One-Way Ticket Jacob Lawrence’s Migration Series

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Panel 20

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In many of the communities the Negro press was read continually because of its attitude and its encouragement of the movement.

In many of the communities the Black press was read with great interest. It encouraged the movement.

  • 1941 caption
  • 1993 caption
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    Two sets of captions accompany Lawrence’s Migration Series: the original 1941 texts and a revised version he wrote in 1993 for a tour of the series organized by The Phillips Collection, Washington D.C. Click on each date to compare the two.

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Huddled together, the three figures in the foreground of this panel devour the contents of an oversized newspaper with wide, eager eyes. Lawrence sets their heads just above the red broadsheet and crowds their bodies together, depicting reading as a collective act. In the distance, two more figures press against one another to read a single paper; they make up a three-legged form that provides a counterpoint to the group below.

History

The most widely read publications of the black press—weeklies such as the Chicago Defender and Harlem’s New York Amsterdam News and New York-based journals the Crisis, the Messenger, and Opportunity—encouraged southerners to seek better fortunes in the North. They reported unsparingly on lynchings, labor exploitation, and other injustices in the South while providing idealized images of the education, leisure activities, and cultural life in northern cities, as well as abundant job advertisements. Copies of these publications circulated widely in southern states during the Migration. Between 1916 and the early 1920s, the circulation of the Defender skyrocketed from about 33,000 to upward of 200,000. The number of copies sold, however, amounted to only a fraction of the readership of the Defender and other black publications, as copies were often passed from hand to hand or read aloud at homes, churches, and social gatherings.

The Defender was founded in 1905 by Robert Sengstacke Abbott, the son of former slaves, and became the most widely circulated black newspaper in the country. Its principal founding goal was the abolition of American racial prejudice. The periodical, still in print today, was a key force in the Great Migration, offering job listings and train schedules alongside fiery editorials and powerful political cartoons. African-American railroad porters, who would eventually organize as the Brotherhood of Sleeping Car Porters, were crucial in getting the Defender to the South, where white distributors and the Ku Klux Klan often attempted to block its circulation.

  • Russell Lee. Linotype operators of the Chicago Defender, Negro newspaper. Chicago, Illinois. 1941

Culture

African-American journals and magazines flourished in the 1920s and 1930s, providing platforms for the era’s artists and writers, including close friends and colleagues of Lawrence’s such as Charles AlstonArtist, art educator, and mentor to Jacob Lawrence Read more, Romare BeardenHarlem painter, illustrator, and collagist and friend of Jacob Lawrence Read more, Langston HughesCelebrated poet of the Harlem Renaissance and the Great Migration Read more, and Claude McKayFamed Jamaican-born Harlem Renaissance poet and novelist Read more. In Harlem, the twins Morgan and Marvin Smith founded M. Smith Studio and achieved prominence as photojournalists, with their work being regularly featured in New York Amsterdam News and New York People’s Voice. The “newspicture magazine” Flash, which ran from 1937 to 1939, reported on serious topics such as sharecropping and meetings of the National Negro Congress, as well as the latest gossip about music and theater stars. Such publications implicitly recognized both the importance of popular media and what its coverage excluded: as Jesse B. Semple, a recurring character in Hughes’s stories, complains, “All these plays, dramas, skits, sketches, and soap operas all day long and practically nothing about Negroes. You would think no Negroes lived in America except Amos and Andy.”

  • This cover of Flash features dancer and actress Jeni LeGon, one of the first female African-American soloists in tap. Flash, October 18, 1937