCH
273
BLACKWELL
HUTSON
280
XXVII,
NUMBER
JANUARY
I969
243
244
P. F.
HOVING,
Director
The
A
Black
Artist
Symposium
in
America:
ROMARE
SAM
BEARDEN,
HUNT
RICHARD
TOM
LAWRENCE
LLOYD
WILLIAM
HALE
WILLIAMS
WOODRUFF
We arehereto discusssomeof the problems of the Black artist in America.I think one of the
most perplexingis the problemof makinga living. During the last two or threeyearsthisproblemhasbeenmet
to somedegreeby moreteachingjobs beingmadeavailableto us, but it's stillhardfor the Blackartistto support
himself. I'd like to hear some of the membersof the
panelrespondto this question.
MR. LLOYD:
Many Black artists can't support themselves throughtheir art- there may be one or two, but
it's most difficult.First of all becausethe Black artist's
very existencehas beendeniedso long that peopledon't
know of him- even in the Blackcommunity.Therefore
his struggleto reachthe top has been a greatone, and I
envy three gentlemenwho are sitting here-Mr. Bearden, Mr. Lawrence,Mr. Woodruff-who have made it.
I know what kind of struggleany Black artist who's
made it has gone through,and thereforeI beara great
deal of respectfor you gentlemen.
MR. BEARDEN:
Well, Tom, would you like to explore
that a little further?You said that the Black artist is
unknownin the Blackcommunity.What could be done
to have him better known?Within his own community
and within the mainstreamof Americanart?
MR. LLOYD:
First, I think he has to be acceptedin the
galleries;the museumshave to recognizethat he has
somethingto contributeto his own culture,to the Black
communities,and I think they have failedmiserablyto
do this. Sure,within the last couple of yearsI've heard
aboutexhibitionsdedicatedto showthe accomplishment
MR. BEARDEN:
JR.
GILLIAM,
JACOB
Moderator
WOODRUFF:
www.jstor.org
pheres,facilities,and people to work with these youngsters.There might be no teachingin the senseof having
classes,but simplyevery facility imaginable,and guides
and teachersto workwith them. If a youngsterwantsto
throwsome clay around,let him do it: if he gets sick of
that and wants to carve some wood, that's fine. This is
the kind of orientationI think would be helpful in developinginterest,activity, and participation.
I think there needs to be a giganticeffort
MR. LLOYD:
to bringart to young Blackkidsin an enormousproject.
I don't think they have anywherenearthe sameopportunity as anyoneelse. I think young white kids are exposed to art at a very early age; their mothersgo to
museumsand dragthe kids alongand they get a look at
art when they'rethreeor four.This doesn'thappenwith
Blackkids.
When I said the visual world was
MR. WOODRUFF:
open to Blackkids, I meant thingsthat every man sees,
even if it's an old backfence. I certainlyagreethat they
need art broughtto them.
This is one of my pet things:it's very imMR. LLOYD:
portant to bringart to Black people. Right now, we're
not goingto museumsandto artgalleries.I've beengoing
to them for somethinglike twenty-fiveyearsandI could
count the Black peopleI've seen. We have to bring art
to the Black communities.We should have things like
the "wallof pride."We have to beautifythe Blackcommunities,with treesor whatever;we have to havemonuments to Black heroes, right on Seventh Avenue. It's
importantfor Black people to have this identity. They
have to feel this pride.It's our responsibilityto bringit
to them.We canbeginby usingposters,by usingexisting
billboards,and we have to get the money to do this. A
group of Black artistsshouldget togetherand do these
postersandput themup andlet peoplesee them.Perhaps
a place like the Metropolitanshouldfinancesomething
like that.
MR.
GILLIAM:
BEARDEN:
frontsthe Blackartistafterhe decidesto becomea professionalartist.He's twenty-five,or twenty-six,or twentyseven. He's married.He has one or two children.It's
difficultgetting a foothold into the art world;trying to
havehis workexposed;tryingto makea living,probably
by having anotherjob - teachingor something.I'd like
Mr. Hunt, Mr. Gilliam,Mr. Lloyd, and Mr. Williams
to begin this discussionon professionalproblemsthey
248
somehowrelateto it.
MR.
WILLIAMS:
samething, though?
MR.
LAWRENCE:
Yes.
MR.
LLOYD:
MR.
WILLIAMS:
WILLIAMS:
LLOYD:
important.
MR. WOODRUFF:
MR.
WILLIAMS:
It is.
Maybe I'm dwelling on a point, but
MR.
