THE RENAISSANCE Understanding The Harlem Renaissance by analyzing “Comments with Dr. James Haney” on the topic “The Harlem Renaissance” with Drs. S. McKoy and Gloria. C. Johnson

Facharbeit Englisch

Max Tillich Kalker Hauptstraße 180 51103 Köln

Betreuender Fachlehrer: K. Potschka Konrad-Adenauer-Gymnasium Bonn Max-Planck Straße 24/36 53177 Bonn

12. April 2010

The Harlem Renaissance 1 VERSICHERUNG DER SELBSTSTÄNDIGEN ERARBEITUNG Hiermit erkläre ich, dass ich die vorliegende Arbeit selbstständig und ohne fremde Hilfsmittel verfasst und keine anderen als die angegebenen Hilfsmittel verwendet habe.

Insbesondere versichere ich, dass ich alle wörtlichen und sinngemäßen Übernahmen aus an- deren Werken als solche gekennzeichnet habe.

The Harlem Renaissance 2 PROLOGUE The popular culture (also known as pop culture) developed in the early to mid 20th century. At the end of the 20th century popular culture developed into mass media and African American culture seems to be absolutely essential. As a Jazz, Soul and Hip-Hop enthusiast I am conscious about the fact that the Afro-American culture was not a part of the named popular culture from the beginning.

I chose The Harlem Renaissance as the topic of this school essay (Facharbeit) because this movement foremost located in the area of Harlem, New York (USA) around 1920 means the foundation of the music and the art I love and it stands for an attitude of getting up through artistic expression instead of hate and envy.

The video source “Comments with Dr. James Haney” can be watched on a website i created to amplify this essay with further information concerning Harlem today. The website also features a list of online sources I used to give evidence in various points.

Link: http://maxtillich.com/harlemrenaissance

The Harlem Renaissance 3 TABLE OF CONTENTS

1. Introduction 6

1.1 Historical Overview 6

1.2 New York Harlem 6

Gangs of Harlem 6

1.3 Comments with Dr. Haney 7 2. Body 8

2.1 The background 8

Frustration 8

The New Negro 9

Racism 10

2.2 The term Harlem Renaissance 10

The importance of Harlem 10

Explanation of the term renaissance 11

2.3 Forerunners to the Harlem Renaissance 11

2.4 Coaboration 12

2.5 Lengston Hughes 12

The most influential poet of the Renaissance 12

“The Negro Speaks of Rivers” 13 3. Conclusion 14

3.1 Controversial issues 14

3.2 Effects on today 14

“Harlem Renaissance” by Immortal Technique 15

The Harlem Renaissance 4 Bibliography 17

The Harlem Renaissance 5 1. INTRODUCTION In the following I’m going to explain The Harlem Renaissance (New Negro Movement) by re- ferring to “Comments with Dr. James Haney” on the topic “The Harlem Renaissance” with Drs. S. McKoy and Gloria. C. Johnson and various literary sources.

1.1 Historical Overview The 1920s were characterized by real estate instabilities and finally the great economic crises in 1929. America allied with Great Britain in World War I against Germany and its allied. Also Afro American soldiers fought for America overseas. European immigrants stayed out during the war (1914-1918). is ever-present and slavery is not even completely overcome.

1.2 New York Harlem The area of Harlem is located in the North of New York, USA. Between the first Afro Americans who settled in Harlem as early as 1880 and the period of the Harlem Renais- sance about 40 years later, proceeded a continual growth of the African American community in Harlem. Till 1905 there were hardly any white renters for Harlem’s landlords properties, so leading personalities in the real estate market argued in support of renting to Afro Americans. This was the beginning of the population oft the first district dominated by African Ameri- cans. Some landlords even made up pacts not to deal with Afro American interested.

