People shouldn't have to pretend to be someone they're not.
Instead of adopting an accommodationist point of view like Booker T. Washington, Locke finds himself a mild opponent to that claim, likening the "New Negro" to the kinds of folk revivals that were occurring all over the world at that time. The Black Man is a world citizen for Locke, and his cultural expression is an important part of the fabric of American culture—not something to be hidden in polite company. In other words, put very bluntly here, Locke doesn't agree that black people should have to act like white people.
Black people should feel proud of their heritage and culture.
On a related note, Locke makes an argument that the "Old Negro" has been the philosophical object of scrutiny and criticism, but Locke steps over that entire debate, pushing through to a vision of black culture as a celebrated aspect of society.
Black art in the mainstream will heal racial tensions through appreciation of culture.
By celebrating artworks that are obviously good and beautiful, Locke hopes to expose the public to the real "New Negro," not a lesser person, but a powerful, resilient, and beautiful person.