LLOYD:
MR.
WILLIAMS:
ing about.
LLOYD:
Of courseit is-I'm a professionalartist,
you know.I'm talkingabouta certainformof art that's
meaningful.
MR. BEARDEN:
Tom, in otherwords,you'resayingthat
you want to direct your effortstowardthe Black community,and the merefact thatyou arethereandmaking
your work accessibleand in a certainsensedirectingit
to them wouldclassifythe workas Blackart. This work
could take any form?
MR. LLOYD:
Yes. It could be kineticor light sculpture,
it could be painting,it could be anything,if the person
who does it has these thingsin mind.
MR. LAWRENCE:
We're involved in many problems
here. I agreewith Mr. Beardenthat economicproblems
lead into the professionalones. Somehowwe've missed
one very importantthing- governmentinvolvementin
art. If we go backabout thirty yearswe'llfind that some
of the greatestprogress,economic,professional,and so
on, was made then, by the greatestnumberof artistsnot only Negro artistsbut white onesas well. The greatest exposurefor the greatestnumberof peoplecameduring this periodof governmentinvolvementin the arts.
That is what manyprofessionalorganizations
like Artists
the
theater
and
so
have
been
on,
groups,
Equity,
trying
to do. The governmenthasmadestabsat it - you've got
variouscommitteesandthey'vegivenstipends,but nothing massivelike the thing thirty yearsago. I thinkwhat
we need is a massivegovernmentinvolvementin the arts
- by municipalgroupsor by the state or by privateorganizationsor by museumslike the Metropolitan.What
we need is moreconcernwith the philosophyof socialism
- that's the only way we'regoing to achievethis sort of
progress,and we, the Negro artists,are going to benefit
by this.
That leadsme into anotherthing. I think we must be
very carefulnot to isolateourselves,becausemanyof the
thingswe'retalkingaboutnot only pertainto the Negro
artist but pertainto the artist generally.If they're accomplishedwe will all benefitby them.
I also think that many of these problemswe're mentioning have to be solved individually.You may feel,
Mr. Lloyd, and I may feel that we have to work in a
community that's predominatelyNegro, like Harlem.
Othersmay feel that we will benefitto a greaterdegree
by workingoutsideof the communityand being (this is
an unfortunateterm) "integratedinto the mainstream"
of the overallnationalcommunity.
MR.
250
LLOYD:
Yeah, but haven'twe been integratedfor
so long? I mean, where are we now? We're here, you
know, talkingabout the bad situationwe're in because
we've been integrated.
MR. LAWRENCE:
Who's been integrated?We've never
been integrated.
MR. LLOYD:
There's never beenany realunity amongst
the Black artists.
MR.
MR. LAWRENCE:
LLOYD:
MR.
HUNT:
MR.
LAWRENCE:
there?
LLOYD:
I'm talkingabout my work being meaningful to Blackpeople,and that'svery important.
MR. BEARDEN:
Supposethe Black communitydidn't
acceptyourworkandthe whitecommunitydid. Suppose
you had been acceptedby the white community,fully
accepted.Wouldyou havegone to the Blackcommunity
to showyour work if you had that kind of acceptance?
Think aboutit.
MR. LLOYD:
I've thoughtabout that before.I've made
it - I'm makinga living off my art, a pretty good living.
I can just keep my mouth shut and go aheadand make
niceconstructionsfor peopleto buy. But I'm not talking
about me. I'm talkingabout Black artists.I'm talking
aboutBlackartistsin the past,Blackartistsin the future.
Simplybecausethey'reBlack,therearemillionsof roadblocksin front of them.
MR. GILLIAM:
I think I worrymoreabout the quality
of the experiencecomingto the Blackcommunity.And
I think there is a need to raisethe visualorientationof
the Black community.During the riotsin Washington,
whenthe whitesdidn'tcomein fromthe suburbs,gallery
attendancefellwayoff.If Washingtonhasa sixtypercent
majorityof Blackpeople,why doesmuseumattendance
fall down when somethinghappensso the whites don't
go? It's easy to see that we could easily hustle up to
Harlemor over to i4th Streetand put up a lot of structuresthatwouldbe meaningful.But instead,isn'tit that
museumsas suchhave not servedthe total community?
Why can't museumsreallyemphasizethe kind of programsthat will bringa personfromwherehe is to where
the betterfacilityis?Andwhenhe'stherewhy can'tyou
make him actuallywelcome?This is the kind of point
we shouldpursue,not dwellon "artmeaningfulto Black
people."Whatwe shouldbe talkingaboutis the quality
of aestheticexperiencesavailableto personswithin the
Black community,and raisingthe level of this quality.
