The Harlem Renaissance

It is impossible to engage in a complete discussion of the Harlem Renaissance without acknowledging the contributions of white patrons and intellectuals. White patronage had a profound effect on the vitality of the Harlem Renaissance, and evidence suggests that the Renaissance would not have reached the heights that it did without generous white contributions. White money and white connections were crucial catalysts for the movement in its early years. While their intentions were usually good, white support still elicited mixed feelings among the Harlem community, as some defined their participation in the movement as a sort of “refined racism” (Kellner). The New Negro movement soon became a form of entertainment for whites. White downtowners would flock to Harlem to “experience the primitive without having to go to Africa” (Dorsey). The influx of whites brought the Jim Crow mentality to Harlem, and soon popular cabarets and nightclubs were turning away black clientele. This segregation made sense considering that whites mostly owned clubs. What took place was essentially a white capitalization and exploitation (something that Dorsey calls blaxploitation) of African-American success. Oftentimes, the only blacks to be seen in clubs were the servers and entertainers.

Larsen’s character Hugh Wentworth, a white liaison to Irene and her Harlem community, is included in Passing to touch upon the effects of white patronage on the Renaissance, and more notably, how the social-dynamics played out between the two races. Hugh is more than just a fleeting appearance in the novel; he appears in multiple scenes and exhibits what seems to be a close friendship with Irene. To Clare’s shock, Hugh frequents at Irene’s Negro Welfare League parties. Irene replies that Hugh, like other whites of his kind, attends her parties to “gaze on the Negroes” (Larsen, 198).

However Irene’s husband Brian is decidedly skeptical about Hugh’s intentions and inclusion in the Harlem community, commenting that “Hugh think[s] he’s God, you know” (Larsen, 215). Brian’s perspective invites readers to consider the paradox behind white patronage: while whites certainly helped move the Harlem Renaissance forward, they did so while patronizing the black race.

Two Sides of the Same Coin:

Arthur Spingarn (pictured left) and Carl Van Vechten (pictured right)

Both Spingarn and Vechten were notable supporters of black artists and writers, but their legacies are quick to diverge. Spingarn has been described as the “most selfless of white philanthropists,” as he devoted his life to promoting racial equality through various measures and initiatives. Spingarn and his brother Joel crafted a coveted medal of achievement for talented black, ensuring its continuity by backing it with a hefty trust fund. W.E.B. Du Bois and Langston Hughes are among some of the Harlem writers who were awarded the Spingarn Medal. Van Vechten, on the other hand, was one of the most controversial white patrons that white and black scholars both felt a “strong prejudice against” (Kellner, 124). The circulation of his book Nigger Heaven quickly instigated criticism, as it reinforced black stereotypes by focusing primarily on the seedy side of Harlem. This isn’t to say that Van Vechten’s admiration for the black arts wasn’t genuine, but there is suggestion that he used his “Harlem acquaintances badly” (Kellner, 125). Despite the controversy, Van Vechten’s book did succeed in gaining white readership for black literature (Kellner, 130). Coincidently, Van Vechten and Larsen were close friends, and he is credited with helping launch her literary career.