WEDNESDAY, 2.10Pick up a bell ringer, but DO NOT GET START UNTIL

DIRECTED

You will have 7.8 minutes to complete this bell ringer.

Check your answers. Score ___ / 131. A

2. D

3. B

4. D

5. C

6. C

7. B

8. D

9. B

10.D

11.D

12.C

13.A

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3. However, there are cats all over the city in New York City who think of me – or Mombasa – as a Mom.

4. However, there are cats all over the city in New York City who think of me – or Mombasa – as a Mom.

7. The last litter of five are use to following Mombasa around our studio apartment with those tails of theirs, sticking up in the air.

8. The last litter of five are use to following Mombasa around our studio apartment with those tails of theirs, sticking up in the air.

13. Soon there will be another litter to complicate her life but add pleasure to mine.

2

1. My cat, Mombasa, doesn’t especially like it when I bring a new litter of kittens home from the animal shelter where I volunteer.

3. However, there are cats all over the city in New York City who think of me – or Mombasa – as a Mom.

7. The last litter of five are use to following Mombasa around our studio apartment with those tails of theirs, sticking up in the air.

9. Perhaps they see me opening a can of cat food, they fling theirselves at the tabletop where I’m working, sometimes landing in the wastebasket on the way.

13. Soon there will be another litter to complicate her life but add pleasure to mine.

4

3. However, there are cats all over the city in New York City who think of me – or Mombasa – as a Mom.

6. Whether I wake in the morning to find my telephone answering machine blinking or the VCR out of whack.

7. The last litter of five are use to following Mombasa around our studio apartment with those tails of theirs, sticking up in the air.

13. Soon there will be another litter to complicate her life but add pleasure to mine.

5

3. However, there are cats all over the city in New York City who think of me – or Mombasa – as a Mom.

7. The last litter of five are use to following Mombasa around our studio apartment with those tails of theirs, sticking up in the air.

8. The last litter of five are use to following Mombasa around our studio apartment with those tails of theirs, sticking up in the air.

13. Soon there will be another litter to complicate her life but add pleasure to mine.

8

3. However, there are cats all over the city in New York City who think of me – or Mombasa – as a Mom.

12. When the kittens leave, Mombasa purrs contentedly, that her peace won’t last.

13. Soon there will be another litter to complicate her life but add pleasure to mine.

THE HARLEM RENAISSANCE

“Harlem was not so much a place as a state of mind, the cultural metaphor for black America itself.”

Social Conditions between 1865 and 1929•Harlem Renaissance (1919-1934)

•Great Migration (1916-1970)•Segregation between blacks and whites•Ku Klux Klan (1866-1870)

•Founded by confederate soldiers after Civil war. •Anti-Black, Jew, Catholic, and Communist. •Destroyed by president Grant in 1870 with Civil Rights Acts. Reemerged in 1915.

•The Harlem Renaissance, also known as the New Negro Movement and the Negro Renaissance, was an important cultural expression of the mid-twenties and thirties.

•With Harlem as its center, the Renaissance was an upsurge of new racial attitudes and ideals on the part of Afro-Americans and an artistic and political awakening.

• It was partly inspired by the freethinking spirit of the times.

•The Harlem writers and artists were in quest for new forms, images, and techniques.

•They, too, were skeptical and disillusioned

•DISILLUSIONED = a feeling of disappointment resulting from the discovery that something is not as good as one believed it to be.

•What chiefly differentiated them was their view of artistic endeavor as an extension of the struggle against oppression

Historical Roots and Tenets

• The historical roots of the Harlem Renaissance are complex.

• They lay in the vast migration of African Americans to northern industrial centers that began early in the century and increased rapidly as WWI production needs and labor shortages boosted job opportunities.

• WWI offered blacks the opportunity to serve in the military, although in segregated military units.

•The Harlem Renaissance incorporated all aspects of African American culture in its literature and several themes emerged.

