African Americans in France

Last updated

African Americans (also referred to as Black Americans) in France are people of African heritage or black people from the United States who are or have become residents or citizens of France. This includes students and temporary workers.

Contents

France has historically been described as a "haven" for Africans, having officially declared itself a colorblind society following the abolition of slavery in 1794. [1] Africans have migrated to France since the 19th century, often to escape the prevalent racism in the United States. The emergence of WWI and the subsequent rise of jazz in France laid the foundations for bustling African community, and opened doors for black performers, writers, and artists. France does not collect information about race or ethnicity in their census, making it impossible to gauge how many Africans are currently in France. [2] Recent years have brought calls for a racial awakening in France, and a resurgence of black pride under the ideology of "négritude." [1]

Migration

Colonial era

African Americans, who are largely descended from Africans of the American Colonial Era, have lived and worked in France since the 1800s. This first mass migration of African Americans to France occurred as a result of the Louisiana Purchase of 1803. When the French territory was transferred to America, many free black Americans moved to France to escape the apartheid state. [3] Unofficial estimates put this figure at nearly 50,000 free black individuals. [4]

World War I and the interwar period

During World War I roughly 200,000 African-American soldiers were brought over, most for non-combat duties. Nine-tenths of the soldiers were from the American South. [5] The 369th Infantry Regiment of New York, better known as the Harlem Hellfighters, were the first to arrive in France in 1917. One member, Sergeant Henry Johnson, was the first American Soldier to be awarded the Croix de guerre with palm by the French Army. [5] Many black GIs decided to stay in France after having been well received by the French, and others followed them. [6] France was viewed by many African Americans as a welcome change from the widespread racism in the United States.

It was then that jazz was introduced to the French, and black culture was born in Paris. African-American musicians, artists and writer (many associated with the Harlem Renaissance) found 1920s Paris ready to embrace them with open arms. France represented a golden opportunity for many jazz musicians to escape not only racism, but also growing competition from oversaturation in the American jazz scene. [5] Entertainers such as Josephine Baker, Charlie Parker, and Eugene Bullard are among those who experienced great success after moving to France in the 20's. Montmartre became the center of the small community, with jazz clubs such as Le Grand Duc, Chez Florence, and Bricktop's thriving in Paris. Often referred to as "Les Années Folles" (or the Crazy Years), 1920's France hosted a small but significant number of African Americans, and represented an era of black American cultural appreciation. [5]

World War II

The Nazi German invasion of Paris in June 1940 led to the suppression of the "corrupt" influence of jazz in the French capital and the danger of imprisonment for African Americans choosing to remain in the city. Most Americans, black as well as white, left Paris at the time. [7] [8] Following World War II, the arrival of black immigrants from former French colonies had offered Blacks in France the chance to experience new forms of black culture. [9] The period after WWII brought hundreds of black Americans to Paris, including prominent American writers such as Richard Wright and James Baldwin, and a new generation of jazz musicians. [9]

In the 1950s and 1960s, the political upheavals surrounding the Civil Rights Movement and the Vietnam War protests in the United States were mirrored by civil unrest in France. [10] The African-American journalist William Gardner Smith was a novelist ( Last of the Conquerors ) who worked for Agence France-Presse. The French news service reported the events of the student uprising during the May 1968 protests. Many black residents supported the movement, which escalated into a virtual shutdown of the entire country. Once order was restored, however, a notable increase in repressive tendencies was observed in the French police and the immigration authorities. [11]

Contemporary era

While it is illegal to collect data concerning race or ethnicity in France, immigration wave research suggest there are between 3-5 million black immigrants currently in the country. [6] France remains a hub for African-American intellectuals and creatives. Rapper Kanye West is one such example, establishing roots in the French fashion and music scene. His song "Niggas in Paris" featuring Jay-Z, was inspired by his time in France and later used in a campaign commercial by the former French president, François Hollande. [12]

Culture

In the 1920s many Parisians became fascinated with Africa and black individuals, due to a growing social interest in primitivism and sensuality. [5] For this reason, most Black Americans at the time were performers, often finding it difficult to obtain other forms of employment given their foreigner status. Langston Hughes wrote about his own struggles with finding employment during his time in France in his autobiography, The Big Sea . The Algerian War also had a significant impact on French African-American culture, largely because it changed people's perspectives on the "colorblindness" of France. Influential writers such as William Gardner Smith (The Stone Face) and James Baldwin ("Alas, Poor Richard") brought attention to the ways France mistreated its colonial subjects, and how this mistreatment was similar to the bigotry black Americans had faced in the States. [11] These works bolstered calls for discourse about race and diaspora as France moved into the 21st century. 

