Transcript

““I, too, sing America” I, too, sing America”

(Langston Hughes)(Langston Hughes)

The Harlem RenaissanceThe Harlem RenaissanceRebirth of African Culture &

Expression in America

““Renaissance”Renaissance”

““Rebirth” or “revival”Rebirth” or “revival”Refers to the European Renaissance Refers to the European Renaissance

that took place from 1300-1600 that took place from 1300-1600 –Born in Florence, ItalyBorn in Florence, Italy–Spirit of innovation, curiosity, & Spirit of innovation, curiosity, & adventure in fields ranging from adventure in fields ranging from architecture to science and fine architecture to science and fine art.art.

““Harlem Renaissance”Harlem Renaissance”

Upsurge of African American cultural Upsurge of African American cultural expression that took place in Harlem, expression that took place in Harlem, New York during the 1920s.New York during the 1920s.

The Harlem RenaissanceThe Harlem Renaissance

Langston HughesLangston Hughes W.E.B. Du BoisW.E.B. Du Bois

Countee CullenCountee Cullen Marcus GarveyMarcus Garvey

Claude McKayClaude McKay Alain LockeAlain Locke

Zora Neale Hurston Zora Neale Hurston

Richard WrightRichard Wright

The Great MigrationThe Great MigrationThe racial composition of the nation's cities The racial composition of the nation's cities

underwent a decisive change during and underwent a decisive change during and after World War I. after World War I.

In 1910, three out of every four black In 1910, three out of every four black Americans lived on farms, and nine out of ten Americans lived on farms, and nine out of ten lived in the South. World War I changed that lived in the South. World War I changed that

profile. profile. Hoping to escape tenant farming, sharecropping, and peonage, 1.5 million Southern blacks moved to cities. During the 1910s and 1920s, Chicago's black population grew by 148 percent; Cleveland's by 307 percent; Detroit's by 611 percent.

Confined to all-black Confined to all-black neighborhoods, neighborhoods, African Americans African Americans created cities-within-created cities-within-cities during the cities during the 1920s. The largest 1920s. The largest was Harlem, in upper was Harlem, in upper Manhattan, where Manhattan, where 200,000 African 200,000 African Americans lived in a Americans lived in a neighborhood that neighborhood that had been virtually had been virtually all-white fifteen all-white fifteen years before years before

The Harlem RenaissanceThe Harlem Renaissance

The movement for black pride The movement for black pride found its cultural expression in the found its cultural expression in the Harlem Renaissance-Harlem Renaissance--the first self--the first self-conscious literary and artistic conscious literary and artistic movement in African American movement in African American history. history.

During the 1920s, During the 1920s, Harlem became the Harlem became the capital of black capital of black America, attracting America, attracting black intellectuals black intellectuals and artists from and artists from across the country across the country and the Caribbean. and the Caribbean. Soon, the Harlem Soon, the Harlem Renaissance was in Renaissance was in full bloom. The poet full bloom. The poet Countee Cullen Countee Cullen eloquently expressed eloquently expressed black artists' long-black artists' long-suppressed desire to suppressed desire to have their voices have their voices heard: "Yet do I heard: "Yet do I marvel at a curious marvel at a curious thing: To make a thing: To make a poet black, and bid poet black, and bid him sing!" him sing!"

Many of the writers and artists associated with the Many of the writers and artists associated with the Harlem Renaissance became an elite class of black Harlem Renaissance became an elite class of black Americans. For some, this status was comfortable; Americans. For some, this status was comfortable; others, however, felt uneasy at being soremoved from others, however, felt uneasy at being soremoved from the majority of black Americans. Also debated was the majority of black Americans. Also debated was just what kind of writing, or art, should be created by just what kind of writing, or art, should be created by African Americans. Because of the racist views of African Americans. Because of the racist views of most white Americans, some African American most white Americans, some African American leaders argued that black artists had a responsibility leaders argued that black artists had a responsibility as "representatives of the race." For writers, this as "representatives of the race." For writers, this means certain restrictions in what they could write, means certain restrictions in what they could write, and how they could depict black characters. Many and how they could depict black characters. Many writers rebelled against this notion and argued for writers rebelled against this notion and argued for their own freedom; and in exercising this freedom, their own freedom; and in exercising this freedom, new kinds of written works were created. new kinds of written works were created. Langston Hughes's poetry, for example, seeks to poetry, for example, seeks to imitate the sound of jazz and blues music, rather than imitate the sound of jazz and blues music, rather than stick with more traditional poetic meter. stick with more traditional poetic meter. Zora Neale Hurston's fiction relies on black folklife fiction relies on black folklife and dialect, and expresses thoughts about life and and dialect, and expresses thoughts about life and relationships among people in very fresh ways. relationships among people in very fresh ways.

