Dylan Penningroth: Unearthing Hidden Facets of Black History

BLACK HISTORY DETECTIVE: Northwestern University professor Dylan C. Penningroth was named one of 2012’s MacArthur Fellows. His ‘Genius Award’ will facilitate his ongoing study of ways that African American slaves participated in the legal realm of public life, even before emancipation. (Photo: Courtesy of the John D. & Catherine T. MacArthur Foundation)

The annual announcement of the MacArthur Fellowship “Genius Grant” Award winners always offers us a moment to pause and marvel at the richness and unconventionality of the intellectual and artistic game changers among us. They are scientists and poets, musicians and mathematicians, filmmakers and neurosurgeons. Their backgrounds are as varied as their vocations. But they all share a common creative brilliance. Each of the 23 award recipients, chosen for their unique intellectual contributions to society and culture, was awarded an unrestricted $500,000 grant to celebrate and support their work. (Ah, wouldn’t it be nice if the MacArthur judges were fans of UrbanFaith?)

For those of us who follow such things, each year there are usually one or two winners who especially stand out among the honorees and grab your interest. Last year, for me, it was Jeanne Gang, the Chicago-based architect whose adventurous and eco-friendly designs led the MacArthur judges to observe that she challenges “the aesthetic and technical possibilities of the art form.”

Of the 23 honorees announced this week, it was the work of historian Dylan Penningroth that caught my immediate attention. Penningroth, a 41-year-old associate professor of history at Northwestern University, explores the concepts of property ownership as it related to African American life under slavery and during the era following slavery’s abolition. “I study the ownership of property by slaves,” he says in a video at the MacArthur website. “I wanted to figure out how was it that slaves were able to own property when they themselves were property.”

Consequently, Penningroth has spent thousands of hours digging into historical court records, sermons, and slave narratives to piece together the antebellum and post-antebellum experience of black Americans. His research reveals a surprisingly robust participation of African American slaves in public life — owning land, getting married, making contracts, suing people. Penningroth explains, “The thing that studying law during this period has shown me is that African Americans were in it. They were participating in it. … As long as those claims didn’t threaten white supremacy, many whites were perfectly happy to let them make those claims.”

By studying this obscured aspect of the African American experience, Penningroth is breaking new ground in American history and revealing important antecedents to the civil rights movement of the 1950s and ’60s. Chicago Tribune culture critic Howard Reich keenly recognizes this dimension. He writes of Penningroth’s work, “Though at first glance this might seem like merely a historical curiosity, in fact it points to a people strategizing under oppressive circumstances and setting the stage for expanding their rights in the 20th century.”

Penningroth also draws important connections between the early participation of African Americans in the law and the gradual development of the black church. According to Penningroth in the Tribune interview, the descendants of freed slaves “used the law to build the independent black church. We think of the church as the seed of the civil rights movement, and it was that. But the church was also a legal institution.” Though whites owned the church buildings during the slavery era, once emancipation arrives, the law allows black people to “build this religious institution, which is so central to black history,” adds Penningroth. “At the same time, building the black church pulls them into the law.”

As Penningroth continues his research, no doubt with added impetus from his newly conferred MacArthur grant, his work bears watching. “This fellowship is enormously important to me,” he says, clearly grateful. “It’s going to make it possible for me to take a story that might otherwise be limited in time and space and make it a bigger story.” A story that sheds new light not only on African American history, but American history.

Benjamin E. Mays: Schoolmaster of the Civil Rights Movement

Martin Luther King Jr. didn’t emerge on the civil rights scene fully formed but drew from a rich spiritual and intellectual heritage that he owed, in part, to his mentor, the Rev. Dr. Benjamin Elijah Mays. Mays served as president of Morehouse College in Atlanta for 27 years and delivered the eulogy at King’s funeral. In the first full-length biography of Mays, Dr. Randal  M. Jelks, associate professor of American and African American studies at the University of Kansas, provides an in-depth look not only at Mays’ meteoric rise from humble Southern roots to international acclaim, but he also sheds new light on the fertile soil out of which the Civil Rights Movement grew. UrbanFaith talked to Jelks about the book earlier this week. The interview has been edited for length and clarity.

UrbanFaith: Why is Benjamin Mays important?