Interpretation

Tyler Stovall, a history professor at the University of California, Berkeley, has said:

In many ways, African Americans came to France as a sort of privileged minority, a kind of model minority, if you will—a group that benefited not only from French fascination with blackness, but a French fascination about Americanness. Although their numbers never exceeded a few thousand. [4]

The Conseil Représentatif des Associations Noires (CRAN) has stated:

Figures on nationalities are allowed but a black immigrant becoming French will disappear from statistics... Based on data from immigration waves researchers have come to say there may be 3 to 5 million blacks in France. [13]

African Americans in France make up a minority of the French population, and are not represented in statistical data. French universalism and a historical fascination with black American culture have made them into what Tyler Stovall calls a "model minority."

Notable figures

See also

Related Research Articles

<span class="mw-page-title-main">Afro-Cubans</span> Ethnic minority in Cuba

Afro-Cubans or Black Cubans are Cubans of full or partial sub-Saharan African ancestry. The term Afro-Cuban can also refer to historical or cultural elements in Cuba associated with this community, and the combining of native African and other cultural elements found in Cuban society, such as race, religion, music, language, the arts and class culture.

<span class="mw-page-title-main">Cass Technical High School</span> Public magnet high school in Detroit, Michigan, United States

Cass Technical High School is a four-year Public magnet high school in Midtown Detroit, Michigan, United States. It was established in 1907 and is part of the Detroit Public Schools Community District. It is named after Lewis Cass.

Afro-Caribbean or African Caribbeanpeople are Caribbean people who trace their full or partial ancestry to Africa. The majority of the modern Afro-Caribbean people descend from the Africans taken as slaves to colonial Caribbean via the trans-Atlantic slave trade between the 15th and 19th centuries to work primarily on various sugar plantations and in domestic households. Other names for the ethnic group include Black Caribbean, Afro- or Black West Indian, or Afro- or Black Antillean. The term West Indian Creole has also been used to refer to Afro-Caribbean people, as well as other ethnic and racial groups in the region, though there remains debate about its use to refer to Afro-Caribbean people specifically. The term Afro-Caribbean was not coined by Caribbean people themselves but was first used by European Americans in the late 1960s.

Theatre Owners Booking Association, or T.O.B.A., was the vaudeville circuit for African American performers in the 1920s. The theaters mostly had white owners, though about a third of them had Black owners, including the recently restored Morton Theater in Athens, Georgia, originally operated by "Pinky" Monroe Morton, and Douglass Theatre in Macon, Georgia owned and operated by Charles Henry Douglass. Theater owners booked jazz and blues musicians and singers, comedians, and other performers, including the classically trained, such as operatic soprano Sissieretta Jones, known as "The Black Patti", for black audiences.

<span class="mw-page-title-main">Ada "Bricktop" Smith</span> American entertainer (1894–1984)

Ada Beatrice Queen Victoria Louise Virginia Smith, better known as Bricktop, was an American dancer, jazz singer, vaudevillian, and self-described saloon-keeper who owned the famous nightclub "Chez Bricktop" in Paris from 1924 to 1961, as well as clubs in Mexico City and Rome.

Paul Colin born in Nancy, France, died in Nogent-sur-Marne. Colin was a prolific master illustrator of Decorative Arts posters. Alexandre-Marie Colin was a relative.

<span class="mw-page-title-main">Harlem Renaissance</span> African-American cultural movement in New York City in the 1920s

The Harlem Renaissance was an intellectual and cultural revival of African-American music, dance, art, fashion, literature, theater, politics and scholarship centered in Harlem, Manhattan, New York City, spanning the 1920s and 1930s. At the time, it was known as the "New Negro Movement", named after The New Negro, a 1925 anthology edited by Alain Locke. The movement also included the new African-American cultural expressions across the urban areas in the Northeast and Midwest United States affected by a renewed militancy in the general struggle for civil rights, combined with the Great Migration of African-American workers fleeing the racist conditions of the Jim Crow Deep South, as Harlem was the final destination of the largest number of those who migrated north.

Laissez-faire racism is closely related to color blindness and covert racism, and is theorised to encompass an ideology that blames minorities for their poorer economic situations, viewing it as the result of cultural inferiority. The term is used largely by scholars of whiteness studies, who argue that laissez-faire racism has tangible consequences even though few would openly claim to be, or even believe they are, laissez-faire racists.

Frank "Big Boy" Goudie was an American jazz trumpeter, alto and tenor saxophonist and clarinetist.

