Here among the rarities of early Negro Americana was Jupiter Hammon's Address to the Negroes of the State of New York, edition of 1787, with the first American Negro poet's famous "If we should ever get to Heaven, we shall find nobody to reproach us for being black, or for being slaves." Here was Phyllis Wheatley's Mss. poem of 1767 addressed to the students of Harvard, her spirited encomiums upon George Washington and the Revolutionary Cause, and John Marrant's St. John's Day eulogy to the "Brothers of African Lodge No. 459" delivered at Boston in 1789. Here too were Lemuel Haynes' Vermont commentaries on the American Revolution and his learned sermons to his white congregation in Rutland, Vermont, and the sermons of the year 1808 by the Rev. Absalom Jones of St. Thomas Church, Philadelphia, and Peter Williams of St. Philip's, New York, pioneer Episcopal rectors who spoke out in daring and influential ways on the Abolition of the Slave Trade. Such things and many others are more than mere items of curiosity: they educate any receptive mind.
Puerto Rican historian, writer and activist (1874–1938)
Arturo Alfonso Schomburg (January 24, 1874 – June 10, 1938), was a historian, writer, collector, and activist for equal rights. Schomburg was a Puerto Rican of African and German descent. He moved to the United States in 1891, where he researched and raised awareness of the contributions that Afro-Latin Americans and African Americans have made to society. He was an important intellectual figure in the Harlem Renaissance. Over the years, he collected literature, art, slave narratives, and other materials of African history, which were purchased to become the basis of the Schomburg Center for Research in Black Culture, named in his honor, at the New York Public Library (NYPL) branch in Harlem.
From: Wikiquote (CC BY-SA 4.0)
From Wikidata (CC0)
Though it is orthodox to think of America as the one country where it is unnecessary to have a past, what is a luxury for the nation as a whole becomes a prime social necessity for the Negro. For him, a group tradition must supply compensation for persecution, and pride of race the antidote for prejudice. History must restore what slavery took away, for it is the social damage of slavery that the present generations must repair and offset. So among the rising democratic millions we find the Negro thinking more collectively, more retrospectively than the rest, and apt out of the very pressure of the present to become the most enthusiastic antiquarian of them all.
The African brought to America among his patrimony musical instruments...The African fetiches with their religious dancing has had its counterpart in the Voodoo ceremonies in Haiti and the Nanigoz societies of Cuba, known to exist in those islands as late as 1890. It is quite true that the Church, not knowing the true interpretation of music and dancing carried on by the African has dubbed it with the term savagery.
We have been instructed to look at the Negro as "idle, worthless, indolent and disloyal," but a careful examination of the West Indies and South America does not show this to be true. Many instances of advancement by hard industry can be noted in any of the many spots of the New World. There is not a single field of industrial activity in which the descendants of the African have not contributed their mite toward an improvement of conditions which the gold seekers and pleasure hunters were wont to overlook.
Many Cuban Negroes curse the dawn of the Republic. Negroes were welcomed in the time of oppression, in the time of hardship, during the days of revolution, but in the days of peace and of white immigration they are deprived of positions, ostracized and made political outcasts. The Negro has done much for Cuba; Cuba has done nothing for the Negro.
There is a sad and tragic chapter in the history of Cuba under Spanish rule, that seems to circle with pathetic recollections the dreadful wrongs done to innocent men....A calm generally precedes these conditions and I will attempt to carry you through the events as they were ushered into existence by the break of day.
Imagine a boy living in the city of his birth and not knowing who was the most noted native painter! It is true the fact was recorded on a marble tablet duly inscribed and placed on the wall of a building where it could easily be read. However, the inhabitants of San Juan knew but little of the man thus honored. The white Spaniards who knew, spoke not of the man's antecedents. A conspiracy of silence had been handed down through many decades and like a veil covered the canvases of this talented Puerto Rican. Today we understand the silence and know the meaning of it all.