Unit 2.3 Harlem Renaissance

stariStrategic Adolescent Reading Intervention

In Unit 2.3, we’ll be reading about a time when many African Americans in the United States moved from the South to cities in the North.

In the 1920s, in the part of New York City called Harlem, African American music, art, and writing got the attention of the world. That time was called the Harlem Renaissance.

We’ll also read a novel about teenagers living in New York City today, studying the Harlem Renaissance.

Our new unit explores the question below:

Can we ﬁnd a place where we can be our true selves??

Day 1 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 3 Previewing B"ks for this unit

Complete this activity with your partner.

Preview the book for the new unit called The Great Migration: An American Story.

What do you notice about the illustrations? ______

______

Preview the book called Langston Hughes: Poetry for Young People.

Which poem title looks interesting to you? ______

______

Look at the Contents for Harlem Stomp!

Which chapter number and title looks interesting to you? ______

______

Read the text on page 5 of Harlem Stomp! under the heading, “Fueling the Embers of Black Pride.”

What’s one fact you ﬁnd here about the Harlem Renaissance? ______

______

Preview the novel, Bronx Masquerade.

What do you notice about the way the novel is organized? ______

______

Day 1 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 4 Photos from the Great Migration

Work with your partner to answer these questions about your photo. Write complete sentences.

How would you describe what is happening in the photo? Who is doing what?

______

What is the scene of the photo?

______

Do you think your photo shows the South or the North? How can you tell?

______

Think about what the person or people in the photo might say about their life and what they are doing. Write what you think they are saying in the speech bubbles.

______

Day 1 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 5 Questioning The Great Migration

Questions can have “right there” answers. These questions start with the words who, what, when, or where. Answers to these questions are one place in the text.

Here’s a “right there” question about panel 9 in The Great Migration:

What was destroying the cotton crops?

Find and write down the words in the book that answer this question.

______Now make up your own “right there” question about panel 5, 6, 7, or 8:

______Have your partner write down the answer to your question here:

______

Questions with the words how, describe, and explain are “think and search” questions.

Here’s a “think and search” question about panels 14-17:

How was life hard for African Americans in the South?

Copy all the words for these panels that answer this question.

______

Did you notice any words to clarify for these panels?

______

Day 2 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 6 Questioning, continued

Make up your own “think and search” question for panels 18-22. Use the words how, describe, or explain to start your question.

______

Have your partner copy words that answer your “think and search” question.

______

Was the answer hard or easy to ﬁnd? ______

Did your partner ﬁnd the answer in just one place in the passage? _____

Read the text for panels 23-40 with your partner.

Stop and ask your partner a “right there” question for information you want to remember. “Right there” questions use the words who, what, when, or where.

My “right there” question: ______

______

My “think and search” question:______

______

Day 2 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 7 Asking and answering questions Jacob Lawrence

Jacob Lawrence was just a teenager when he began work on the 60 paintings that make up The Great Migration. Growing up in Harlem, Jacob almost fell into art. His mother worked long hours so she enrolled her children in an after-school program. At Utopia House, Jacob learned to paint. The students worked with simple materials, mainly poster paints on brown paper.

He remembered later,

“At that time I didn't have any attitude. Because I didn't know what art was. It was something I just liked to do. It was like, I guess some kids ride bikes and some kids hike. Some kids join the Boy Scouts.”

His art teacher said,

“And I noticed almost immediately what an interesting eye this kid had. He didn't work like the other kids. He knew pretty definitely what he wanted to do and it didn't relate to the typical kind of thing that children of that age do. At that time he was interested in very fantastic masks. I showed him how to build up forms and make papier-mache masks and then he would paint them.”

To help support his family, Jacob dropped out of high school after two years and worked construction jobs. His teacher from Utopia House remembered his talent, however, and invited him to join the Harlem Art Center. After working all day, Jacob took painting classes at night. His teacher, Charles Alston, had told him, “It is what you say, rather than how you say it” that matters. Jacob Lawrence knew what he wanted to say. He began to win grants to produce paintings about Black history.

Jacob’s family was part of the wave of African Americans who moved from the South to northern cities between 1915 and 1940. He began talking to family and friends about their experiences. He also studied documents in the New York Public Library. Telling the story of this movement became his focus and inspiration.

continued

Day 2 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 8 At age 22, Jacob planned his master work, The Great Migration. Beginning with sketches and captions, he prepared 60 plain white panels. He worked with the same kind of simple poster paint he had used at Utopia House. All the red details for all 60 panels were painted at one time, then the blue, then the brown. He felt the story would feel connected if the colors matched across the panels. Some images were repeated: hats and train tracks, for example.