First, most people think of the Civil Rights Movement as being born in December 1955 with Rosa Parks and the Montgomery bus boycott. In point of fact, it had a long and winding road to becoming a fully understood national movement. You had to have teachers and people who laid out the groundwork for what began in ’55, and so I wanted remind readers, particularly those readers who are not familiar with institutions within the Black community, of the great intellectual leaders and teaching that went on to fully fuel a movement.

Mays grounded his civil rights philosophy in the Christian faith, but moved away from his conservative Baptist heritage into Social Gospel theology.

That’s correct. The Social Gospel emerged from a German Baptist, Walter Rauschenbusch, who was a minister in Hell’s Kitchen in New York. When you see people dying everyday from disease and impoverishment (these were European immigrants) at an alarming rate, you say, “How is this individualized gospel helping these people? Is it only teaching them to be saved for the moment and live through this hell on earth?” Mays concluded the same thing from both the impoverishment he faced in rural South and the kind of totalizing exclusion that he saw in Jim Crow America.

You write that Rauschenbusch didn’t say much about the sin of racism, but that Mays saw in Rauschenbusch’s theology something he could use. Did Mays express any resistance to adopting the Social Gospel in light of Rauschenbusch’s relative silence on race?

Mays is like all people in that you find a creative spark. You read somebody and their experience is different than yours, but you find something in that text that triggers your thinking. I think that’s how Mays used Rauschenbusch. If he was going to remain Christian, then the gospel has to speak to societal issues; it couldn’t just speak to individual issues. If it was just personalized and just a communitarian voluntary organization, it could not be a force for mobilizing social change. That’s what Mays would probably say.

You said Mays’ emphasis was more on Jesus’ humanity than on his divinity. Did Mays believe in the divinity of Christ?

If you use the old theological terms, people with high Christology hold to the divinity of Christ; with low Christology, they emphasize the humanity of Jesus. So Mays would have had a low Christology in the sense that what he sees as important about Jesus are the actions that he took and what he stood for. For Mays, Jesus’ death on the cross is because of his actions in facing the state. It is the ethics of Jesus and the teachings of Jesus that are far more long-lasting than whether Jesus arose from the dead. He doesn’t have this sort of Anselm theology of the Middle Ages that says Jesus is the sacrifice for all of us.

That sounds consistent with his belief that faith is action. Is there a direct link there?

Yes, I think he would be much more aligned with 1 and 2 John than with the Apostle Paul.

Why did Mays think it was so important to ground his arguments for racial equality in the Christian faith?

Mays could rightly assume that the American narrative began with religious freedom and the theology of those English Protestants of all stripes coming to the British colonies of North America. So, even if we had Catholics and Eastern Orthodox in the United States, that narrative sort of shapes American life and culture. And, in his era, people still went to church in great numbers. So it made sense sociologically for him to speak the language of the people and through these institutions that had moral influence.

Later when the Black Power movement arose, Mays seemed to be skeptical that civil rights could be achieved apart from a moral or spiritual foundation. Is that correct?

He wasn’t skeptical. I think the generation coming after him was much more skeptical  about the ideas of moral suasion in light of the assassination of Martin Luther King Jr. and other things. They begin to see that political power, and some would even argue revolutionary struggle by means of arms, was much more important. You can see everyone growing tired of state-sanctioned violence that was done against young civil rights activists. So there’s a real move to say that faith is power. Mays is now in his 70s as the Black Power movement emerges and he begins trying to figure out if it is right to speak in this language. What I was trying to show was that in that moment, everything was really kind of confused and here was a man who had spent his life trying to mobilize Christians to tackle the problem of race. Mays was trying to give them some grounding.

A huge part of his work involved educating Black pastors. Has that legacy been born out?

There is still the need to educate Black clergy. Mays wanted to educate them in a certain way. Black people are like everybody else in America; they have a diversity of opinions. I don’t think he was as explicit as he might have been that he wanted to educate Black pastors in a liberal, progressive way in order to empower a social movement. There are lots of pastors who go to conservative seminaries and who buy whole hog the arguments. I would think that would be short-sighted if they really looked at the conditions within Black communities.

He seemed to have some prejudice against the low-church experience.

RANDAL M. JELKS: The Civil Rights Movement “had a long and winding road to becoming a fully understood national movement.”

