The New Negroes is a stand-up and musical series showcasing comedians, "taps into something that is so real and vital, it's tapping into black comedy while presenting multiple points of view and different angels on material and performances that is reflective of the world we are living in.

Type: Scripted

Languages: English

Status: In Development

Runtime: 60 minutes

Premier: None

The New Negroes - New Negro - Netflix

“New Negro” is a term popularized during the Harlem Renaissance implying a more outspoken advocacy of dignity and a refusal to submit quietly to the practices and laws of Jim Crow racial segregation. The term “New Negro” was made popular by Alain LeRoy Locke."

The New Negroes - Different points of view - Netflix

At the same time, there were also voices of doubt and scepticism. Eric D. Walrond, "the young West Indian writer of “Tropic Death” (1926), found all contemporary black leaders inadequate or ineffective in dealing with the cultural and political aspirations of black masses." In 1923, in his essay The New Negro Faces America, he declared the New Negro to be “race-conscious. He does not want . . . to be like the white man. He is coming to realize the great possibilities within himself. The New Negro, who does not want to go back to Africa, is fondly cherishing an ideal – and that is, that the time will come when America will look upon the Negro not as a savage with an inferior mentality, but as a civilized man.” According to Walrond, the “rank and file of Negroes are opposed to Garveyism; dissatisfied with the personal vituperation and morbid satire of Mr. Du Bois and prone to discount Major [Robert] Moton's Tuskegee as a monument of respectable reaction.” By 1929, Wallace Thurman, the bohemian and brilliant leader of young writers associated with the “Niggerati Manor” as well as journals such as Fire!! and Harlem, referred to the New Negro phenomenon as a “white American fad that had already come and gone”. In several pieces of journalism and literary essays, Thurman castigated the kind of interest both whites and black middle-class readers invested in the work of younger black writers, making it harder for them to think and create independently. In one such essay, The Negro Literary Renaissance which was included in “Aunt Hagar's Children”, Thurman sums up the situation thus: “Everyone was having a grand time. The millennium was about to dawn. The second emancipation seemed inevitable. Then the excitement began to die down and Negroes as well as whites began to take stock of that in which they had reveled. The whites shrugged their shoulders and began seeking for some new fad. Negroes stood by, a little subdued, a little surprised, torn between being proud that certain of their group had achieved distinction, and being angry because a few of them arrived ones had ceased to be what the group considered 'constructive,' having in the interim, produced works that went against the grain, in that they did not wholly qualify to the adjective 'respectable.'” Again in 1929, Thurman had begun his second novel, “Infants of the Spring” (1932), a satire in which he took himself and his peers to task for decadence and lack of discipline, declaring all his contemporaries except Jean Toomer as mere journeymen. And while he admired Alain Locke for his sympathy and support for the young Negro writers, the salon scene in chapter 21 signals Locke's failure at organizing the highly individualistic young writers into a cohesive movement. Beyond the lack of consensus on the significance of the term “New Negro” during the Harlem Renaissance, many later commentators such as Harold Cruse considered it politically naive or overly optimistic. As late as 1938, Locke was defending his views against attacks from John P. Davis and others that his emphasis was primarily on the “psychology of the masses” and not on offering a solution to the “Negro problem.” In dismissing the construction of the New Negro as a dubious venture in renaming, as merely a “bold and audacious act of language,” Gates confirms Gilbert Osofsky's earlier criticism that the New Negroes of the 1920s helped to support new white stereotypes of black life, different from, but no more valid or accurate than the old ones.

The New Negroes - References - Netflix