"There are a great many colored people who are ashamed of the cake-walk, but I think they ought to be proud of it"

In the quote by James Weldon Johnson, "There are a great numerous colored individuals who are ashamed of the cake-walk, but I think they should be proud of it", he attends to complex themes of cultural identity, pride, and the internal disputes within the African American community regarding cultural expressions and stereotypes.

The cake-walk was a dance created by enslaved African Americans, originally planned as a subtle satire of the formal ballroom dances of their white enslavers. Gradually, it evolved into a popular home entertainment form during the late 19th and early 20th centuries, typically performed in minstrel programs by both black and white performers. By the time Johnson made this declaration, the cake-walk had actually become emblematic of a wider propensity to commercialize and caricature African American culture. This commercialization often caused the derision of the really cultural expressions it at first looked for to celebrate, turning them into eyeglasses for primarily white audiences.

Numerous African Americans, as Johnson points out, felt embarrassed of the cake-walk since it advised them of the agonizing legacy of racism and the methods which their culture was controlled and ridiculed. However, Johnson calls for a reevaluation of this sentiment, advocating for pride over shame. He suggests that, in spite of its complicated history, the cake-walk stands as a testament to black creativity, resilience, and the capability to discover happiness and optimism in adverse scenarios.

Johnson's assertion to be pleased with the cake-walk can be comprehended as a more comprehensive plea for cultural improvement. By taking ownership and recognizing the historical and cultural significance of such expressions, African Americans can affirm their cultural identity and defy the negative stereotypes enforced upon them. Instead of seeing the cake-walk exclusively through a lens of destruction, Johnson sees it as a sign of defiance and resourcefulness, showing a bigger narrative where African Americans assert their identity and cultural agency in the face of systemic injustice.