Mays, as a part of his generation, really didn’t look favorably on the experience of Pentecostals in particular and people in store-front churches. I think his own biases came out there. Also, he was biased because he was a Baptist. In his era, even though he was trying to be non-denominational, he doesn’t quite know what to do with people who are in ever-growing numbers becoming Pentecostal store-front preachers. He hadn’t thought that out. And, of course, you’re shaped by your education, and here he was a University of Chicago PhD. I don’t think his teachers at that time would have given much thought to the growing numbers of Pentecostals. Even some of his critics, when they were criticizing the negro’s church, saw that bias.

He had a strong commitment both to Christianity and democracy that you connect with his Baptist ecclesiology.

That’s right. It’s very much rooted in the long history. Alexis De Tocqueville wrote about this in Democracy in AmericaOne of the things that we don’t give enough credit to is the Protestant dissenting tradition that is a shaping force in American democracy. The constitution of the United States very much resembles the way the Presbyterian church is ordered and the governing structures of the country very much resemble long-held patterns that govern the Calvinist tradition. Freedom of conscience is also very much an inheritance that he picked up on as a dissenting tradition.

I thought it was fascinating to read about how Mays’ trip to India to meet Ghandi and his debates with the Dutch Reformed South African theologian shaped his view of the American experience.

He didn’t see the problems of the United States as separate. This is the privilege of being able to travel at a time when most Americans would not have seen the world. He very much realized that the problems of Black liberation were the problems of liberation for people around the world in many different settings. He was particularly drawn to the affinity between Apartheid and Jim Crow. He had heard those same debates about whether the Bible condones a separate reality. He wanted to strike that down. In terms of Ghandi, what he saw was that black people in America were a racial minority, so to pick up 1917 Bolshevik-style revolution would have been tantamount to signing a death warrant. This is where his Christian ideals come in. Non-violent struggle keeps people’s dignity and personhood in tact. This is something very important for him, coming out of the Baptist tradition, which teaches that God is no respecter of persons, but every person is precious in God’s sight.  That’s what struck him about Ghandi in his long struggle against the British.

His connection with Martin Luther King Jr. went back to when King was a high school early-admission student at Morehouse.

King’s father was a trustee of Morehouse and a graduate of Morehouse himself. And so, for young King to be entrusted to Benjamin Mays was a very good thing for his family. The Mays’ consistently had not only Martin King, but other young students over to dinner, and introduced them to national figures from A. Philip Randolph to Dorothy Height. They’re all at dinner listening to these conversations, soaking them up. What a wonderful education. So King becomes very much persuaded through Mays that ministry could have a social application, because, as he writes, he had planned to go to law school. He had not planned to pick up things like his father, who he thought was too conservative in his approach to ministry. So Mays becomes this new model of a highly educated Black minister and socially connected to world-wide issues.

You write that King modeled his early civil rights persona after Mays. In what way did he emulate Mays?

The reason I write that is we forget that Martin King was 26 years old when the Montgomery bus boycott starts. When I was 26, I was an adult, but I was still very much a young adult with no experience whatsoever. And so you take on personas as you are trying to find your voice, sort of like painters and musicians. They play like other musicians until they find their own creative spark and energy. King was already a really fine young orator, but in terms of being fully formed, I don’t think so. I think he was still trying to give homage to Mays as a kind of father figure. That’s why he was very much trying to be poised and deliberate like Mays. Biographies kind of annoy me because they are written as though this man has no developmental history like all of us. When King’s home is bombed in Montogmery, Mays has to persuade his father to back off, because his father wants him to pack up and move back to Atlanta. Mays becomes an intervening force.

And yet, Mrs. Mays complained at one point that King was borrowing from Mays without attribution.

Preaching is an art like music. If you hear a lick, and that’s good, you’re going to borrow that lick. But she certainly was not worrying about the greater cause. She was like, “That’s my husband’s work and he should be giving more credit where credit is due.”

In your estimation, what do we owe Benjamin Mays?

I don’t know that he would say we owe him anything, but for me, both as a religious person and an intellectual, I first wanted to show that there were a variety of models out there. It’s very important that we hear from different voices within the community. Of course there are conservative pastors who come on, like E.V. Hill in Los Angeles. Certainly E.V. Hill back in the day was very conservative. Mays also is a critic of people like Billy Graham and Reinhold Neibuhr.