When all 60 panels were complete, they were shown at a famous gallery in New York. Fortune magazine spotlighted the work, showing 26 of the panels. Jacob Lawrence was recognized as a unique voice in American art.

Questioning Jacob Lawrence

Questioning can help you remember what you read. Questions can have “right there” answers. “Right there” questions start with the words who, what, when, or where. You can ﬁnd the answers to “right there” questions in one place in the text.

Here’s a “right there” question about the Jacob Lawrence passage above:

What was Jacob Lawrence’s master work?

Underline the words in the passage that answer this question.

Was the answer hard or easy to ﬁnd? ______

Could you ﬁnd the answer in just one place in the passage? _____

Day 2 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 9 Questioning, continued

Now make up your own “right there” question about this passage:

______

Underline the words in the passage that give the answer to your question.

Was the answer hard or easy to ﬁnd? ______

Could you ﬁnd the answer in just one place in the passage? _____

We also ask ourselves more complicated questions while reading. Questions with the words how, describe, and explain get more complex answers. We call these “think and search” questions. The answers to “think and search” questions are found several places in a passage. Here’s a “think and search” question:

How was Jacob different from other kids in his art class?

Double underline the words in the passage that answer this question.

Was the answer hard or easy to ﬁnd? ______

Could you ﬁnd the answer in just one place in the passage? _____

Now make up your own “think and search” question. Use the words how, describe, or explain to start your question.

______

Double underline the words in the passage that give the answer to your question.

Was the answer hard or easy to ﬁnd? ______

Could you ﬁnd the answer in just one place in the passage? _____

Day 2 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 10 Motif

According to the passage, Jacob repeated images of hats and train tracks in many of the panels of The Great Migration. Artists call this kind of repeated image a motif (mo | TEEF).

Look through your copy of The Great Migration.

Besides hats and train tracks, what motif do you see?

Draw the motif you found:

Lawrence put numbers on the panels. Which panels show your repeated motif?

______

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Day 2 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 12 Sy#able chunking review

Syllables are chunks of sound with a vowel. Words can be made up of one, two, three, or more syllables:

Har | lem Mis | sis | sip | pi

To ﬁnd where to chunk a word, we can look for two consonants in the middle of a word. We follow these steps: • Underline the two middle consonants • Draw a line between the two middle consonants • Put a short vowel sign ˘ over the ﬁrst vowel

Chunk these words from The Great Migration that have two middle consonants. Be sure to mark the short sound of the ﬁrst vowel ˘ .

platform luggage disdain

Combine the syllable chunks below to make words with two middle consonants. List all the words you and your partner can make here:

______

______# cot dis fine num con ig cuss ber ton nore

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Day 3 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 14 More questioning The Great Migration

Look at panel 53 in The Great Migration.

Turn and talk to your partner about who you see in this panel. Here’s a “right there” question about panel 53:

Who did not welcome the newcomers from the South?

Write down the words from The Great Migration that answer this question.

______

Now make up your own “right there” question about panel 54, 55, 56, or 57. Use one of these question words: who, what, when, or where.

______

______Have your partner write the answer to your question here:

______

Look over panels 58-60 and read the text with your partner. Here’s a “think and search” question about panels 58–59:

How was life better in the North?

Copy the words from the book that answer this question.

______

______Did you notice any words to clarify for these panels?

______

Day 3 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 15 More questioning, continued

Now make up your own “think and search” question for panel 60. Use the words how, describe, or explain to start your question:

______

______Have your partner copy words that answer this question.

______

Reflect!

Looking back through the book, which panel was most interesting to you?

______

What does this panel show about life for African Americans at the time of the Great Migration?

______

Compare answers with your partner.

We chose the same panel to write about.

We chose different panels to write about.

Day 3 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 16 Sharecro$ing: A way of life in the South

In the South in the early 1900s, many farmers did not own their own land. They worked on land that someone else owned. They lived in houses owned by the same landowner. Farmers who worked on this system were called sharecroppers. At the end of the growing season, sharecroppers had to give the landlord a share of their crop. The share was most often one-half. Photo: thirteen-year-old sharecropper boy with a Both White and Black farmers in the South plow by Dorothea Lange - Library of Congress were part of the sharecropping system. Black families were less likely to own their own land, however, because of the history of slavery. In 1910, more than three quarters of Black farmers in the South worked in the sharecropping system.

