How the undying spirit of Black Americans shone through their sufferings in the form of art:
an examination and curation of pieces by Dominique Nanquil
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17. Tenant farmers received harsh treatment at the hands of the planter.
Two tenant farmers look up expectantly at their foreman, taking notes while the workers stoop under the weight of their loads. There is a clear disconnect here, where the foreman deliberately refuses to meet their probing eyes, effectively ignoring their struggle. This panel stands out from the rest because Lawrence depicts the men’s eyes. It calls to mind the strenuous work that George and Ida Mae faced in the cotton fields, but in particular George. In addition to the labor, these sharecroppers were rarely given their due during the furnish; they were lucky to get off with no debt to the landowner. If they complained or argued on the numbers, they risked incurring such a debt on the spot. The MoMA’s description reads,
“This indentured servitude was enforced by local sheriffs… ensuring that aspects of slavery continued until well after World War II.”
39. Railroad platforms
were piled high with luggage.
A woman faces the dark hills stretching before her, clutching her baby on the edge of a train car. She is surrounded by her own mountains of luggage, emphasizing the permanence of life in the North--she is travelling to provide a future for her baby, and she intends to stay there. It feels more hopeful than the last panels because of this baby, reminding us of the next generation that had the chance to grasp the threads of freedom in the North. The panel’s description briefly calls to mind the “red caps” of the railways, giving us an insight to George Starling's line of work.
“Red caps were the unofficial public relations officers of rail lines: they not only hauled baggage, but dispensed train schedules, helped travelers make connections, and offered directions... Red caps received meager wages and often worked solely for tips.”
40. The migrants arrived
in great numbers.
This panel, amid the pain and suffering of the rest of the series, serves as a positive reminder of Black Americans’ strength. It is a motif that Lawrence continually returns to, emphasizing the spirit of hope that overscored the suffering. They move forward in long strides, carrying their baggage across an empty landscape peppered with resilient grass. Their heads are held high, save for one boy in the center who playfully swings his suitcase, adding a sense of lightheartedness to the composition. Invisible optimism spurs them on into the future.