Harlem was also the home of a new and very Harlem was also the home of a new and very popular musical sound of the 1920s, jazz, which popular musical sound of the 1920s, jazz, which catered to both a black and a white audience. catered to both a black and a white audience. Fletcher Henderson's sound, big-band "swing," Fletcher Henderson's sound, big-band "swing," often called "sweet" jazz, was the dominant often called "sweet" jazz, was the dominant music of the 1920s among white New Yorkers. music of the 1920s among white New Yorkers.

Henderson's main competitor was the Cotton Club orchestra led by another famous Harlem musician, Edward Kennedy "Duke" Ellington, also popular among white audiences. In fact, the Cotton Club, Harlem's best known and gaudiest nightclub, was for white patrons only. Vocalists Mamie Smith and Ethel Waters were also famous musicians who regularly performed in Harlem, as frequently for black as for white audiences. The sound of their music was more "bluesy," and very early recordings of their music became "hit records" within the African American community.

•Is truly an American artformIs truly an American artform•Evolved from African folk music, Evolved from African folk music, European harmonies, American gospel European harmonies, American gospel sounds, & plantation work songs that sounds, & plantation work songs that flourished during & after slaveryflourished during & after slavery• ““Sorrow Songs”- “The Blues” evolvedSorrow Songs”- “The Blues” evolved

JazzJazz

JazzJazz Ragtime & Dixieland Ragtime & Dixieland

Jazz came from New Jazz came from New Orleans in the 1890s.Orleans in the 1890s.

Louis Armstrong was Louis Armstrong was born and raised in New born and raised in New Orleans, LA (1901-Orleans, LA (1901-1971).1971).– Grew up in extreme Grew up in extreme

poverty and sent to poverty and sent to reform schoolreform school

– Learned to play the Learned to play the coronet (trumpet) coronet (trumpet) there there

• Gained prominence as a big band musician• Pioneered improvisational music or “scat”• Nicknamed “Satchmo”

Louis ArmstrongLouis Armstrong

Listen to Louis Listen to Louis – “What a Wonderful World”– “Jeepers Creepers”– “St. James Infirmary”

Other Famous Jazz Other Famous Jazz MusiciansMusicians

Bessie Smith – “Empress of the Blues”Bessie Smith – “Empress of the Blues” Duke EllingtonDuke Ellington Billie HolidayBillie Holiday Dizzy GillispieDizzy Gillispie Ella FitzgeraldElla Fitzgerald

Listen to Billie Holiday’s “Without Your Love”

Claude McKayClaude McKay McKay had established himself as a poet, McKay had established himself as a poet, publishing two volumes of dialect verse, publishing two volumes of dialect verse, Songs of JamaicaSongs of Jamaica (1912) and (1912) and Constab BalladsConstab Ballads (1912). Having heard favorable reports of the (1912). Having heard favorable reports of the Work of Booker T. Washington, McKay enrolled at TuskegeeWork of Booker T. Washington, McKay enrolled at TuskegeeInstitute in Alabama with the intention of studying agronomy;Institute in Alabama with the intention of studying agronomy;it was here that he first encountered the harsh realities ofit was here that he first encountered the harsh realities ofAmerican racism, which would form the basis for much of hisAmerican racism, which would form the basis for much of hissubsequent writing. He soon left Tuskegee for Kansas Statesubsequent writing. He soon left Tuskegee for Kansas StateCollege in Manhattan, Kansas. He was finally able to publishCollege in Manhattan, Kansas. He was finally able to publishtwo poems, "Invocation" and "The Harlem Dancer," under a two poems, "Invocation" and "The Harlem Dancer," under a

pseudonym in 1917. pseudonym in 1917.