Sharecroppers were always short of money. Each spring, families would borrow money from the landlord for seeds, tools, and other farming supplies. Then they could plant and grow the crop. Many families would also borrow money for food and living expenses. Instead of cash loans, many landlords would give the sharecroppers coupons or tokens. The coupons and tokens could only be used at a special store with high prices for food, seeds, fertilizer, and tools.

In the fall when the crops were ready, the landlord would take half of the crop. The sharecroppers would sell their half. But often they owed money for seeds, equipment, fertilizer, and living expenses. This money would be subtracted from their share.

In a year with a good harvest, sharecroppers came out ahead. They could pay back the money they owed and use extra cash for food, clothing and other expenses. In a year with a poor harvest, sharecroppers were hurt. Too much rain, not enough rain, insects like the boll weevil—all of these could ruin the crop. The bad harvest would not bring in enough money to repay the landlord. For the next year, the sharecroppers would have to work hard just to pay off what they owed. Even if the crop was good that next year, the whole value would still go to repay the debt to the landlord.

Most sharecroppers dreamed of getting ahead. With several years of successful crops, they might save money and buy their own tools and seed. By 1920, however, many sharecroppers were ready to quit farming. Jobs in factories in the North looked like a much better choice.

Day 4 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 17 Questioning Sharecro$ing

Write a “right there” question about this passage. “Right there” questions use the words who, what, when, or where.

______

Ask your partner to underline the words in the passage that give the answer to your “right there” question.

Write a “think and search” question about this passage. “Think and search” questions use the words describe, explain, or how.

______

Ask your partner to double underline the words in the passage that give the answer to your “think and search” question.

Trade off asking questions and ﬁnding answers with your partner. Write either a “right there” question or a “think and search” question.

______

My question was a:

“right there” question

“think and search” question

Write your partner’s answer below.

______

Day 4 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 18 Be%er jobs in the North

Read the want ad below.

WANTED Men wanted at once. Good steady employment for colored. Thirty and 39-½ cents per hour. Weekly payments. Good warm sanitary quarters free. Best commissary privileges. Towns of Newark and Jersey City. Fifteen minutes by car line offer cheap and suitable homes for men with families. For out of town parties of ten or more cheap transportation will be arranged. Only reliable men who stay on their job are wanted. Apply or write Butterworth Judson Corporation, Box 273, Newark, New Jersey, or Daniel T. Brantley, 315 West 119th Street, New York City.

Turn and talk to your partner.

Imagine you were a sharecropper in the South. Why would the New Jersey jobs look good?

______

Source: Scott, Emmett J. (1919). Negro migration during the war. New York: Oxford University Press, p. 17. http://www.gutenberg.org/files/29501/29501-h/29501-h.htm

Day 4 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 19 Jim Crow: A system of segregation

Segregation—keeping people separated by race—began with slavery.

A whole system of laws grew up around slavery. The laws, called Black Codes, limited the rights of all African Americans.

In the years after the Civil War, life improved for African Americans in the South. Slavery was illegal and new laws protected the right to vote, buy property, and take part in business.

But the good years did not last. State and local governments passed new laws to keep African Americans separated from Whites. Jim Crow was the name given to the system of segregation: separate schools, separate restaurants, separate housing, and separate parks. Most of the time, the schools, restaurants, parks, libraries, and hospitals for African Americans were lower quality. Black Americans’ taxes supported better schools, parks, and libraries that only White people could use.

States and towns in the North passed Jim Crow laws, too. But Jim Crow was much stronger in the South. Jim Crow laws affected every aspect of daily life: where you could eat, how you could travel, and where you could go to school.

Write a “right there” question about what you just read.

