The NEW NEGRO term has a broad reference to the period in history at the time of the post reconstruction. During the Harlem Renaissance, Blacks embarked on a movement that involved a more outspoken advocacy of dignity and refusal to submit to racial segregation laws. The term NEW NEGRO was coined by Blacks after the Civil War to redefine who they are and to give meaning and purpose to their lives. Locke called for a racial awakening on a national and world scale. On the other hand, Baldwin identified a different model of urban culture rich with politics, ingenuity and entrepreneurship.
Locke’s view of old Negro transformation was that of a race of cultural bearers. More importantly, the NEW NEGRO was to destroy all racial, social, and psychological road blocks in his path. The obstacles that stood in the way of achievement to Black progress needed to be surmounted and defeated by educated and entrepreneurial black race. This movement entailed that black artists and intellectuals strive for a nation of self sufficiency. Locke instilled in the NEW NEGRO, a sense of political and social interests to fight racial discrimination directed against blacks. Like Baldwin, Locke encouraged entrepreneurship as a way to become self sufficient. Both of them had similar aspirations for the NEW NEGRO concept but differed in their approaches with Baldwin leaning towards urban culture.
There is a consensus from both Harlem and Chicago scholars that Harlem is a place of ideas and art. On the contrary, Chicago is seen as the site of enterprise thereby providing an entrepreneurial spirit to the NEW NEGRO. The term NEW NEGRO in American history and culture represents the literary, the visual artists and intellectuals of the Harlem Renaissance. The NEW NEGRO personality and culture embrace a wide range of intellectual prowess that would ultimately dismantle all forms of stereotypes directed towards blacks. Locke and Baldwin worked hard to stimulate the mind of the NEW NEGRO.