Why Are There So Few Black Spies in History and Media?

Strangely, the lack of portrayals of black spies in both history and media persists in a manner that both omits and misrepresents contributions of African Americans to intelligence and espionage. This phenomenon is not isolated to a specific event, but is evident in the American Civil War and beyond.

History Omissions and Co-Option

Historically, the black community has practices of silence and mutual support that can be analogous to the idea of snitching. Seriously, the narrative around snitches can be found in many cultural practices, often emphasizing loyalty and the expectation of support among community members. This is evidenced in the The Boondocks episode titled “Thank You For Not Snitching.”

Black American Spies in the American Civil War

One prime example of this silence in historical records is the role of black spies during the American Civil War. Contrary to the beliefs of Confederate General Robert E. Lee, who stated, “The chief source of information to the enemy is through our Negroes,” even the Central Intelligence Agency (CIA) acknowledges the significant contributions of black spies to Union intelligence.

According to a CIA article, the Union forces relied heavily on espionage, with black sources providing the most productive and prolific intelligence. Yet, despite the vital contributions of these black spies, not a single book by a black American self-proclaimed spy or counter-spy was published after the Civil War. This statistic is astonishing given the extensive literature produced by other spies.

Historical Coverage and Media Representation

To this day, historical records and media continue to underrepresent and often misrepresent the contributions of black spies. A keyword search for movies involving Civil War espionage reveals an absence of black spies, with all six examples featuring white characters: The General (1926), Occurrence at Owl Creek Bridge (1962), Hands Up! (1926), Only the Brave (1930), Secret Service (1931), and Operator 13 (1934). Even in Operator 13, one of the few films to mention black characters, the leading lady, Marion Davies, was portrayed in blackface in black and white cinema, further erasing the presence of black characters in whiteface.

This pattern of omission and misrepresentation is not unique to the Civil War. It extends to other periods, such as the American Revolution and the ongoing roles of African American spies in Africa, the Bahamas, Jamaica, Belize, and beyond. The idea that most spies in Africa and the Caribbean are black is a reasonable assumption, yet this narrative remains largely unrecounted or misrepresented in mainstream literature and media.

Challenges and Misrepresentation

The challenges faced by black spies extend beyond mere omission. As Ken Fishkin pointed out, even if there were significant contributions from black spies, their efforts would likely go unnoticed in both media and popular culture. Historical accounts and media narratives often fail to acknowledge or appropriately credit the role of African American spies, leading to a historical record that is incomplete and biased.

Conclusion

The story of black spies in American history and media is a complex tale of omission, co-option, and misrepresentation. It is a critical issue that deserves recognition and a comprehensive narrative that accurately reflects the contributions of African American spies. By shedding light on these narratives, we can work towards a more inclusive and truthful portrayal of history.