But let's not forgetaboutwhathasgone before,let's not
forget about Black history.In fact, let's emphasizethis
more.
MR.
25I
MR.
252
MR.
MR.
WILLIAMS:
touchedon one of the pointsMr. Gilliambroughtup the quality of that pottery or the quality of that sculpture or the quality ...
MR. LLOYD:
Whatdo you mean,"quality"!They have
to be exposed.What makesyou think that the quality
is going to be any less becausethey'reBlack?
MR.
WILLIAMS:
GILLIAM:I
New Yorkfor Blackpottersand couldfind only threeand beforeI kept somebodyfrommakingpots and being
turnedon by it - is that I'd findme a potter first.I don't
think I'd worryabouthis color;I think I'd worrymore
about the qualityof the experience.
LLOYD:
Look, I'm worried about the quality too,
but I am worried about the fact that there's only three
Black potters here in New York. That has a lot of implications, and I don't think you're facing up to them.
MR. HUNT:
Well, you know, you could do something
else. You could hire a white potter while you looked for
another Black potter, and then fire the white potter and
hire the Black. Then you would show your people something about you.
MR. LLOYD:
Perhaps it would, and perhaps that might
have been like an idea I had. But I'm more interested
in young Black kids having an opportunity just to be
a potter.
What you may be running into is the
MR. GILLIAM:
same difficulty they had in one of the summer programs
in Washington, looking for a Black sculptor. You can
name a number of them, but they'd already be doing
something beside practicing sculpture. I think whenever
you look for Black potters, Black painters, Black artists,
they'll already be doing something else.
At the same time there are a lot of proMR. LLOYD:
in
New York, and even if you're a profeshere
grams
sional, capable Black artist you can't even get a job in
the program. Because, number one, most of the cultural
programsaren't run by Black people. I think that's very
important. I think Black people and Black communities
should control Black programs. They're the only people
that can really, really relate to Black people.
MR.
WILLIAMS:
We're getting involved in sociology
again,aren'twe?
MR. LLOYD:
Well, so what?
I think it's pretty hard to keep the
MR. GILLIAM:
wholequestionawayfromsociology.
MR. BEARDEN:
Let me sumup. Tom feels that a lot of
the professionalproblemsof the Blackartisthave to do
with his relationto the community.And he feels that
his, and a numberof Black artists',work shouldbe directed to makingthe Black communitymore art-conscious.He feels,also,by the merefact of his beinga Black
artistworkingin the Blackcommunity,he couldreferto
his work- or workdone by anyoneof a similarmind- as
Black art. Now Mr. Williamshas challengedthat. He
feels that the Black artistshouldn'tlimit his horizonto
just one particularcommunity,but shouldtry to expose
his workto a greateraudience.I thinkwe all have come
to the conclusion,however,that therearedire economic
and professionalproblemshinderingthe Black artist in
the full expressionof his potential.Theseproblemsstem
fromsocialconditions,fromthe fact that the Blackartist
is not completelyinvolvedin the mainstream.
He doesn't
go to East Hampton,and he'snot aroundthe restof the
artists.It was broughtout that the few peoplewho buy
don't alwaysconsiderhim, and he has not been able to
get his workup to highermonetarylevels.
Unlesssomeonehasanythingto add to this discussion
of economicand professionalquestions,I think we can
go on to our thirdpoint- the aestheticproblem.I think
some of the things that you were talkingabout, Tom,
also involved questionsof craft and identity. I throw
the discussionopen.
MR. WOODRUFF: This is one of the mostimportantand
probablyone of the most difficultto solve. I think we
shouldclarifywhat we meanby aestheticproblems,and
problemsof self-imageor identity in termsof the topic
we areworkingwith - "Blackart."We'vebeentold that
a recognizablyBlackuniquenessin the art productis not
necessarilyessential.There is such a thing as a "Black
Anglo-Saxon,"and then there are those who champion
the notion of the Black heritage-who think that the
Negroes' aesthetic image should come from his Black
Africanancestry.I don't think there'sanythingwrong
with this, becausewe who are taking the traditional
formsof Westernart as a startingpoint are doing the
same thing-we are beginningwith a form from which
we may createa form.There is also the idea of substantially good art-and this is what Sam has been talking
about-coming from the soil. But the soil of the Black
communitymust not only be productiveand rich in its
MR.