______Ask your partner to answer your question.

______Write a “think and search” question about what you just read.

______Ask your partner to answer your question.

______

Day 5 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 20 Examples of Jim Crow laws ‣ Alabama: All passenger stations in this state operated by any motor transportation company shall have separate waiting rooms or space and separate ticket windows for the white and colored races. ‣ Alabama: It shall be unlawful to conduct a restaurant or other place for the serving of food in the city, at which white and colored people are served in the same room, unless such white and colored persons are effectually separated by a solid partition extending from the ﬂoor upward to a distance of seven feet or higher, and unless a separate entrance from the street is provided. ‣ Florida: All marriages between a white person and a negro, or between a white person and a person of negro descent to the fourth generation inclusive, are hereby forever prohibited. ‣ Georgia: It shall be unlawful for any amateur white baseball team to play on any vacant lot or baseball diamond within two blocks of a playground devoted to the Negro race, and it shall be unlawful for any amateur colored baseball team to play baseball within two blocks of any playground devoted to the white race. ‣ Louisiana: Any person...who shall rent any part of any such building to a negro person or a negro family when such building is already in whole or in part in occupancy by a white person or white family shall be guilty of a misdemeanor. ‣ Mississippi: Separate free schools shall be established for the education of children of African descent; and it shall be unlawful for any colored child to attend any white school, or any white child to attend a colored school. ‣ North Carolina: School textbooks shall not be interchangeable between the white and colored schools, but shall continue to be used by the race ﬁrst using them.

Which Jim Crow law seemed the most stupid or petty to you?

______

Check with your partner. Did you agree about this or disagree? agree

disagree

Which Jim Crow law seemed the most cruel to you?

______

Check with your partner. Did you agree about this or disagree? agree disagree Day 5 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 21 Ma$ing Jim Crow in the South

Find the states where you read about Jim Crow laws. On the line pointing to each state, write how the law affected life for African Americans in that state.

Southeast U.S.

North Carolina

South Carolina Mississippi Alabama Georgia Louisiana

example: sports

Florida

Day 5 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 22 Leaving the South

Harlem Stomp! includes lots of information about African Americans moving to the North.

Use Chapter 1: “Song of Smoke” to learn more about the Great Migration. Find the page numbers for this chapter in the Contents of Harlem Stomp!

______Chapter 1 is on pages

Scan page 6 to ﬁnd a deﬁnition of the word “lynch.” What does lynch mean?

______

Scan the rest of Chapter 1, looking for numbers for Hint: Timelines lynchings at the time of the Great Migration. How many are a good African Americans were lynched between 1889 and 1918? place to ﬁnd facts like this.

______

Find a cartoon on page 17 of Harlem Stomp! What was the cartoon saying about reasons to go North?

______

When you read about this time in American history, how do you feel?

______

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Day 5 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 24 Chunking words with

Another way to break down a longer word is to look for the special syllable consonant + le. We call this syllable C + le for short. We look for the C + le syllable at the end of words: C + le struggle

To read words that end in C + le, follow these steps: • Underline the pattern consonant + LE • Draw a slash before the consonant + LE chunk • Put a short vowel sign ˘ over the ﬁrst vowel Say the word. The ﬁrst vowel sound is short. The last syllable has an “ul” sound.

Try the steps for these C + le words from Harlem Stomp! struggle˘ mantle gaggle crackle

Combine the syllable chunks below to make words that end in C + le. You will need to use some syllables 2 or 3 times. List all the words you and your partner can make here:

______

______# ______gig dle gle wig han hud tle bun whis tat

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Day 6 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 26 Life in the North

Look at Harlem Stomp! Chapter 2: “Moving Out, Fighting Back” and Chapter 3: “Black Metropolis” for more about life in the North. Find the page numbers for these chapters in the table of contents:

Ch. 2 ______Ch. 3 ______

Find “A New Kind of Slavery” on page 18 of Harlem Stomp! Some employers would lend African Americans the money to take the train north. But they would demand a promise to stay in that job afterwards. Page 18 shows a contract that a woman signed. She borrowed the money to go from Virginia to Philadelphia.

What promise did she have to make?

______

Pages 36-37 in Harlem Stomp! show a Black family moving into a Harlem apartment. The sign hanging from the building says “Apartments to Let.”

Turn and talk to your partner:

According to the sign, who are these apartments for?

______

What things are the family moving into their new apartment?

______

Day 6 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 27 Life in the North, continued

Both wealthy and poor African Americans and their families moved to cities in the North. The photos on page 40-41 of Harlem Stomp! compare a poor family at home in Harlem and wealthy African Americans leaving church in Harlem. Take notes on what you see in both pictures:

Family at home, page 40

______

People leaving church, page 41

______

Day 6 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 28 Mi!ing the South

Poet Waring Cuney wrote about life for average African Americans in the Great Migration:

Down-Home Boy by Waring Cuney

I’m a down-home boy trying to get ahead. It seems like I go backwards instead.

Been in Chicago over a year. Had nothing down home, not much here.

