What “Once Upon a Time in Harlem” can teach us about arguing over Black art

Amid a social media era where people often feel more unheard and misunderstood than ever, so much about director David Greaves’ documentary, “Once Upon a Time in Harlem,” feels like a relic: a snapshot of a time when intellectuals gathered in person for lively, productive debate. 

The film, newly restored from Greaves’ father William’s original offering, captures a staggering array of luminaries of the Harlem Renaissance reflecting on the period during a four-hour cocktail party at Duke Ellington’s townhouse in 1972. That salon included pianist Eubie Blake, artist Romare Bearden, activist Louise Thompson Patterson, playwright Irvin C. Miller, journalist Gerri Major, and librarian Jean Blackwell Hutson grappling with the legacy of the era and the issues it raised that persisted even then. 

It’s an intimate, engaging discussion among people with different approaches, styles, and even points of view while, as Brienne Adams, assistant professor of Black Studies at Georgetown University, put it, “still having the goal of Black humanity and liberation at the forefront.”

Among those sources of conflict expressed in “Once Upon a Time in Harlem” are the years that comprised the Harlem Renaissance, or the New Negro Movement as it was often referred to at the time. To hear one person tell it, it was the 1920s. Another suggests that it really found its footing in the ‘30s, while someone else considers its genesis around the 1910s, punctuated by the Silent Protest Parade of 1917.

There are also ponderings on the Black journalist agenda; thoughts about the intentions and tactics of political activist Marcus Garvey; concerns that writer and anthropologist Zora Neale, sculptor Augusta Savage, poet and novelist Countee Cullen and others were minimized. There’s a rich conversation about the efficacy of influential figures such as gangster Casper Holstein and writer Carl Van Vechten, who helped finance and support, respectively, members of the Harlem Renaissance and their work. With Van Vechten, author of the controversial 1926 novel, “Nigger Heaven,” comes the question of how white patronage impacted the cultural output of the era.

Relatedly, writer and journalist George Schuyler cogitates on his prominent 1926 essay in The Nation, “The Negro-Art Hokum,” and poet and activist Langston Hughes’ follow-up, “The Negro Artist and the Racial Mountain,” as urgent critiques of the white relationship to Black art.

It doesn’t take long in “Once Upon a Time in Harlem” for the many voices in Ellington’s home to get louder and start to overlap as boozy drinks are poured and the elder Greaves flits from one side of the room to another to catch each rebuttal and vivid recollection. Decades after the Harlem Renaissance, it had to be remarkable to witness such insight and impassioned thoughts about the era from those who lived it — and in the same year that the National Black Political Convention raised the alarm on some of those same concerns once again. 

In 2026, though, at a time when social media too often mangles critical thinking and disagreement, it is downright extraordinary. It’s also nostalgic in a way that finally seems imperative in today’s Hollywood that reeks of hollow, monetized sentimentality about its past.  

What is seen in “Once Upon a Time in Harlem” is, to borrow Schuyler’s words in the film, “a mark of a civilized community,” people challenging each other on everything from their art to their politics. He recalls that every ethnic group in Harlem had “intellectual centers” for such discussions.  

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It’s not that Black critical engagement doesn’t still happen every day, even online. It’s that it’s much more difficult to parse through an algorithmic funnel of opinions and perspectives that can often appear half-formed or entirely outside their context. 

“Social media allows for more voices to be heard, but algorithmically situated based upon someone’s interests where they’re entering into the conversation,” Adams said. 

Just as Harlem Renaissance figures broached subjects such as the white influence on Black art and questions about what defines Black art or a Black artist, particularly inside a white business establishment, there are still concerns about the representation of Black art and stories. The conversations about Issa Rae’s trajectory from YouTube to HBO and Tyler Perry keeping many Black actors employed, though consistently coming up against criticism over the quality of his work, both come to mind. 

But recent pushback and critiques of offerings such as the new “A Different World” series and the “Michael” movie once again raise valid concerns about the state of critical debate on Black art. What it too often comes up against are parasocial responses, antagonism, doxing, or a preciousness around the critique, particularly at a time when Hollywood has rolled back on Black storytelling. 

Adams, whose background in digital studies examines interiority in Black cultural productions and fandom expression as an example of Black digital knowledge production and public intimacy, said that the rise of content creators is one component of those responses. 

“If they are content creators that are having these conversations because getting eyes on their content can be tied to monetary gain, that can sometimes lead to salaciousness in the approach to the ‘civilized’ society, right?” she explained. 

That motivation, Adams added, can lead to a need to demonstrate “the most,” “whether that is the most right, the most devoted (in the case of fandom), the most knowledgeable, the most (insert marginalized identity here). People resort to antagonisms to demonstrate their hierarchy of ‘most.’” That, in turn, results in a collapse of intellectual curiosity and humility that “undergirds critical thinking,” Adams concluded.

 

There’s also the distinction that, unlike some of the most notable figures of the Harlem Renaissance, social media assembles people from across various classes, education and media literacy levels, professions with sundry access to information and art itself. Additionally, motivation, even beyond the content creation monetization that Adams pointed out, can sometimes be connected exclusively to the idea of supporting and amplifying Black art and artists while deprioritizing inquiries of their merit. 

Contrarily, Harlem Renaissance figures such as writer Zora Neale Hurston, Hughes and others were able to gather in more intimate spaces among people they often already knew from the neighborhood with similar interests and scholarship, regardless of whether they agreed. In fact, they often didn’t. 

Where writing critiques in news media like The Nation, Fire!, and The Crisis, which ran a Black symposium with questions about how “The Negro” should be portrayed in Black art in 1926, was a way to engage with other intellectuals; social media broadens that audience and more quickly. Plus, like today when many outlets require that their readers pay for subscriptions to access essential journalism, essays from the Harlem Renaissance and even the 1972 gathering in “Once Upon a Time in Harlem” restrict engagement based on intellect or economics. 

“The artists and scholars of the Harlem Renaissance are still this small, kind of enclaved people that maybe most of them went to Howard who are having very similar types of training and conversation,” Adams said. 

Add to that, most patrons across the racial spectrum who engaged with the work and workers of the Harlem Renaissance didn’t have as much access to their personal lives to form parasocial relationships with them as fans have today. Back then, it was also often about critiquing Black art for Black art’s sake and its possibilities, when today critical discussions seem to urgently hinge on Black art for the sake of its preservation. Those distinctions impact the response to critical discussion — from the in-fighting on BookTok to the arguments on Threads. 

Still, concern about the increased dearth of Black artists and Black art is legitimate. Filmmaker Nina Lee said that Hollywood gatekeepers preclude greenlighting certain Black films until they determine that others of their ilk make a splash at the box office. But that reality is too often used to establish a tenderness around criticism of the Black art that does manage to come down the pipeline. 

However, that delicacy around discussing the flaws of Black art can, as Adams considered, illustrate a propriety to the white for the sake of white acceptance. “The preciousness around critiquing it still centers white gazes to say that we have to be presentable and respectable in ways,” she said.  

None of that is conducive to the type of “civilized community” Schuyler reflects upon in “Once Upon a Time in Harlem.” While some have managed to successfully carve out their own niche spaces online for critical debate, from podcasts to more curated social media discussions and personal Substacks, the recognition that it serves to help push the art forward is too often lost. 

That contemporary disconnect is what makes Greaves’ documentary that more profound. It deepens audiences’ understanding of healthy, effective debate through a reflection of our not-so-distant past at a time when too many are consumed by self-aggrandizement rather than the roadmap those who came before them already laid out. As Major says in the film, “They’re going to lose if they cannot profit from the struggles that we went through.” 

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