WOO D RUF F:
LAWRENCE:
I will say that I'd like to have the opportunityfor a personwith talentto makehimselfinto an artistassuccessful
as RichardHunt. But I don't thinkyou'll ever have two
hundredRichardHuntsor two hundredThomasLloyds,
becauseeveryoneis just not that talented.
MR. LLOYD:
No, I mean to equate them with the two
hundredwhite artistswho have the opportunity.
MR. WOODRUFF:
That I'll buy.
MR. GILLIAM:
We're necessarilyspeakingof a job for
the future.We've been few in number;the injusticeof
the whole socialsituationhasmadeit so that we arefew
in number.
We need not only to develop Black craftsmen,but
alsoBlackhistorians,Blackcritics.We needmoreBlackownedart galleries:let's talkaboutmovinginto business
-art is a business.This is a thing that concernsus. If
we'relookingfor ways art-or Blackart-can be developed within a community,then let's talk about all the
things that are reallynecessaryto develop it. Why is it
that therearen'tBlackhistoriansor Blackaestheticians,
asidefrom people like Hale who have had to double to
do the job? Why aren't these professionsbeing encouragedat Blackcolleges?Why can't placeslike that make
their specialresponsibilitytakingcareof the Black heritage?They shouldinvestigateexactlywhat the factsare:
what we have accomplished,and whetheror not we're
going forwardfromwherewe are now.
MR. LLOYD:I
thinkthat sortof programwouldbe very
important.I mentionedan organizationcalledBlackVisual Environments,and part of the thing we want to do
MR.
LLOYD:
Is great.
I can't imaginean artist-a Black artistfunctioningwithout knowinghe's Black,without being
concernedaboutwhat'shappeningto us, without being
concernedaboutour very lives.We'reBlack.No matter
what kind of workyou do, you'reinfluencedby all these
things.
MR. LAWRENCE:
Is this alwaysevident looking at the
work?
person's
MR. LLOYD:
Maybe not. I never saidit's evident lookwork. I'm just sayingit's Black art.
someone's
at
ing
I can't agreewith that.
MR. WOODRUFF:
He's calling"Blackart"anythingdone
MR. BEARDEN:
by Black artists.
I just can't see how something is
MR. LAWRENCE:
"Black art." What you find are shows that deal with
some philosophyof art-minimal art or this art or that
art-and the artistsin each of those showswill belong
to many ethnic groups,Black artistsamongthem.
MR. GILLIAM:
By giving a show a kind of sociological
title, you know, or a political theme, you can make it
MR.
GILLIAM:
MR.
LLOYD:
256
Photograph: Reginald McGhee
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HUNT:
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MR.
GILLIAM:
conditions...
MR.
LLOYD:
I think.
MR.
HUNT:
MR.
LLOYD:
MR. WILLIAMS:
Art has been historically-historically
in the Westernsense- aristocratic.
MR. LLOYD:
That's been the troublewith our culture.
MR.
WILLIAMS:
LLO Y D:
MR.
BEARDEN:
259
MR. GILLIAM:
MR. WILLIAMS:
MR.
LLOYD:
LAWRENCE:
MR. LLOYD:
MR. BEARDEN: I feel that the artist hasto serve a movement the best way he can do it. Now we have a man
here, oldest among us; I don't think anyone has done
more than he and he's done it with his work. I'm not
sayingthis is the only way you can do it, but his works
inspiredme as a kid. This was a contribution,and all of
us aroundthis tablehope we aremakinga contribution.
Maybe we can't all go out and make posters, but we
can developour talentsin the best way we can.
MR. LLOYD: I just say get out and be concerned,and
we're not concerned.If we are, we haven'tlet our concern be known.
MR. BEARDEN:
Let's sum this up. Jacob indicatedthat
in the civil rightsmovementthe artistshoulddo all he
could, in his way, to assistthe developmentand liberation of the people.Hale indicatedcriticismand scholarship, to furtherwhat the Black artistwas trying to do,
wassomethingwhichhad beenlacking.I thinkboth Sam
and Williamfelt that each artist had a commitmentto
the struggle,but this wassomethinghe had to do in the
best way he could. I think Richardagreedto that too.
Tom felt that the strugglefor Black liberationwas allembracingand that we all had to get in thereand pitch,
do whateverwas necessaryto advancethe struggle.
In the discussionwe'vehad todaywe've coveredmany
problems.We'veposedproblems.Only time andhistory
will offer a solution.I think we have made a valuable
contributionhere.It's somethingthat moreartistseverywhereneed to do.