A measly job, a greedy boss--- that’s how come I left Waycross. Waycross a town in Georgia

Those Great Lake winds blow all around: I’m a light-coat man In a heavy-coat town.

Day 6 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 29 Writing home from the North

Once people arrived in the North, they wrote letters home to friends and family in the South. The letter below was written from the Chicago area to a brother still at home in Mississippi.

Dear Mike:

Mike, old boy, I was promoted on the first of the month. I was made first assistant to the head carpenter. When he is out of place I take everything in charge and was raised to $95 per month. You know I know my stuff.

What's the news generally around H'burg? I should have been here twenty years ago. I just begin to feel like a man. It's a great deal of pleasure in knowing that you have got some privileges. My children are going to the same school with the whites and I don't have to humble to no one. I have registered. Will vote the next election and there isn't any 'yes, sir, and no, sir.' It's all yes and no, and no, Sam, and Bill. Source: Scott, Emmett J. (1919). Negro migration during the war. New York: Oxford University Press, p. 34. http://www.gutenberg.org/files/29501/29501-h/29501-h.htm

What did the writer like about life in the North? Find ﬁve things:

1. ______

2. ______

3. ______

4. ______

5. ______From the way the writer talks about a good life in the North, what would you guess about his life in the South?

______

Day 6 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 30 Race riot!

The summer of 1919 was called “Red Summer.” Blacks and Whites fought in the streets of American cities.

Read the stories of some of the 1919 race riots on page 30 of Harlem Stomp!

What were some cities that had race riots?

______

______Race riots had many causes. One cause was fear of Blacks. What started the riot in Washington, D.C.?

______

Chicago had one of the worst riots of the Red Summer.

The American poet, Carl Sandburg, worked as a news reporter. Here is his story of the Chicago riot:

The so-called race riots in Chicago during the last week of July, 1919, started on a Saturday at a bathing beach. A colored boy swam across an imaginary segregation line. White boys threw rocks at him and knocked him off a raft. He was drowned. Colored people rushed to a policeman and asked for the arrest of the boys throwing stones. He refused. As the dead body of the drowned boy was being handled, more rocks were thrown, on both sides. The policeman held on to his refusal to make arrests. Fighting then began that spread to all the borders of the Black Belt. The score at the end of three days was recorded at twenty negroes dead, fourteen white men dead, and a number of negro houses burned.

Source: Carl Sandburg, The Chicago Race Riots. New York: Houghton Mifflin, 1919, page 1.

Day 7 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 31 Make up a “right there” question about The Chicago Race Riots. Use one of these question words: who, what, when, or where.

______

______Have your partner write the answer to your question here:

______

Now make up a “think and search” question about this passage. “Think and search” questions use the words describe, explain, or how.

______

Ask your partner to double underline the words in the passage that give the answer to your “think and search” question.

National Guard encounter, http://encyclopedia.chicagohistory.org/pages/6350.html

Day 7 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 32 Problems in the North

African Americans moved north in the years of the Great Migration. They moved away from poor jobs, Jim Crow, and lynchings in the South. But many faced problems in the North, too.

Look over the workbook pages about life in the North. Also look back at Chapters 1, 2, and 3 of Harlem Stomp! Look for facts about problems in the North for African Americans. You will use these facts in a debate.

Organize your notes under different headings:

Problems in the North

Jobs:

______

Housing:

______

Violence:

______

Prejudice:

______

Day 7 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 33 Harlem in the 1920s Blues and ja&

Today, you will be using Chapter 7: “Stompin’ at the Savoy” and Chapter 9: “Against all Odds” in Harlem Stomp!

Find the page numbers for these chapters in the table of contents. Ch. 7: _____ Ch. 9: ______

This poster was an ad for the 1929 movie, St. Louis Blues. Like music videos today, the movie promoted the hit song by blues singer Bessie Smith.

“St. Louis Blues” by W. C. Handy I hate to see that evening sun go down, I hate to see that evening sun go down, 'Cause my baby has left this town. If I'm feeling tomorrow, just like I feel today, If I'm feeling tomorrow, like I feel today, I'll pack my trunk and make my get-away. I've got the St. Louis blues, just as blue as I can be; Lord, that man's got a heart like a rock cast in the sea, Or else he wouldn't have gone so far from me.