Between 1920 and 1930, 87,417 blacks arrived, bringing the total number of African Americans to 164,566, with 25% of these being foreign-born. [1]

G ANGS OF H ARLEM Today Harlem often is associated with crime and gang-affairs and as it is obviously more than just a stereotype considering one of the highest crime rate of the world, gangs and leading criminals ruled whole streets and the businesses on them. All in all it worked out because po- lice often feared conflicts with Afro Americans, so gangs established their own understanding of justice. Later outstanding rich and not less powerful bosses of former street-gangs made im- portant investments into cultural venues in Harlem and consequently took part in the devel-

The Harlem Renaissance 6 opment of Harlem to become the place to go concerning entertainment for many people living in New York and in America.

1.3 Comments with Dr. Haney “Comments with Dr. James Haney” is an independent TV-production hosted by Dr. James Haney informing about African American history. “Comments with Dr. James Haney” was produced by a production company called Comments. Comments produced the show in Nash- ville, Tennessee with Dr. James Haney himself as executive producer. The whole production based on a project for the Tennessee State University. Broadcasted via FOX, UPN and local TV stations around Nashville, Tennessee, the show reached millions of people interested in academic breakfast television. Dr. James Haney welcomed both, black and white guests to talk on one particular topic each show. Comments shut down the production in 1998.

The for this essay relevant episode of “Comments with Dr. James Haney”, “The Harlem Ren- aissance”, features Dr. James Haney as host, Dr. Gloria C. Johnson as first, and Asst. Prof. She- lia Smith-McKoy as second guest to talk about The Harlem Renaissance within a 25 minutes long interview. Dr. James Haney directs his guests in a way that lets them tell freely and de- tailed about each section he pretends in by his questions.

The Harlem Renaissance 7 2. BODY

2.1 The background The Harlem Renaissance is regarded as the major and first cultural movement of African Americans which took place in a period between 1917 and 1935 throughout the USA. This is the timeframe Dr. Gloria C. Johnson sets clarifying that it was not a perfect decade as people expect [2] because of certain publications till the late 1930s.

F RUSTRATION The actual movement developed through dissatisfaction and frustration in the Afro American communities, years after liberation from slavery. Mass migration of “Southern Negroes”, as they are designated in 1968’s “LIFE” Magazine about the Harlem Renaissance [3], to Northern cities like New York and most of all the obvious isolation in ghettos, caused restiveness of “black America” [3]. These former slaves were needed as workers in the booming war industry between 1916 and 1918 to replace the workers that were expected to immigrate from Europe. Because of the First World War the European laborer were absent and many Americans fought overseas as allied power of Great Britain against Germany. So the mainly liberated African American people felt put-upon again and been reminded of times of picking cotton as slaves owned by an white American.

Returning Afro American soldiers from the battlefields of Central Europe had expectations of beeing treated as full American citizens after they proved the existence of a African American sentiment of patriotism by fighting for their country and in fact helped winning this war. By this time black Nationalism developed in the communities of Harlem and all over the country.

As written, between 1920 and 1930, 87,417 blacks arrived and Harlem became overpopulated so that good jobs were rare. A situation like that makes up the perfect breeding ground for organ- ized criminality and social issues. And after all, gangs controlled many streets to take the law into their own hands but on the other side the liberated Afro American inhabiters of Harlem conceived a new, although very small, wealth in relation to the times of slavery. Cultural life de- veloped and took place on a regular basis and even some nightclubs and theatres opened. The Lincoln Theatre as one of its first and most important in Harlem has already been opened be-

The Harlem Renaissance 8 fore 1915 to become the original home of the Anita Bush Players, also known as the Anita Bush All-Colored Dramatic Stock Company, a musical group directed by Anita Bush. One have to become aware of that Afro Americans had still no access to any cultural venue around 1918 but their own so such venues were important and essential to be presuppositions for a growing need of experienced venues.