260
Photograph: Reginald McGhee
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The
Cultural
MetropolitanMuseum
Power
in
B A R R Y N. S C H WA R T Z
Time
of
of
Art:
Crisis
are to be satisfied.
To this end the Museumshould set up community
advisory boardsin ghetto areas,composedof genuine
communityleaders,practicingartistsand craftsmenwho
residewithin the area,andmembersof variousneighborhood organizations.It would be their job to articulate
waysthe Museumcanservecitizenswhodo not normally
derive benefitfrom the Museum'sefforts,to work with
the Museumin creatingideasfor neededandmeaningful
programs,and to serveas a feedbackmechanismfor the
evaluationof programsconductedwithin the community. The advisoryboardsshouldbe involvedin all Museum activitiesin their communitiesfrom inceptionto
completionasplannerswho suggestthe contentandform
of Museumfunctions,and not as consultantsto help insure the successof what the Museumwants to do. The
Museum, throughits advisoryboards,could becomea
communityinstitution.
To Exhibit Is a Verb
262
www.jstor.org
263
New Services
One of the most important ways the Museum can prove
practically relevant to the ghetto resident is through the
expansion and increased availability of existing services.
The Museum should create the position of cultural
field worker, a person who would act as a cultural agitator.
Through discussions with residents, block associations,
local community organizations, and artisan cooperatives
he would seek to initiate ways to enhance culturally the
community in which he lives and works. He would implement ideas offered by the advisory boards, make known
to all interested parties the resources of the Museum,
initiate and carry out projects such as community block
improvement, mural painting, local art shows, the creation of community cultural centers, and coordination of
art events among the various neighborhood schools. He
would help artists' groups in their searchfor financial support. He might be able to encourage the Sanitation Department to clean up vacant lots, and the Buildings Department to remove abandoned buildings, and he might
organize "paint-ins" to render those deserted buildings
still privately owned (and therefore unremovable) more
aesthetically pleasing. The Museum might make application to VISTAfor VISTAworkers to assume the strenuous and demanding responsibilitiesof cultural field workers at no extra cost to the Museum. The cultural field
worker would represent the Museum through creative action and serve the community by assisting in its projects.
The Museum is about to create a Department of Architecture, a department that could play a vital role in
easing the plight of those who live in ghettos. The ghetto
resident is more often the victim than the beneficiary of
architectural planning because there is no one to represent the great numbers of people who are built around,
moved out, and manipulated in neighborhoods with the
worst living conditions in the city. The Department of
Architecture might function as an educational and consulting arm of the Museum by informing people of their
rights, by acting in their behalf as sponsor for community-initiated redesign of ghetto areas, by offering architectural assistance to local groups involved in renovation,
by developing plans alternative to those requiring extensive dislocation of residents, by serving as an information
center for people seeking community housing improvement, and possibly by using whatever influence it may
have to persuade city agencies to act in the community's
interests.
The Museum has an excellent Exhibition Design De-
264
Poor
Peoples'
PRI S CILLA
Plan
TUCK E R Freelancewriter
ARCH,
265
www.jstor.org
of that street life. "The elements in the Black community that we would like to maintain as good, that we feel are good, have their origins in the street organization. You
can send your children out to play and the neighborhood will take care of them, because the street is the living room. The streets are informal, they're real. They're the
place where your friends are, but where the enemy (the police) is, too. Black people
enjoy the streets; they like to go for walks. Everyone is at home outdoors. Many
cornersare symbolic places- I25th Street and Seventh Avenue where Malcolm X used
to speak, Michaud's bookshop used to be- in the struggle for equality, for liberation."
So while real estate men would like to get tall office buildings lined up shoulder to
shoulder and turn I25th Street into yet another traffic tunnel, ARCHaims at preserving
I25th Street's "main street quality." "All the other crosstown streets are anonymous.
What has happened to 8th Street is a good example of what we don't want."