Tenets in Art, Music and Literature:

• Effort to Recapture the African-American Past:

• Rural Southern Roots:

• African-American Urban Experience and Racism

• Use of Black Music and Folklore as an Inspiration for Poetry, Short Stories, and Novels

• Throughout all of these themes, Harlem Renaissance writers were determined to express the African-American experience in all its variety and complexity as realistically as possible.

The White Influence on the Harlem Renaissance:•The Harlem Renaissance appealed to a mixed audience—the African American middle class and white consumers of the arts.

•Urban whites suddenly took up New York’s African-American community, bestowing their patronage on young artists, opening up publishing opportunities, and pumping cash into Harlem’s “exotic” nightlife in a complex relationship that scholars continue to probe.

•The famous Cotton Club carried this trend to the bizarre extreme by providing black entertainment for exclusively white audiences.

•The relationship of the Harlem Renaissance to white venues and white audiences created controversy.

•While many African-American critics strongly supported the movement, others, like Benjamin Brawley and even W.E.B. DuBois were sharply critical and accused Renaissance writers and artists of reinforcing negative African-American stereotypes.

The Apollo Theater

• In the 1930s the opening of the Apollo Theater on 125th Street signaled the expansion of Harlem’s entertainment district.

•The Apollo featured the finest acts and became the most prestigious African American performing stage in the country.

•The response of the Apollo’s knowledgeable audience could make or break a performer’s career.

Decline of the Harlem Renaissance:

The Harlem Renaissance declined in the mid 1930s. Factors that contributed to this decline were as follows:

1. Harlem’s emergence as a slum:

- Within a single decade Harlem transformed from an ideal community to a neighborhood with manifold social and economic problems.

- Housing was overpriced, congested, and dilapidated.

- Jobs were hard to come by due to competition and discrimination.

- As a result, most of Harlem’s residents lived in poverty, a situation that contributed to the growth of crime, vice, juvenile delinquency and drug addiction.

2. The Great Depression:

- Increased economic pressure impacted both creative artists and the art industry.

- Organizations like the NAACP and the Urban League shifted interests from the arts to economic and social issues.

- Book publishers and recording companies also became more careful about their selections.

3. The Departure of Many Key Figures in the Movement:

- Charles S. Johnson and James Weldon moved back to the South in 1931; W.E.B. DuBois followed in 1934.

- Langston Hughes left and did not return permanently until after WWII

- Josephine Baker based her career in Paris in 1925.

- Death also cut short many careers. Others found inspiration and life outside of Harlem.

4. The Harlem Riot of 1935:

- This event shattered the illusion of Harlem as the “Mecca” of the New Negro that figured so prominently in folklore.

- The riot illuminated Harlem as a ghetto and was a result of high crime rates, poverty, and inadequate housing.

•Yet the war also brought in its wake a series of devastating race riots culminating in the 1919 outbreaks in Washington and Chicago

•Black politics shifted as Marcus Garvey mobilized tens of thousands of supporters and confronted the newly formed NAACP and the African American establishment with a mass political movement championing black nationalism and Pan-Africanism

• The artistic output of the Harlem Renaissance was dominated by two ideologies, both driven by racial consciousness and pride.

• The first of these was represented by W.E.B. DuBois.

• He saw the arts as an area where talented and culturally privileged African Americans could lead their race’s fight for equality.

• Art functioned as propaganda: works of art inspired by the artists’ racial heritage 7 experiences would prove the beauty of the race and its contributions to American culture.

• These artistic successes could foster pride among all African Americans and prove their educated class to be the equal of the white educated class.

• The other ideology was represented by artists such as Claude McKay, Langston Hughes, Zora Neale Hurston, and Aaron Douglas.

• They felt the need to present the ordinary African American person objectively as an individual simply living in the flesh-and-blood world.

• This perspective argued against painting and characterizing only “cultured” and “high class” African Americans who mirrored the standards of white society.

• This school of though advocated artists who chose to pursue their art for its own sake.