How did white evangelicals outside the South encounter black people or black culture during the era of Jim Crow? Judging from anecdotal evidence I’ve come across, it seems as though the primary point of contact was through music—the so-called “Negro spirituals.”
I’ve just seen a particularly striking example of how white evangelicals of this era might use an imagined version of black culture as a source of humor, entertainment, and cheap sentiment. A student literary society at a white evangelical college put on a program in 1928, described below:
The first selection is a piano arrangement of Southern songs. Their crooning melody stirs every heart. We seem to visualize a group of darkies around a cabin door beneath a harvest moon, and to hear the soft strumming of a guitar. This vision is then described in reality in an educational talk on Southern life by one who has been a missionary among the mountain folk of Kentucky. A lullaby for pickaninnies, sung by one of our members, delights us next.
Thus far there has been a sentimental tone to our program. Now a humorous note appears in a reading on that subject so near to the negro heart (and stomach): watermelons. Intermittent chuckles are still heard as the secretary announces a negro spiritual by the male quartet. The bass rumbles, the tenor pleads, the baritone calls triumphantly, the plaintive tune delighting yet gripping the audience. Another reading, this time from that friend of white as well as black children, Uncle Remus, is greeted by reminiscent smiles and applause. A negro mammy’s song sung with clarinet obligato closes the program.
What’s striking to me is the utter isolation and indifference exhibited here. In an era of lynching and grinding oppression, they’re able to wring entertainment and sentimentality out of the imagined lives of black people. They appear to know nothing about the actual circumstances of African Americans and they’re so far from caring that they don’t even know it.