 This hampered both the individual expressivity of the older generation of artists as well as their ability to communicate cross culturally the truth of black experiences. The artist was not free to speak his heart or mind, but had to remain cognizant of the way he presented the Negro yet again. With the youth of the Harlem Renaissance there came a “newer motive,” for the younger generation of American Negro artists the aim “in being racial is to be so purely for the sake of art.” (NN 51) The new artist does not take folksy racial types to be emblematic of anything but the individual artist. Locke sees this manifested in the artist's ability to make of “the racial substance something technically distinctive,” a method of giving expression to a specific type of experience that allows for full expression of that experience across cultural, racial, or ethnic boundaries. In this way techniques that exist as “an idiom of style may become a contribution to general resources of art”; (NN 51) available in the end, not only to those who created, cultivated and refined them, but to any artist who wished to deal with that particular idiom.