*Agronomy is the science and technology of producing and using plants for food, fuel, feed, fiber, and reclamation*

"If We Must Die""If We Must Die"During the period of racialDuring the period of racialviolence against blacks known violence against blacks known

asasthe Red Summer of 1919, the Red Summer of 1919,

McKayMcKaywrote one of his best-knownwrote one of his best-knownpoems, the sonnet, "If We Mustpoems, the sonnet, "If We MustDie," an anthem of resistanceDie," an anthem of resistancelater quoted by Winstonlater quoted by WinstonChurchill during World War II.Churchill during World War II.The generation of poets whoThe generation of poets whoformed the core of the Harlemformed the core of the HarlemRenaissance, including Renaissance, including

LangstonLangstonHughes and Countée Cullen,Hughes and Countée Cullen,identified McKay as a leadingidentified McKay as a leadinginspirational force, even thoughinspirational force, even thoughhe did not write modern verse.he did not write modern verse.His innovation lay in theHis innovation lay in thedirectness with which he spokedirectness with which he spokeof racial issues and his choice of racial issues and his choice

ofofthe working class, rather thanthe working class, rather than

the middle class, as his focus.the middle class, as his focus.

If we must die, let it not be like hogs

Hunted and penned in an inglorious spot,

While round us bark the mad and hungry dogs,

Making their mock at our accursèd lot.

If we must die, O let us nobly die,So that our precious blood may

not be shedIn vain; then even the monsters

we defyShall be constrained to honor us

though dead!O kinsmen! we must meet the

common foe!Though far outnumbered let us

show us brave,And for their thousand blows deal

one death-blow!What though before us lies the

open grave?Like men we'll face the

murderous, cowardly pack,Pressed to the wall, dying, but

fighting back!

Zora Neale Zora Neale HurstonHurston

Zora used her talents to Zora used her talents to elbow her way into the elbow her way into the Harlem Renaissance of the Harlem Renaissance of the 1920s, befriending such 1920s, befriending such luminaries as poet luminaries as poet Langston Hughes and Langston Hughes and popular singer/actress popular singer/actress Ethel Waters. But the late Ethel Waters. But the late 1930s and early '40s 1930s and early '40s marked the real zenith of marked the real zenith of her career. She published her career. She published her masterwork, her masterwork, Their Eyes Their Eyes Were Watching GodWere Watching God, in , in 1937; 1937; Tell My HorseTell My Horse, her , her study of Caribbean Voodoo study of Caribbean Voodoo practices, in 1938; and practices, in 1938; and another masterful novel, another masterful novel, Moses, Man of the Moses, Man of the MountainMountain, in 1939. When , in 1939. When her autobiography, her autobiography, Dust Dust Tracks on a RoadTracks on a Road, was , was published in 1942, Hurston published in 1942, Hurston finally received the well-finally received the well-earned acclaim that had earned acclaim that had long eluded her. long eluded her.

Listen to her words….Listen to her words….

Zora’s WebsiteZora’s Website

Countee CullenCountee Cullen As a schoolboy, Cullen won a citywide poetryAs a schoolboy, Cullen won a citywide poetry contest and saw his winning stanzas widely contest and saw his winning stanzas widely reprinted. reprinted. Cullen's first collection of poems, COLOR Cullen's first collection of poems, COLOR (1925), was published in the same year he(1925), was published in the same year he graduated from NYU. Written in a careful,graduated from NYU. Written in a careful, traditional style, the work celebrated black beauty and deplored traditional style, the work celebrated black beauty and deplored

the effects of racism.. Cullen's the effects of racism.. Cullen's Color Color was a landmark of the was a landmark of the Harlem Renaissance. Harlem Renaissance.

The title poem of THE BLACK CHRIST AND OTHER POEMS The title poem of THE BLACK CHRIST AND OTHER POEMS (1929) was criticized for the use of Christian religious imagery - (1929) was criticized for the use of Christian religious imagery - Cullen compared the lynching of a black man to Christ's Cullen compared the lynching of a black man to Christ's crucifixion. crucifixion.

As well as writing books himself, Cullen promoted the work of As well as writing books himself, Cullen promoted the work of other black writers. But in the late 1920s Cullen's reputation as other black writers. But in the late 1920s Cullen's reputation as a poet waned. In 1932 appeared his only novel, ONE WAY TO a poet waned. In 1932 appeared his only novel, ONE WAY TO HEAVEN, a social comedy of lower-class blacks and the HEAVEN, a social comedy of lower-class blacks and the bourgeoisie in New York City. bourgeoisie in New York City.