T HE N EW N EGRO

M1

African American literature and other cultural works already existed while the time of slavery but the cultural movement which doesn’t only reflect the pain of slavery and present racism but also deals with the actual African American roots in Africa, started to come up from 1917 to 1920 in a somehow revolutionary way. As Asst. Prof. Shelia Smith-McKoy states, several black riots took place in the summer of 1919 all over the country [4], known by the name “Red Summer of Hate”. People became confident caused by the expressed expectations of returning African American soldiers and civil rights activists like William Edward Burghardt Du Bois. The New Negro, symbolic part of a new confident and patriotic black minority, was born. Re- lating to this development, The Harlem Renaissance is also known as the New Negro Move-

The Harlem Renaissance 9 ment which emphasizes the importance of the nationwide protests and accordingly it refers to the new consciousness and the idea of the New Negro as a whole new mind that recollects the African history. Of course the New Negro was also represented by the African American sol- diers who came home from overseas and were looking for a way to become recognized as full- value citizens of the country that they’ve been fighting for.

Men displaying a shield with the slogan “THE NEW NEGRO HAS NO FEAR” (see figure M1 ) captured at the U.N.I.A parade in Harlem in 1924 illustrates the confidence and in addi- tion the noticeable attendance of uncountable Afro Americans at the sideway underlines the relevance of this movement to the people of Harlem and all Afro Americans in America.

R ACISM All that took place during a time of brutal racism, although many states and especially the Northern states were slave free but the African American roots were still not respected as an established culture. This is the point where arts began to forge links between new demographic groups like the New Negro and the established society of white Americans originally coming from Europe. The major question several writers dealt with at the time around 1920 was “where blackness fit in the American agenda” [5].

2.2 The term Harlem Renaissance To understand the term Harlem Renaissance, one have to consider why it was a renaissance and what was the actual role of Harlem, New York.

T HE IMPORTANCE OF H ARLEM Dr. Gloria C. Johnson points out that Harlem indeed was the center of Afro American intellec- tual life in the 1920s but on the other side one have to be aware of the fact that the Renais- sance took place all over the country. Sneering she quotes some writers of this time who pointed out that only one of the writers actually came from New York which is meant hyper- bolic to underline the variety of writers throughout the [6]. Special about Har- lem was some kind of attitude towards life relating to the very small wealth and an unpredict- able real estate situation which made people escape into cultural research and later on into po- etry, Afro American history writings, especially early jazz-music which became popular through

The Harlem Renaissance 10 the returned black soldiers from the finished First World War, and other expressing arts like painting. Harlem became the area to go when it came to culture, entertainment and variety for many people in the New York area and beyond to finally pertain as the center of Afro American culture for more than a decade.

Looked at that way, one can compare Harlem to the human heart with veins connected to it and steady delivering new influences and creations to be consumed by a multi-racial audience all over America and after all, all over the World in a lasting way.

E XPLANATION OF THE TERM RENAISSANCE Renaissance is another word for the term rebirth. In relation to the titles context, rebirth stands for rekindling the flame of literature in Harlem. In the introduction of the shows topic, Dr. Gloria C. Johnson approaches critics that claim the term Renaissance because there never existed any literature before this time [7]. But as she states, there definitely existed African American literature before the time of that disputed so called Renaissance and the upcoming New Negro Movement. In keeping with a actual want of collaborating, writers came together for the very first time in African American history to share ideas and to finally meet writers they’ve corresponded to for years. This ability is the second and really important explanation for using the term Renaissance.

2.3 Forerunners to the Harlem Renaissance Years before Harlem Renaissance associated publications, the slave narratives as literary form paved the way for later writers and poets. Slave narratives like the latest publications of Charles W. Chesnutt, an white author who explored complex issues of racial and social identity have been published in Great Britain and America. Another property, besides he wasn’t black, is his grandfather who was a slaveholder. Anyway he self-identified as African American. In 1906 Charles W. Chesnutt published his last novel and actually the last publication of this kind at the same time. Since then the literary activities related to slavery and African American aware- ness were no longer just an black issue, writers and poets of all races expressed their thoughts by publishing historical or critical writings and poets.

The Harlem Renaissance 11 2.4 Collaboration Before the time of the Harlem Renaissance and naturally while slavery no collaboration were possible except the local and corresponding exchange of ideas and thoughts.