Drawing:
ARCH
268
Salvation Art
FRANK
CONROY
I met a kid named Duke who lived uptown. He was an easy-going boy, strong for his
age, with light brown skin and enormous dark eyes. He played jazz guitar and fooled
around on the piano - our friendship had started at the keyboard, in fact, both of us
cutting class to play illicit four-hand blues on the Washington Irving High School
grand. He lived in a housing project on upper Lexington Avenue, and I used to go up
on those hot summer nights and hang out. I met his family, of course- his father who
worked at the Post Office, elderly grandmother who talked about the old days in
North Carolina, sister who went out with a sailor and kept trying to lose weight, and
his mother who cooked, in her tiny kitchen, some of the best food I'd ever eaten - but
most of the time Duke and I were out of the apartment, on the street. There were
dances in the basement of the project, some fantastic stickball games in the dark, an
occasionalcrap game, and once in a while a little drinking of wine, but the main activity
was talk. We talked and talked the nights away, sitting up on the black iron rail of the
project fence jiving the girls and shooting the breeze with the neighborhood studs.
Duke was an utterly straightforwardkid. Very calm, gentle, and a good companion.
I didn't realize at the time how rare his situation was- the family intact, father working, mother working half a day, the whole group, including Duke, up for church on
Sunday mornings. He was well liked in the neighborhood, and the fact that I was his
pal was all the cachet I needed. We shared a delight in the spoken word, and perhaps
that was why, when the great jive artists came by, the master talkers, the magicians,
they always stopped to say hello.
At first I didn't understand them, that is to say I didn't understand many of the
words they used, nor the exact meaning of many of the idioms, but I got the drift.
It seemed not to be necessary to know all the words, so much of the message was in
the delivery itself, in the rhythms, silences, and dynamics of a language that is half
words, half music. They were beautiful cats, each with his own voice, his own instrument, grooving themselves and everyone around them. Language was a feast.
As the summer passed I learned the words and the idioms. I talked myself the way
I had always talked, but my ears missed nothing. I missed nothing Duke did not miss.
And at precisely that point I began, without knowing why, to feel uncomfortable. The
initial technical mysteries of the uptown vernacular had been cleared away only to
reveal a deeper mystery. What were they talking about? I knew the words, I knew
270
www.jstor.org
272
An
Interview
grewup on rI5th Street in Harlem.He went to George
School
and by the time he was sixteenwas addictedto
WashingtonHigh
kick
He
able
to
the habit about five yearsago, and since then
was
drugs.
in
Air
Force
been
the
and held a variety of jobs. Now, at twentyhe has
four, he finds himselfa freshmanat Harvard.The followingexcerptsare
from an interviewheld in Cambridgeone autumnday with JaneSchwarz,
a freelancewriter.
WILSON
BURCH
And on dope?
Whatdoyou mean?
Well, in the Air Force I learnednot to be ashamedto
knowmyself.And I got an insightinto how peoplereact
to everydaythings,to see humanreciprocity- how one
guy dependson anotherguy. This leadsto understanding the whole psychologyof crowdsand how they can
be manipulated.
Right.
Andthenyou did what?
Hustled.
Do you regretit?
No. Why shouldI? I was doing exactly what I wanted
to do.
Whendidyou decidethatway of life wasn'tso good?
I didn't exactly decide it wasn't good-I just realized
that I wantedother things.
Whatmadeyou realizethat?
EssentiallyI realizedit all the time. I lived a pretty fast
life. Since early childhoodI've been exposedto rough,
gut, Black reality.I just decidedit was time for me to
do somethingabout it.
Whatdidyou do?
I saw that the only way to get some of the things I
wanted was to give up dope. And I decided the only
way to accomplishthat was to removemyself from the
whole scene, to go awaywhereI could see other things,
become interestedin other things. So I went into the
Air Force-I used the serviceto get rid of the habit.
To get awayfromdrugs?
To get awayfrom the environment.DrugsI can handle.
But the idea of being subjected to the whole Black
ghetto scene, to the very subtle humility, to counting
yourselfasa second-bestentity, wassomethingI couldn't
tolerate.
www.jstor.org
Youhonestly
feel there'sa consciouseffortto containdrugs
withinHarlem?
It has to be conscious.First of all, no Blackman brings
dopeinto the country- he justdoesn'thavethe facilities.
It's broughtin by the white man. Now, secondly,the
marketsfor narcoticsare all in certainplaces.All right,
then if you look at the lawsthey are all designedto contain it within a certainarea.It's reasonableto sell dope
in New York City, because,numberone, the laws are
suchthat you arenot going to get the maximumamount
of time, and numbertwo, it's profitable.
HARLEM
Cultural
SELECTED
JEAN
History
BIBLIOGRAPHY
BLACKWELL
HUTSON
Negroes in America
Chambers,Lucille Arcola (ed.). America's
TenthMan.... N.Y., 1957.
Davis, JohnPreston.AmericanNegroReference Book. Englewood Cliffs, N.J., 1966.