As a poet Cullen was As a poet Cullen was conservative: he did conservative: he did not ignore racial not ignore racial themes, but based his themes, but based his works on the Romantic works on the Romantic poets, especially poets, especially Keats, and often used Keats, and often used the traditional sonnet the traditional sonnet form. However, Cullen form. However, Cullen also enjoyed Langston also enjoyed Langston Hughes's black jazz Hughes's black jazz rhythms, but more he rhythms, but more he loved "the measured loved "the measured line and the skillful line and the skillful rhyme" of the 19th rhyme" of the 19th century poetry. After century poetry. After the early 1930s Cullen the early 1930s Cullen avoided racial themes. avoided racial themes.

Langston HughesLangston Hughes Hughes entered Columbia University in the fall of 1921, a Hughes entered Columbia University in the fall of 1921, a

little more than a year after he had graduated from Central little more than a year after he had graduated from Central High School. Langston stayed in school there for only a High School. Langston stayed in school there for only a year; meanwhile, he found Harlem. Hughes quickly became year; meanwhile, he found Harlem. Hughes quickly became an integral part of the arts scene in Harlem, so much so that an integral part of the arts scene in Harlem, so much so that in many ways he defined the spirit of the age, from a literary in many ways he defined the spirit of the age, from a literary point of view. point of view. The Big SeaThe Big Sea, the first volume of his , the first volume of his autobiography, provides such a crucial first-person account autobiography, provides such a crucial first-person account of the era and its key players that much of what we know of the era and its key players that much of what we know about the about the Harlem RenaissanceHarlem Renaissance we know from Langston we know from Langston Hughes's point of view. He got to know other writers of the Hughes's point of view. He got to know other writers of the time such as Countee Cullen, Claude McCay, W.E.B. DuBois, time such as Countee Cullen, Claude McCay, W.E.B. DuBois, and James Weldon Johnson. and James Weldon Johnson.

When his poem "The Weary Blues" won first prize in the When his poem "The Weary Blues" won first prize in the poetry section of the 1925 poetry section of the 1925 OpportunityOpportunity magazine literary magazine literary contest, Hughes's literary career was launched. His first contest, Hughes's literary career was launched. His first volume of poetry, also titled volume of poetry, also titled The Weary BluesThe Weary Blues, appeared in , appeared in 1926. 1926.

In Langston Hughes's In Langston Hughes's poetry, he uses the poetry, he uses the rhythms of African rhythms of African American music, American music, particularly blues and jazz. particularly blues and jazz. This sets his poetry apart This sets his poetry apart from that of other writers, from that of other writers, and it allowed him to and it allowed him to experiment with a very experiment with a very rhythmic free verse. rhythmic free verse. Hughes's second volume of Hughes's second volume of poetry, poetry, Fine Clothes to the Fine Clothes to the JewJew (1927), was not well (1927), was not well received at the time of its received at the time of its publication because it was publication because it was too experimental. Now, too experimental. Now, however, many critics however, many critics believe the volume to be believe the volume to be among Hughes's finest among Hughes's finest work. work.

Alain LockeAlain Locke Locke complained that he couldn’t understand how his Locke complained that he couldn’t understand how his

peers “come up here in a broad-minded place like this peers “come up here in a broad-minded place like this and stick together like they were in the heart of Africa.”and stick together like they were in the heart of Africa.”

““[By] common consent,” Locke wrote to his mother about [By] common consent,” Locke wrote to his mother about dining-room habits at Harvard, black students had dining-room habits at Harvard, black students had “unanimously chosen to occupy a separate table together. “unanimously chosen to occupy a separate table together. Now what do you think of that? It’s the same old lifelong Now what do you think of that? It’s the same old lifelong criticism I shall be making against our people.”criticism I shall be making against our people.”

His future work, now seen as the fount, in His future work, now seen as the fount, in African American thought, for what came toAfrican American thought, for what came to be called “multiculturalism,” would celebrate be called “multiculturalism,” would celebrate cultural pluralism, both philosophically and cultural pluralism, both philosophically and personally.personally.