Even more impossible seems the idea of being supported by white mass media like magazines and papers before changing initiatives by people like Regina M. Andrews. In 1924 an assistant of the New York Public Library named Regina M. Andrews who was originally from Chicago organized a dinner for young African American writers. She also managed a meeting of these black writers who can be associated to the New Negro, with a number of white editors and publishers. Indeed, some of them were truly impressed so that one of them published an entire issue about “The New Negro”.

On the one hand, this meeting and its impact heralded the start of a long awaited development which was the pubic acceptance of the New Negro movement as a serious business. In fact fol- lowed articles in magazines and papers pushed the prominence of Harlem as a place to go for night-clubs and in general for cultural street life. At the other hand the first Afro American and white cultural collaboration happened and served after all that as an example for other initia- tives of this kind to work together.

2.5 Lengston Hughes Lengston Hughes was one of the greatest poets during the Harlem Renaissance. He was born in Missouri 1902. It says, he once took a train to Mexico after he finished school to visit his fa- ther (Lengston was raised by his grandmother). While he was on the train, he wrote the famous and one of the first poems assigned to the Harlem Renaissance, published 1921.

T HE MOST INFLUENTIAL POET OF THE R ENAISSANCE Today Lengston Hughes is deemed to be one of the most influential poet of The Harlem Ren- aissance. His publications gave African Americans hope and pride. His focus on the relations to nature and soul made people strong when critics within the community and conservative journalists attacked the movement as something evil, often blended by prejudice or dogma.

One of the first publications counted directly to the Harlem Renaissance is the great poem “The Negro Speaks of Rivers” by Lengston Hughes in 1921. This poem was published in

The Harlem Renaissance 12 NAACP’s (National Association for the Advancement of Colored People, founded in 1910) magazine called Crisis which was an Afro American magazine edited by W.E.B. Du Bois.

“THE N EGRO S PEAKS OF R IVERS” “I've known rivers: I've known rivers ancient as the world and older than the flow of human blood in human veins. My soul has grown deep like the rivers. I bathed in the Euphrates when dawns were young. I built my hut near the Congo and it lulled me to sleep. I looked upon the Nile and raised the pyramids above it. I heard the singing of the Mississippi when Abe Lincoln went down to New Orleans, and I've seen its muddy bosom turn all golden in the sunset. I've known rivers: Ancient, dusky rivers. My soul has grown deep like the rivers.”

-”The Negro Speaks of Rivers”, Lengston Hughes (1921)

[8]

“The Negro Speaks of Rivers” written by Lengston Hughes and published in 1921, is about the black soul and historical pride. Each sentence starts with the word “I” which could be repre- sentative for a race. Talking about “rivers” and “human” let the poem seem wise like Biblical passages. A river stands for blood in human veins. Imagery, these veins resemble the source to ones ancestors. “My soul has grown deep like the rivers” (line 13) concludes that the African American race have a sense of racial pride and a connection to life-giving, enduring forces in nature.

The Harlem Renaissance 13 3. CONCLUSION

3.1 Controversial issues The most controversial issue academics and contemporary witnesses had, is among others the question if the Renaissance was more an artistic or rather a pure racial and propagandistic movement. In fact this is a serious question because if it really was a propagandistic movement in the first way, books had to be rewritten, there are actually critical books though. In fact there is a difference between the literal and cultural products of the Renaissance on one side and the advancements concerning this new racial confidence while looking for place in the white American society after slavery on the other side. The name “New Negro Movement” covers the second aspect more than the creative aspect. Obviously the creative aspect seems to be the most important combined with the fact that Harlem became a cultural centre in the area of New York. The New Negro as a racial movement often is shown as an aspect worth less than the cultural aspect. This and the African American emancipation that took place not until many years later underlines the assumption that the American society only made use of the new opportunities concerning new cultural horizons to adopt them like music and arts. The call for equality was unsuccessful at that point.