Second, if Benjamin Mays had been president of Harvard, there would have been 1000 books written about him, because in a 27-year stretch, he graduated and was looked up to by people like Martin Luther King Jr., Marian Wright Edelman, Julian Bond, David Satcher, who was Surgeon General of the United States, and on and on and on. If he had been president of Harvard, people would say, “What kind of educator does that? What’s the shaping force for him to make this place so rich?” But it’s a little Black school for men, and he saved it from closing its doors. I think one of his great legacies is this connection between education and religious faith and thought.

Lastly, long before this term “public intellectual” was coined, he was indeed a public intellectual, writing primarily to Black people. I don’t think you would have seen too many White writers, like Neibuhr, saying in a column that the Korean War is wrong. There have been thousands of books written on Neibuhr, who said that the Cold War was a good thing.  I was trying to say there are other voices out here who had significance and who have historical legacies that are important.

 

Belafonte, Beyoncé, and Jay-Z: Are Black Stars Obligated to ‘Give Back’?

HARRY BELFAFONTE: “They have turned their back on social responsibility,” opined the activist and actor about today’s black celebrities. (Photo: David Shankbone/Wikipedia)

Harry Belafonte is a legendary entertainer, known for his iconic performances in films like Carmen Jones, Buck and the Preacher, and Calypso. And who can forget his award-winning “The Banana Boat Song (Day-O)”? However, in a long and distinguished career, Belafonte’s greatest accomplishments arguably may be his involvement with the civil rights movement.

During the ’50s and ’60s, Belafonte was one of Dr. Martin Luther King Jr.’s biggest supporters and endorsers. He fully believed in the message and movement that King worked so tirelessly to establish. Belafonte provided financial support for King’s Southern Christian Leadership Conference (SCLC) as well as the Student Nonviolent Coordinating Council (SNCC), and he also participated in several rallies and protests alongside King. Still a civic-minded crusader today at age 85, he continues to live his life as an outspoken activist for social justice and equality.

Belafonte has never been one to shy away from social commentary or hold his tongue in conversation. He has been known for his honest comments and straightforward critiques about politics, show business, and society.

In an interview last week with the Hollywood Reporter, when asked whether or not he was happy with the images of minorities portrayed in Hollywood, he caused a stir by calling out two famous black celebrities by name.  “I think one of the great abuses of this modern time is that we should have had such high-profile artists, powerful celebrities,” Belafonte began. “But they have turned their back on social responsibility. That goes for Jay-Z and Beyoncé, for example.”

JAY-Z AND BEYONCE: Is it fair to compare the altruism and social involvement of today’s stars to those of the civil rights era? (Photo: Ivan Nikolov/WENN/Newscom)

Belafonte believes that industry heavyweights like Jay-Z and Beyoncé have a social responsibility to be outspoken regarding issues of race, prejudice, and civil injustices, mainly because they have the social influence and public platform to do so. Janelle Harris at Essence echoed those sentiments. “There’s been an ugly dumbing down when it comes to acknowledging and addressing pertinent issues, even having empathy for and interest in what’s impacting our community. It’s an attitude of detachment,” she said.

She added: “I agree with Harry Belafonte. I think young people could be doing more. Twenty, thirty, forty-somethings. It’s not just the celebrities, though they’re certainly part of the vanguard for making philanthropy and activism cool, which is unfortunately necessary for some folks to get involved.”

Jay-Z and Beyoncé are definitely the closest thing the black community has to pop-culture royalty today. The hip-hop power couple topped Forbes list this year as the world’s highest-paid celebrity duo, raking in a staggering $78 million. But are they giving back?

Guardian columnist Tricia Rose wonders as much. She writes, “It is undeniable that today’s top black artists and celebrities have the greatest leverage, power, visibility and global influence of any period. It is also true that few speak openly, regularly and publicly on behalf of social justice. Most remain remarkably quiet about the conditions that the majority of black people face.”

Many celebrities often take on a non-controversial role or use their celebrity indirectly as a fundraising tool, rather than taking an overt stance to engage civically. Rose continues to say that her previous statement is not intended to, “discount their philanthropic efforts,” but to raise awareness. And Belafonte’s lament illuminates a fundamental shift in black popular culture.