<span class="mw-page-title-main">Negrophilia</span> Fetishization of Black culture

The word negrophilia is derived from the French négrophilie that means "love of the Negro". It was a term that avant-garde artists used among themselves to describe their fetishization of Black cultures. Its origins were concurrent with art movements such as surrealism and Dadaism in the late 19th century. Sources of inspiration were inanimate African art objects such as masks and wooden carvings that found their way into Paris's flea markets and galleries alike as a result of colonial looting of Africa, and which inspired artworks such as Picasso's Les Demoiselles d'Avignon, as well as live performances by Black people, many of whom were ex-soldiers remaining in European cities after World War I, who entertained as a source of low income. Equally of interest to avant-garde creators were live arts such as dance, music and theatrical performances by Black artists, as evidenced by the popularity of comic artist Chocolat and the musical review Les Heureux Nègres (1902).

John Glover Compton, usually referred to as Glover Compton, was an American ragtime and jazz pianist.

<span class="mw-page-title-main">William Gardner Smith</span> American journalist

William Gardner Smith was an American journalist, novelist, and editor. Smith is linked to the black social protest novel tradition of the 1940s and the 1950s, a movement that became synonymous with writers such as Richard Wright, Ralph Ellison, Willard Motley, and Ann Petry. Smith's third book, South Street (1954), is considered to be one of the first black militant protest novels. His last published novel, The Stone Face (1963), in its account of the Paris massacre of 1961, "stand[s] as one of the few representations of the event available all the way up until the early 1990s".

Women in jazz have contributed throughout the many eras of jazz history, both as performers and as composers, songwriters and bandleaders. While women such as Billie Holiday and Ella Fitzgerald were famous for their jazz singing, women have achieved much less recognition for their contributions as composers, bandleaders and instrumental performers. Other notable jazz women include piano player Lil Hardin Armstrong and jazz songwriters Irene Higginbotham and Dorothy Fields.

Ernest Leroy Nocho, better known by his stage name Lobo Nocho, was an emigré jazz singer and painter in Europe. A former United States citizen, he settled in Europe after serving in World War II, and renounced his citizenship in 1950 to become a French citizen. He was later widely noted for his romantic links to Winston Churchill's daughter Sarah Churchill.

Florence Emery "Embry" Jones was an American jazz singer and dancer, notable for her work in Paris during the 1920s. She was known for her elusive persona and for performing at Le Grand Duc and later at Chez Florence in Montmartre.

<span class="mw-page-title-main">Tyler E. Stovall</span> American academic and historian (1954–2021)

Tyler Edward Stovall was an American academic and historian. He served as president of the American Historical Association in 2017.

References

  1. 1 2 Kimmelman, Michael (June 17, 2008). "For Blacks in France, Obama's Rise Is Reason to Rejoice, and to Hope". The New York Times. ISSN   0362-4331 . Retrieved December 11, 2021.
  2. Bleich, Erik (May 1, 2001). "Race Policy in France". Brookings. Archived from the original on November 14, 2016. Retrieved December 12, 2021.
  3. "Paris Has Been A Haven For African Americans Escaping Racism". NPR.org. Retrieved December 5, 2021.
  4. 1 2 "LAND OF THE FREE". Tampa Bay Times. Retrieved December 12, 2021.
  5. 1 2 3 4 5 Stovall, Tyler (2012). Paris noir: African Americans in the city of light. CreateSpace Independent. ISBN   978-1-4699-0906-6. OCLC   1027495136.
  6. 1 2 "Blacks in France are Invisible". www.nationalbcc.org. Retrieved December 12, 2021.
  7. March, Sarah (January 31, 2010). "Americans in Paris: Life and Death Under Nazi Occupation 1940–44 | Book review". the Guardian. Retrieved December 13, 2021.
  8. "World on Fire | Episode 6 History & Images | Masterpiece | Official Site | PBS". Masterpiece. Retrieved December 13, 2021.
  9. 1 2 Stovall, Tyler (2000). "The Fire this Time: Black American Expatriates and the Algerian War". Yale French Studies (98): 182–200. doi:10.2307/2903235. ISSN   0044-0078. JSTOR   2903235.
  10. "events of May 1968 | Background, Significance, & Facts | Britannica". www.britannica.com. Retrieved December 13, 2021.
  11. 1 2 ""How Does It Feel To Be a White Man?": William Gardner Smith's Exile in Paris". The New Yorker. August 7, 2019. Retrieved December 13, 2021.
  12. "Is Paris Still a Haven for Black Americans?". Smithsonian Magazine. Retrieved December 13, 2021.
  13. "Blacks in France are Invisible". www.nationalbcc.org. Retrieved December 13, 2021.
  14. "Kenny Clarke, Inventor Of Modern Jazz Drumming, At 100". NPR.org. Retrieved August 12, 2017.
  15. "Ernest ('Lobo') Nocho: Three Original Paintings". Between the Covers: African-Americana. 157. 2010. Archived from the original on May 23, 2013. Retrieved March 25, 2013.
  16. "Winston Churchill's Daughter May Wed Negro Artist". Jet Magazine. January 28, 1965. Retrieved March 25, 2013.