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and poetry, and to an extent the dance, have been the predominant arts of the American Negro. This is an emphasis quite different from that of the African cultures, where the plastic and craft arts predominate; Africa being one of the great fountain sources of the arts of decoration and design. Except then in his remarkable carry-over of the rhythmic gift, there is little evidence of any direct connection of the American Negro with his ancestral arts. But even with the rude transplanting of slavery, that uprooted the technical elements of his former culture, the American Negro brought over as an emotional inheritance a deep-seated æsthetic endowment. And with a versatility of a very high order, this offshoot of the African spirit blended itself in with entirely different culture elements and blossomed in strange new forms.

There was in this more than a change of art-forms and an exchange of cultural patterns; there was a curious reversal of emotional temper and attitude. The characteristic African art expressions are rigid, controlled, disciplined, abstract, heavily conventionalized; those of the Aframerican,—free, exuberant, emotional, sentimental and human. Only by the misinterpretation of the African spirit, can one claim any emotional kinship between them—for the spirit of African expression, by and large, is disciplined, sophisticated, laconic and fatalistic. The emotional temper of the American Negro is exactly opposite. What we have thought primitive in the American Negro—his naïveté, his sentimentalism, his exuberance and his improvizing spontaneity are then neither characteristically African nor to be explained as an ancestral heritage. They are the result of his peculiar experience in America and the emotional up