“As black artists have gone mainstream, their traditional role has shifted. No longer the presumed cultural voice of the black collective social justice, it is now heavily embedded in mass cultural products controlled by the biggest conglomerates in the world,” says Rose.

FREEDOM FIGHTERS: Belafonte (center) with fellow actors Sidney Poitier (left) and Charlton Heston at the historic civil rights March on Washington, D.C., in 1963.

Rose notes that individuals like Belafonte willfully sacrificed their safety and lives by marching with civil rights protesters under threat of police violence. His commitment and contributions are rare among modern superstars.

She adds: “In the history of black culture popular music and art has played an extraordinary role in keeping the spirit alive under duress, challenging discrimination and writing the soundtrack to freedom movements.” Visionaries like Paul Robeson, Lorraine Hansberry, and Nina Simone are a few that Rose believes understood that responsibility and made a conscious effort to better society through both their art and fame.

As for Beyoncé, the singer’s representatives did respond to Belafonte’s charge by citing a litany of the singer’s charitable acts, including funding of inner-city outreaches in her hometown of Houston, as well as donations to hurricane relief efforts in the Gulf Coast and humanitarian campaigns following the Haiti earthquake.

In fairness to Beyoncé and Jay-Z, it is not for any of us to judge how they use their money, nor to pressure them into being more generous than they already are. What’s more, the issues in today’s society are quite different than they were during the civil rights era. So, it might be unfair to impose those kinds of expectations on today’s African American celebrities.

Still, it’s hard not to feel that we do need more influential people with Belafonte’s mindset to help us reenergize the black community. His contributions over the course of his career have changed the world for the better and have proven that entertainers can be important difference makers for change and justice.

Wait‚ Something Was Missing from the Mars Rover Mission

MISSION ACCOMPLISHED: Engineers at NASA’s Jet Propulsion Laboratory in Pasadena, California, celebrate the Aug. 6 landing of NASA’s Curiosity rover on the planet Mars. (Photo: NASA)

On August 6, when the Mars rover Curiosity managed a text-book landing on the red planet, I was as thrilled and enthralled as anyone else who watched the tension in that NASA control room transform into unrestrained joy once the engineers realized that their project was a success. For me, though, watching the jubilation in that room was also bittersweet. As an American I felt the pride and amazement of this great accomplishment in space, but as an African American I was stung by the lack of black faces celebrating in the NASA control room.

According to the National Center for Education Statistics, the number of graduates with STEM (science, technology, engineering, mathematics) degrees has been declining nationwide, but it’s particularly alarming for blacks. African Americans represent 12 percent of the U.S. population, but 2009 received only “7 percent of all STEM bachelor’s degrees, 4 percent of master’s degrees, and 2 percent of PhDs.” Education, of course, goes hand in hand with our economic wellbeing. With black unemployment twice as high as that of whites, pursuing STEM careers is an opportunity that could dramatically improve black life for generations to come.

The black church should use its influence to awaken parents and encourage young people to pursue STEM education. In addition to the economic benefit, STEM fields are about the study of God’s creations — the universe, the Earth, and all life forms. Emphasizing STEM in this context at church and the community could channel the natural curiosities of young people in a positive direction. It could help them to see and experience God not as some elusive being beyond the clouds but as a deeper, loving ever-present Spirit who is concerned about their everyday lives.

WELL DONE: On Aug. 13, President Obama made a special phone call to congratulate NASA’s Curiosity Mars rover team. (Photo: Pete Souza/Official White House Photo)

If a kid in the ’hood or the ’burbs can master the physics required to consistently shoot a rubber sphere into a 10-foot-high cylinder or mix and sync the sonic wavelengths of hip-hop beats to precision, they also can achieve in math and science classes. STEM is at the root.

As a youth growing up in the late 1970s, my curiosity in God was actually stirred more by watching reruns of the original Star Trek than sitting in wooden pews enduring long, dry, abstract sermons. Star Trek offered many lessons about how science could be used to help solve human problems and lead us to a better understanding and relationship with Jesus Christ. Star Trek also depicted blacks as intelligent leaders rather than the buffoons I often saw on other TV shows. (As an aside, some years ago I met Nichelle Nichols, who played the original Lieutenant Uhura, at an event in Phoenix, Arizona. I told her that as a youth I was in love with her because she tucked me in bed most nights as I fell asleep after watching Star Trek. She laughed and gave me a big hug.)