Having studied African culture and traced Having studied African culture and traced its influences upon Western civilization, he its influences upon Western civilization, he urged black painters, sculptors, and urged black painters, sculptors, and musicians to look to African sources for musicians to look to African sources for identity and to discover materials and identity and to discover materials and techniques for their work. He encouraged techniques for their work. He encouraged black authors to seek subjects in black life black authors to seek subjects in black life and to set high artistic standards for and to set high artistic standards for themselves. He familiarized American themselves. He familiarized American readers with the Harlem Renaissance by readers with the Harlem Renaissance by editing a special Harlem issue for editing a special Harlem issue for Survey Survey GraphicGraphic (March 1925), which he expanded (March 1925), which he expanded into into The New NegroThe New Negro (1925), an anthology (1925), an anthology of fiction, poetry, drama, andof fiction, poetry, drama, and

W.E.B. Du BoisW.E.B. Du Bois

Black historian, sociologist, Black historian, sociologist, and and Harvard scholar, Harvard scholar, W. E. W. E. B. Du Bois B. Du Bois was at the forefront was at the forefront of the civil rights movement at this time. of the civil rights movement at this time. In 1905 Du Bois, in collaboration with a In 1905 Du Bois, in collaboration with a group of prominent African-American group of prominent African-American political activists and white civil rights political activists and white civil rights workers, met in New York to discuss the workers, met in New York to discuss the challenges facing the black community. In challenges facing the black community. In 1909, the group founded the National 1909, the group founded the National Association for the Advancement of Association for the Advancement of Colored People (NAACP), to promote civil Colored People (NAACP), to promote civil rights and fight African-American rights and fight African-American disenfranchisement.disenfranchisement.

Marcus GarveyMarcus GarveyAt this same time, the Jamaican-born At this same time, the Jamaican-born

Marcus Garvey began his promotion of the Marcus Garvey began his promotion of the

““Back to Africa movement.” Garvey foundedBack to Africa movement.” Garvey founded

the Universal Negro Improvement Association andthe Universal Negro Improvement Association and

African Communities League (UNIA-ACL), whichAfrican Communities League (UNIA-ACL), which

advocated the reuniting of all people of African advocated the reuniting of all people of African ancestryancestry

into one community with one absolute government. into one community with one absolute government. TheThe

movement not only encouraged African-Americans tomovement not only encouraged African-Americans to

come together, but to also feel pride in their heritage come together, but to also feel pride in their heritage andand

race.race.

Richard WrightRichard WrightOne of America’s greatest black writers, One of America’s greatest black writers, Richard Wright was also among the first Richard Wright was also among the first African American writers to achieve literary African American writers to achieve literary fame and fortune, but his reputation has less fame and fortune, but his reputation has less to do with the color of his skin than with the to do with the color of his skin than with the superb quality of his work. He was born and superb quality of his work. He was born and spent the first years of his life on a plantation, spent the first years of his life on a plantation, not far from the affluent city of Natchez on the not far from the affluent city of Natchez on the Mississippi River, but his life as the son of an Mississippi River, but his life as the son of an illiterate sharecropper was far from affluent. illiterate sharecropper was far from affluent. Though he spent only a few years of his life in Though he spent only a few years of his life in Mississippi, those years would play a key role Mississippi, those years would play a key role in his two most important works: in his two most important works: Native SonNative Son, , a novel, and his autobiography, a novel, and his autobiography, Black BoyBlack Boy. .

Wright's first novel, Native Son (1940), a Wright's first novel, Native Son (1940), a brutally honest depiction of black, urban brutally honest depiction of black, urban ghetto life, was an immediate success. The ghetto life, was an immediate success. The story's protagonist embodies all the fear, story's protagonist embodies all the fear, rage, and rebellion, all the spiritual hunger rage, and rebellion, all the spiritual hunger and the undisciplined drive to satisfy it, that and the undisciplined drive to satisfy it, that social psychologists were just beginning to social psychologists were just beginning to recognize as common elements in the recognize as common elements in the personality of the underprivileged and personality of the underprivileged and dispossessed of all racesdispossessed of all races. .

Richard Wright

Wright's intention was to make the particular truth universal and to project his native son as a symbol of the deprived in all lands. Contemporary critics, however, unimpressed by the universal symbol, were interested instead in Wright's passionate indictment of white racism and the life-style it imposed upon blacks. Wright's implication that there was another and a better way of social organization than democracy, and that communism was perhaps that better way, also impressed them. This implication was toned down in the stage version (1941). In 1941 Wright also published Twelve Million Black Voices: A Folk History of the Negro of the United States.

Richard Wright


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