Hughes, Langston, and Meltzer, Milton.
PictorialHistory of the AmericanNegro.
N.Y., 1956, 1963.
Myrdal, Gunnar. An AmericanDilemma.
N.Y., I944.
Osofsky,Gilbert. TheBurdenof Race.N.Y.,
1967.
Pettigrew, ThomasF. A Profileof theNegro
American.Princeton, N.J., 1964.
Richardson, Ben Albert. Great American
Negroes.N.Y., 1945.
United Asia. TheAmericanNegro.Bombay,
1953.
History of Harlem
Bercovicis, Konrad. Around the World in
New York. N.Y., 1924.
1920.
BIOGRAPHIES
Washington,S.A.M. GeorgeThomasDowning. Newport, 91o0.
Aron, Birgit. The GarveyMovement.N.Y.,
1947.
Cronon, Edmund David. Black Moses.
Madison, Wis., I955.
Garvey, Amy Jacques.Garveyand Garveyism. Kingston, Jamaica,1963.
Garvey, Marcus. Philosophyand Opmions.
2 vols. N.Y., 1923-1925.
I929,
1930.
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BIOGRAPHIES
1953.
Rogers, Joel Augustus. World'sGreatMen
Alexis, Stephen. Black Liberator:The Life
Color.
N.Y., I946-I947.
of
of ToussaintL'Ouverture.N.Y., 1949.
Thomas,Will. The Seeking.N.Y., 1953.
CitizenToussaint.Boston,
Hawkins, Hugh (ed.). BookerT. Washing- Korngold,Ralph.
I944.
ton and His Critics.Boston, I962.
Waxmon, Percy. The BlackNapoleon: The
Marshall, Edward. Booker T. Washington,
Story of Toussaint L'Ouverture.N.Y.,
The World'sMost ExtraordinaryNegro.
I93I.
N.Y., I9Io.
Institutions
I924.
9 I9.
BIOGRAPHIES
28I
N.Y., 1938.
ESSAYS
I905,
I907,
I920,
I953,
I961.
Contemporary Harlem
Ashmore,HarryS. TheOtherSideof ordan.
N.Y., 1960.
282
Photograph:GeorgeFrye
Behan,Brendan.BrendanBehan'sNew York.
N.Y., 1964.
Bontemps, Arna, and Conroy, Jack. Anyplace but Here. N.Y., 1966.
Harrington,
N.Y.,
Oliver.
I958.
Meeting of Harlem Community Representatives with Mayor Wagner and City Officials
at City Hall. N.Y., I959.
Klein, Woody. Let in the Sun. N.Y., 1964.
Lomax, Louis. The Negro Revolt. N.Y., 1962.
- . When the Word Is Given. Cleveland,
1963.
BIOGRAPHIES
BIOGRAPHIES
Literature
Bone, Robert A. The Negro Novel. New
Haven, 1958, 1965.
Brawley, Benjamin Griffith. Early Negro
AmericanWriters.Chapel Hill, I935.
. The Negro Genius.N.Y., I937.
. The Negro in Literatureand Art in
the UnitedStates.N.Y., 19Io, 1918, 1929,
I937.
284
1925.
Fiction
Appel, Benjamin.... TheDarkStain.N.Y.,
I943.
1953.
1927, 1951.
1920-1921.
Crisis. N.Y.,
91I-.
Freedomways. N.Y., 196 -.
Harlem Digest. Vol. I, No. I. June I937I939.
I. N.Y.,
1949-I950.
Poetry
Benet, William Rose. Harlem and Other
Poems. London, I935.
Brown,SterlingAllen. SouthernRoad.N.Y.,
I932.
James Baldwin,.
Photograph: Steve Schapiro,from
Black Star
---.
--
. SaintPeterRelatesan Incident.N.Y.,
I930, 1935Jones,LeRoi. BlackArt.Newark,N.J., I966.
--. Dead Lecturer.N.Y., 1964.
. Prefaceto a TwentyVolumeSuicide
Note. N.Y., 1961.
PoKerlin, Robert Thomas. Contemporary
etryof the Negro.Hampton, Va., 1921.
Latimer,Lewis Howard.Poemsof Loveand
Hate. N.Y., 1925.
McKay, Claude. Harlem Shadows. N.Y.,
--
1922.
BIOGRAPHIES
Music
Assland,Benny H. (comp.). TheWax Works
of Duke Ellington. Stockholm, Sweden,
1954.
Brooks, Shelton. Five Songs. N.Y., I9101919.