One of my favorite Star Trek episodes was “The Ultimate Computer.” Dr. Richard Daystrom, a black man (actor William Marshall), developed the M5 Multitronic Unit, a computer designed to run a 430-crew starship with just 20 crewmembers. The M5 was to replace a commander, such as Captain James T. Kirk. Humans would no longer die at war but could channel their intellect and spirit toward higher pursuits.

M5 thought like a human because Daystrom had implanted M5 with his own human neural engrams. It was tested under a war games scenario, while Kirk sat at the helm observing. After performing flawlessly, M5 hit a glitch and ended up blasting other starships, killing crew members. Daystrom experienced a mental breakdown while trying to talk M5 out of committing more murders. Eventually Kirk reasoned with M5 by appealing to its (Daystrom’s) sense of guilt. M5 tells Kirk, “Murder is contrary to the laws of man and God,” and concludes that it must die for its sins. Even the computer understood God’s authority and submitted.

The outcome was unfortunate for Daystrom, but this 1968 episode revealed something extremely inspiring about the overall Star Trek series: Daystrom, a genius, was responsible for the design of ALL of the starship computers throughout the entire fleet. Imagine that — a black man!

The black imprint in space travel is not science fiction. From Benjamin Baneker, the first African American astronomer, to Guion “Guy” Bluford, the first black man in space, to Mae Jemison, the first black woman in space, African Americans have a long and strong legacy. And though it may not have been visually present in that jubilant NASA control room, it was there: NASA’s current leader, Charles Frank “Charlie” Bolden, Jr., is African American.

Editor’s Note: For more information on ways of encouraging student participation in science, technology, engineering, and mathematics programs, check out this report, “Increasing the Number of STEM Graduates,” from the Business-Higher Education Forum.

Are We Destroying Black Hollywood?

ALWAYS THE MAID: Actress Viola Davis won numerous acting honors but also faced criticism for her role as Aibileen Clark in "The Help." (Image: Dreamworks/Touchstone Pictures)

“When they called my name, I had this feeling I could hear half of America going, ‘Oh no! Oh come on, why her? Again!’ ” Those opening lines of Meryl Streep’s acceptance speech at the Academy Awards this past Sunday verbalized my sentiments exactly, and I’m sure the sentiments of many others. Though Streep is an excellent actor, I was disappointed that Viola Davis, the gifted actor who played Aibileen Clark in The Help, wasn’t chosen as this year’s Best Actress by the committee handing out those coveted Oscars.

While I know I wasn’t alone in my disappointment, I’m sure there were also African Americans who were actually relieved that Davis did not win. That’s just how strong the displeasure among many African Americans was regarding Davis’ role as a ’60s-era Jackson, Mississippi-based maid in The Help. Based on the bestselling novel by Kathryn Stockett, The Help was a source of controversy almost from the beginning, with the African American community up in arms about the movie and Ms. Davis’ decision to play a maid. In an impromptu Facebook survey of my friends, I found mostly mixed emotions about The Help. “African American actors, as well as other actors of color must be selective in the roles they choose to play,” said one friend. “They must really know the purpose behind the film, the targeted audience, and avoid stereotypical roles.” Her view seems to represent the opinion of many.

FROM PAGE TO SCREEN: The film adaptation of Kathryn Stockett's bestseller, 'The Help,' features Emma Stone as Skeeter, Octavia Spencer as Minny, and Viola Davis as Aibileen.

The general consensus, as seen in the news media, is that African Americans are weary of seeing Black actors in subservient roles, as well as the lack of quality leading roles and films that offer a broader view of the African American experience. It didn’t matter that Ms. Davis did a superb job in her portrayal of Aibileen, personalizing the character through knowledge of her family’s heritage of domestic workers. Many people simply were ambivalent about the notion of another Black actor playing a stereotype. Ms. Davis, however, saw the importance of her role when she told Fresh Air host Terry Gross, “You’re only reduced to a cliché if you don’t humanize a character. A character can’t be a stereotype based on the character’s occupation.”

