American Cultural Renaissance. Folk Spiritual music develops into Arrange Spiritual post Civil War...
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Transcript of American Cultural Renaissance. Folk Spiritual music develops into Arrange Spiritual post Civil War...
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American Cultural Renaissance
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Folk Spiritual music develops into Arrange Spiritual post Civil War and dance is connected to roots1870s
The Creole Show & other black musicals evolve out of minstrel shows
1890s
Ragtime rises, spreading sheet music/leads to development of Af. Am. social dances
1880s
Female singers began singing Vaudeville Blues, a form for entertainment1900s
1910s
Comedic musician Bert Williams produces first films with executive power given to blacks.
Great Migration leads to influx in music and dance in the North (Harlem Renaissance)
1920s 1930s
African American music and dance flourishes despite the Great Depression
Major choreographers and musicians are successful in artistic innovations 1940s
Rock and roll music is developed with major African American players and a performance based dance style to compliment it 1950s 1960s
During the Civil Rights movement music and dance are used as activism
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From Folk Spirituals to Jazz
• Spirituals and Field Hollers
• The beat of Ragtime syncopation
• The driving marches of brass bands
• The Blues
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Roots of Jazz
Many slaves, and later the freed blacks, used work songs as a rhythm for their labors.
Overseers did not often interfere with the work songs because it improved the output and the mood of the captive laborers.
These songs consisted chiefly of, spirituals or gospel songs, field hollers, call-and-response type songs, and modified sea chanties.
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Ragtime• Began in Saint Louis • Flourished in New
Orleans at turn of Century
• Known for Syncopated piano
• The music of Vaudeville and Silent films
• Accompanied Social Dances like the Cakewalk
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The Brass Bands
In New Orleans the large marching groups were usually used for funeral processions and large Mardi Gras celebrations.
The instrumentation of these bands were usually cornets, clarinets, trombones, tubas, banjos and drums. Also, numerous society dances required skilled musical ensembles.
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The Jazz Age
“Jazz music is idiosyncratic by nature where the performer creates the rhythm. There is truly no incorrect way to play Jazz. J.A. Roger wrote, " Jazz isn't just music, but also a spirit that can express itself in almost everything," It was in many ways a revolt against constraints because it was so joyous. Typically instrumented by piano, string bass, and drums, jazz began to take charge of the new era of music. “
-- Kwa King, “The Jazz Age”
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The Great Migration• Many African Americans remained in the South
nearly fifty years after the Civil War.
• Many African Americans migrated North with the outbreak of World War I because:
1) war generates new opportunities for industry2) much of existing labor supply left the work force3) immigrant labor pool evaporated
• African Americans congregated in northern cities like Chicago and New York in unprecedented numbers. The concentration, in New York city, occurred on the upper west side, in Harlem.
• .
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THE NORTH AS THE LAND OF BROKEN PROMISES
Northern city life proves both exhilarating and extremely troubling from World War I onward.
Relative to the South, the North provides greater economical, educational, political, and social opportunities, BUT…
Rising northern racism leads to strict residential segregation that causes overcrowding, run-down conditions, artificially high rents.
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“If we were to offer a symbol of what Harlem has come to
mean in the short span of twenty years it would be another
statue of liberty on the landward side of New York. It stands
for a folk-movement which in human significance can be
compared only with the pushing back of the western frontier
in the first half of the last century, or the waves of
immigration which have swept in from overseas in the last
half. Numerically far smaller than either of these movements,
the volume of migration is such none the less that Harlem
has become the greatest Negro community the world has
known--without counterpart in the South or in Africa. But
beyond this, Harlem represents the Negro's latest thrust
towards Democracy” Alain Locke from “Harlem”
published in Survey Graphic:
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Social Protest
Harlem is viciousModernism. BangClash.Vicious the way it's made,Can you stand such beauty.So violent and transforming.
- Amiri Baraka (LeRoi Jones)
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Harlem, New York
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The Harlem Renaissance
• The period from the end of World War I through the middle of the 1930s Depression
• Talented african-American writers, thinkers and artists produced a sizable contribution to American culture.
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Important Features of the HR
A literary and Arts movement
The explosion of music (particularly jazz, spirituals and blues), painting, dramatic revues, and others.
The name became synonymous with new vitality, Black urbanity, and Black militancy.
It encouraged a new appreciation of folk roots and culture.( Peasant folk materials and spirituals provided a rich source for artistic inspiration. )
It continued a celebration of the mythology of an exotic Africa that had begun in the 19th century.
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Universal Themes
Common themes begin to emerge in literature, music, performance, and visual art: • Alienation• Marginality• Hope• Spirituality• Disillusionment
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Music of the HR
Bessie Smith
Duke Ellington
Louis Armstrong
Cab Calloway
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The Young Black Intellectuals
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Intellectual MovementAmong the important intellectuals writing and thinking during the Harlem renaissance were W.E.B. Du Bois, Marcus Garvey, and Alain Locke.
The notion of "two-ness," a divided awareness of one's identity, was introduced by W.E.B. Du Bois, one of the founders of the National Association for the Advancement of Colored People (NAACP). and the author of the influential book The Souls of Black Folks (1903):
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"One ever feels his two-ness - an American, a Negro; two souls, two thoughts, two un-reconciled stirrings: two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder."
W.E.B Dubois
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The HR. gave birth the many important publications, such as Crisis magazine, edited by W. E. B. DuBois, giving black writers
a forum where their voices could be heard.
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“So for generations in the mind of America, the Negro has
been more of a formula than a human being --a
something to be argued about, condemned or defended,
to be "kept down," or "in his place," or "helped up," to be
worried with or worried over, harassed or patronized, a
social bogey or a social burden. The thinking Negro even
has been induced to share this same general attitude, to
focus his attention on controversial issues, to see himself
in the distorted perspective of a social problem. His
shadow, so to speak, has been more real to him than his
personality “
Alain Locke from “The New Negro”:
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James Weldon Johnson
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The Making of Harlem by James Weldon Johnson
“To my mind, Harlem is more than a Negro community; it is a large scale laboratory experiment in the race problem. The statement has often been made that if Negroes were transported to the North in large numbers the race problem with all of its acuteness and with New aspects would be transferred with them. Well, 175,000 Negroes live closely together in Harlem, in the heart of New York, 75,000 more than live in any Southern city, and do so without any race friction. Nor is there any unusual record of crime.”
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Artists of the HR
Palmer Hayden
Hale Woodruff
Edward Burra
Aaron Douglas
John Henry Adams
Laura Wheeling Waring
Jacob Lawrence
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Palmer Hayden“The Janitor Who Paints”
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Hayden, The Tunnel
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Palmer Hayden
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Hale Woodruff, 1934
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Hale Woodruff
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Hale Woodruff
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Edward Burra, 1934
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Edward Burra
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Jacob Lawrence
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Writers of the HRSterling Brown
Claude McKay
Langston Hughes
Zora Neal Hurston
James Weldon Johnson
Paul Laurence Dunbar
Jean Toomer
Countee Cullen
Nella Larson
Richard Wright
Frank Marshall Davis
Gwendolyn Bennet
Arna Bontemps
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Claude McKay
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Langston Hughes
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Zora Neal Hurston
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With thanks to Paul Reuben, PAL: Perspectives in American Literature