Burleigh, Harry Thacker. Negro Spirituals
ArrangedforSolo Voice.N.Y., 1917-1927.
Burleigh, Harry Thacker, and Johnson,
JamesWeldon.... 0 Southland!N.Y.,
1904.
.Passionale: YourEyesSo Deep, and
Your Lips Are Wine. N.Y., I9I5.
Charters,Samuel B., and Kunstadt, Leonard. Jazz: A History of the New York
Scene. N.Y., 1962.
De Toledano,Ralph.Frontiers
ofJazz. N.Y.,
1947.
Handy, WilliamChristopher.Blues,An An-
1961.
N.Y., 1964.
1952.
BIOGRAPHIES
Miller, Henry. The Amazingand Invariable Aaron, Henry, as told to Furman Bisher.
Aaron, rf. N.Y., 1968.
Brunswick,
Me.,
ing.
1964.
BeaufordDeLaney.Yonkers, 1945.
Butcher, Margaret. The Negroin American AmericanFederationof Artists.JacobLaw- Shapiro, Milton J. The Hank Aaron Story.
Culture. N.Y., 1956.
1966.
Chicago, 191 .
Chicago, 1941.
Covarrubias,Miguel.NegroDrawings.N.Y.,
1927.
N.Y., 1949.
1929,
1930,
ex-
N.Y., 1916.
288
--
N.Y., 1961.
N.Y.,
Sullivan,GeorgeE. WiltChamberlain.
1966.
BIOGRAPHIES
Hardwick,Richland. CharlesRichardDrew:
Pioneerin Blood Research.N.Y., 1967.
Miller, Floyd. Ahdoolo! The Biographyof
MatthewA. Henson.N.Y., 1963.
Robinson,Bradley.Dark Companion(Henson). N.Y., I947.
Sports
Baltimore Museum of Art. Man in Sport.
Baltimore, 1968.
Robinson,John Roosevelt.JackieRobinson:
My Own Story. N.Y., 1948.
MUSEUM
THE METROPOLITAN
OF ART
BOARD OF TRUSTEES
Arthur A. Houghton, Jr., President
Robert Lehman, Chairman
C. Douglas Dillon, Vice-President
J. RichardsonDilworth, Vice-President
Walter C. Baker, l'ice-President
Elective
Richard M. Paget
Mrs. CharlesS. Payson
Robert M. Pennoyer
Richard S. Perkins
Francis T. P. Plimpton
Roland L. Redmond
Peter H. B. Frelinghulysen
Roswell L. Gilpatric
JamesM. Hester
Devereux C. Josephs
Andre Meyer
Henry S. Morgan
Malcolm P. Aldrich
Mrs. Vincent Astor
John R. H. Blum
R. Manning Brown, Jr.
Mrs. McGeorge Bundy
Daniel P. Davison
Mrs. JamesW. Fosburgh
Ex Officio
Emeritus
Mrs. Ogden Reid
Henry C. Alexander
Honorary
Dwight D. Eisenhower
C. Michael Paul
AlastairBradley Martin
Craig Hugh Smyth
Millard Meiss
R. Thornton Wilson
STAFF
Thomas P. F. Hoving, Director
Daniel K. Herrick, Vice-Directorfor
Theodore Rousseau, Vice-Director,
Joseph V. Noble, Vice-Directorfor
Finance and Treasurer
Curator in Chief
Administration
Richard R. Morsches, Operating
Ashton IHawkins, Assistant Secretary
Arthur Roscnblatt, Administratorfor
Dudley T. Easby, Jr., Secretary
Administrator
Architecture and Planning
Barbara Vona, Administrative Assistant
Arthur Klein, Supervisor of Plans and Construction
K. Howat, Associate
Curator
in
Assistant Curator
Charge
AMERICAN WING:
CONTEMPORARY ARTS:
ISLAMIC ART:
DRAWINGS:
and Prints
John J. McKendry,
Associate Curator.
EGYPTIAN ART:
Claus Virch, Curator. Margaretta M. Salinger, Elizabeth E. Gardner, and Guy-Philippe de Montebello, Associate Curators.
Hubert F. von Sonnenburg, Conservator of Paintings
AUDITORIUM EVENTS:
BOOK
Bradford D. Kelleher,
MENMBERSIHIP:Dorothy
Sales Manager.
Weinberger,
Assistant
Manager
IIIOTOGRAPI
Information
THE SMAINBUILDING:
Io-io;
www.jstor.org