Ms. Davis makes a good point, but even she has acknowledged the dearth of quality roles for Black actors. This has led to the enduring perception that the Academy Awards voting committee, which a recent Los Angeles Times report observed is 94 percent White and 77 percent male, is naturally disinterested in seeing non-White actors in substantial leading roles that transcend standard stereotypes.

I confess that I had my own reservations about seeing The Help initially, having grown tired of movies with Black domestic servants raising white people’s children while often neglecting the needs of their own families. I had seen enough of it, and even heard many real-life stories about it from my own family. Many, if not most, of our ancestors in the 1960s and prior — from the North to the South and everywhere in between — cooked, cleaned, sewed, chauffeured, handled the interests of, and had a part in raising the children of white families. Most of us don’t want to be reminded, preferring instead to highlight past and current achievements of many highly accomplished African Americans in our community. So was this movie a proverbial push back in line and one of “knowing one’s place,” as the Old South would remind us? Or could it be a realistic portrayal of a not-so-distant time in American history?

Another issue raised by the film is this: Should Black people continue to be angry about Hollywood’s shortsightedness when it comes to making films that authentically reflect African American life? Or, should we simply be grateful and celebrate whenever African American actors do their jobs well, no matter the roles they’re given to play?

In an appearance on ABC’s The View, Ms. Davis talked about her initial reluctance to take on the role. “You knew there was going to be a backlash from the African American community,” she told Barbara Walters and the other ladies. “It is a story set in 1962 about maids who are not educated, and I thought that people would look at that and they wouldn’t see the work.”

Seeing the work for what it was, I appreciated the film’s artistry. After counting the few films of Davis’ I had seen, I read her filmography of 40 films to date, including titles like Law Abiding Citizen and Antwone Fisher, but also Tyler Perry’s Madea Goes to Jail. I wondered about the attention or lack thereof, garnered from Davis’ previous roles, like the characters she played as the BBF (i.e., Black Best Friend) opposite Julia Roberts in Eat, Pray, Love and Diane Lane in Nights in Rodanthe, providing a shoulder to cry on and mother wit, to boot. And let’s not forget Doubt, where Davis earned Oscar and Golden Globe award nominations for Best Supporting Actress. In that film, Davis played opposite Meryl Streep (again!), who was nominated for Best Actress. Surely, we all saw those movies. Didn’t we?

In that Facebook poll I conducted, some of my friends stated that African American directors should correct the problem of limited film choices for Black actors by creating films with great Black characters. While that’s an understandable sentiment, do we need to be reminded that it takes ambitious amounts of funding and the blessing of countless (usually White) Hollywood decision makers to get any type of movie made today? Hollywood finances what the majority of moviegoers will pay for (notwithstanding the bootleg copies of released films that probably sell exponentially above the few actual ticket sales at the box office). If Hollywood won’t fund the films we want to see, we get angry with directors like Spike Lee, John Singleton, and the Hughes Brothers for neglecting to make them (as if these directors owe us.) How many times have you heard people in our community complain about the latest gangsta film featuring do-wrong black characters? Rarely.

When Hattie McDaniel became the first African American actor awarded the coveted Oscar for her 1939 portrayal of Mammy in Gone With the Wind, we applauded even as she poignantly expressed her hope that she would “always be a credit to my race and to the motion picture industry.” Was anyone complaining then? Fast forward some 70 years later and many of us are complaining, as Tavis Smiley did on his PBS show, about Davis’ nomination.

During his interview with Davis and her Help costar Octavia Spencer (who went on to win the Oscar for Best Supporting Actress), Smiley remarked: “There’s something that sticks in my craw about celebrating Hattie McDaniel so many years ago for playing a maid … [and] here we are all these years later … and I want you to win … but I’m ambivalent about what you’re winning for.” The actress shot back: “That very mindset … that a lot of African Americans have is absolutely destroying the Black artist.”

As Hollywood continues to finance movies it deems profitable, we may continue to see characters like Aibilene Clark and the young, white, savior-esque character, Skeeter. And know that the majority of the Academy is White and male.

Whether refusing to support Black artists will contribute to their ultimate destruction, as Davis contends, is up for debate. But while you stand your ground waiting for Hollywood to showcase those artists in more desirable roles, think about supporting them in the meantime. Honor their attempts to make strides in a nearly impenetrable industry that still gives crumbs to Black and other minority actors, compared to the whole slices of cake the majority often receives.