For whatever reason critics even raised doubts concerning sexual topics. In 1993 Henry Louis Gates Jr., an respected American literary critic, writer and educator stated that The Harlem Renaissance “[...] was surely as gay as it was black, not that it was exclusively either of these.”. And in fact, many of the leading writers of the Renaissance, Lengston Hughes included, were homo- or bisexual. This became an extensive discussed issue in press and within the black community.

3.2 Effects on today Afro Americans still belong to the major American minorities like Latinos and Arabians or at least they are shown as a minority, fully emancipated though but there are definitely cultural achievements.

Afro American culture transformed to a suitable format for the masses and Jazz and Soul-based Hip-Hop is everywhere as mentioned in Comments with Dr. Haney. Even white artists are re-

The Harlem Renaissance 14 spected within the black community and the other way around. Concerning Hip-Hop there are very much parallels to the New Negro as a movement resulting of ghettoisation and finding of cultural roots.

“HARLEM R ENAISSANCE” BY I MMORTAL T ECHNIQUE An Hip-Hop artist called Immortal Technique from Harlem published a track about the Har- lem Renaissance on his latest album which sold close to 300,000 units. Immortal Technique is not signed to a major label like Universal or Capital. He is independent like most of the Hip- Hop artists creating music one can relate to revolutionary times like the Harlem Renaissance without embarrassing oneself. This track is an example for many more of its kind.

“We had revolution, music and artisans But the movement was still fucked up like Parkinson's Cause while we were givin birth to the culture we love Prejudice, kept our own people out of the club Only colored celebrities in the party (fake nigga!) And left us a legacy of false superiority W. E. B. Du Bois versus Marcus Garvey And we ended up, sellin out to everybody The Dutch {?} and the John Gotti's Banksters, modern day gangsters, immobile army They wanna move us all out the N.Y.C. Like they did to the Jews with the Alhambra decree So support your own businesses and do the knowledge Cause the real Harlem Renaissance is economic [...] (chorus:) Harlem Renaissance, a revolution betrayed Modern day slaves thinkin that the ghetto is saved

The Harlem Renaissance 15 Til they start deportin people off the property Ethnically cleansin the hood, economically They wanna kill the real Harlem Renaissance Tryin to put the Virgin Mary through a early menopause The savior is a metaphor for how we set it off Guerrilla war against the re-zoning predators [...] (voice sample:) When they were saying it is the renaissance, of Harlem they didn't mean, that we had stake in that They meant to say that they could make money out of us / They are coming in with all kind of prejudices In Brooklyn they're doing the same thing In, um, Queens they're doing the same thing; the Bronx There's hardly any place which is affordable I mean these people are putting up condominiums which start from a million dollars How many people in this community make that kind of money? How many people have that kind of money? / People of Harlem, they are the natural allies of the oppressed people of the world, whether the struggle is in Panama, in Africa, Cuba [...]"

-”Harlem Renaissance”, Immortal Technique (2008) [9]

In this track Immortal Technique claims the so called “sell out”, a phrase often used by Rap artists which equals the meaning of treason. The economic factor of the Harlem Renaissance and the cultural conditions today make him angry and warn for, exaggerated, the deportation.

The Harlem Renaissance 16 BIBLIOGRAPHY

[n] Author, “Title” Page (time)

[1] Sabiyha Prince, “Class, race, and Harlem's professional workers” Page 22

[2] Comments (ca. 03:40)

[3] Unknown editor, “LIFE” Magazine Page 97 ff (Dec. 1968)

[4] Comments (ca. 08:20)

[5] Paula S. Rothenberg ,“Race, class, and gender in the United States: an integrated study” Page 152

[6] Comments (ca. 04:30)

[7] Comments (ca. 04:45)

[8] Lengston Hughes (published by Dudley Randall), “The black Poets” Page 78

[9] Immortal Technique ((c)2008 Viper Records), “Harlem Renaissance” (from the album “3rd World”)

M1) Flickr http://www.flickr.com/photos/32912172@N00/2420780908

The Harlem Renaissance 17