Turn and talk to your partner:

What’s the mood in “St. Louis Blues”? ______

What’s the singer’s problem in “St. Louis Blues”? ______

______

Day 8 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 34 Blues was a kind of African American music that started in the South. Blues songs use three lines in a stanza.

Stanza one

1 I hate to see that evening sun go down,

2 I hate to see that evening sun go down,

3 Cause my baby has left this town.

Stanza two

1 If I'm feeling tomorrow, just like I feel today,

2 If I'm feeling tomorrow, like I feel today,

3 I'll pack my trunk and make my get-away.

Stanza three

1 I've got the St. Louis blues, just as blue as I can be;

2 Lord, that man's got a heart like a rock cast in the sea,

3 Or else he wouldn't have gone so far from me.

Turn and talk to your partner.

What do you notice about the first two stanzas in “St. Louis Blues”?

They______have

______

This kind of stanza with repeated lines is called “call and response.” Many blues songs use call and response. African slaves brought this style to America. Rap and hip hop can also have a call and response pattern.

Day 8 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 35 In Harlem in the 1920s, music was everything. People visited clubs to hear blues singers like Bessie Smith and bands like Duke Ellington’s and Cab Calloway’s. You can see Duke Ellington on page 93 of Harlem Stomp! Ellington was an artist and composer. Behind his picture, you can see music he wrote in his own writing.

Pages 98-99 in Harlem Stomp! show a Harlem nightclub with Duke Ellington’s band. They are playing at the Cotton Club. Can you ﬁnd Ellington in the picture with his band? What’s Ellington doing?

______Ellington is

People came to Harlem from all over to see top musicians and dancers. Most Harlem clubs were for everybody. But some, like the Cotton Club, had a Whites- only rule for customers. People who couldn’t go to the clubs listened to the music live on the radio.

Page 100 of Harlem Stomp! shows a map of Harlem clubs in 1932. Every club offered something special.

Turn and talk to your partner.

What was special about the Radium Club on Lenox Avenue?

______They offered customers

What could you see at Small’s Paradise on Seventh Avenue and 135th Street?

______

What could you get at Tillie’s on 133rd Street? ______

Day 8 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 36 Finding evidence Be%er o' in the North?

Check your group’s position:

African Americans were better off in the North.

African Americans were not better off in the North.

Your group will review the materials to ﬁnd evidence for the debate. Discuss with your group and agree who will look through each source. Check which source you have been assigned:

The Great Migration

Chapters 1, 2, & 3 of Harlem Stomp!

Workbook pages 17, 19, 20, 21, 23, 27, 28, 29, 30, 31, 33

Write your evidence below:

Quote from text What this means Source (page or panel #)

“Their lives were African Americans living The Great Migration, often in danger.” in the South lived in panel #15 fear of being killed.

Day 9 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 37 Preparing for the debate Ch"sing roles

Now that your group has found evidence, it is time to choose roles for preparing the debate. Make sure each person has a role.

The facilitator makes sure that The recorder will keep notes. everyone in the group helps prepare.

The artist will illustrate one of The reporter will present to the the pieces of evidence class. At least one other student should also plan to speak for your group.

Day 9 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 38 Preparing for the debate

Check your group’s position:

African Americans were better off in the North.

African Americans were not better off in the North. Step 1: Decide which evidence to use. Check each box as your group does each task: Facilitator asks each group member to share evidence Facilitator helps group decide which three pieces of evidence to use in the debate

Evidence and your explanation of what it Book title or workbook, means page or panel #

Step 2: Preparing the presentation. Each member of the group has a task: Recorder and reporters work together to write the speech Artist makes an illustration of one of the reasons African Americans are better off or not better off in the North Facilitator keeps everyone on track

Day 10 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 39 I#ustrating the past

Check your group’s position:

African Americans were better off in the North.

African Americans were not better off in the North.

Like Jacob Lawrence in The Great Migration, illustrate one of the reasons your group believes African Americans were or were not better off in the North.

What evidence or reason are you going to illustrate below?

______

Day 10 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 40 Debate sp(ch Be%er o' in the North?

Introduction and claim

Our group believes that after the Great Migration, African Americans were / were not better off in the North circle one! because ______List your reasons. ______.

Evidence and argument

The ﬁrst reason we believe that African Americans were / were not better off in the North is ______circle one! Share evidence. ______. This example Describe what this shows that ______evidence shows about African ______American life. ______.

In addition, ______Share evidence. ______. This Describe what this example shows that ______evidence shows about African ______American life. ______

Day 10 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 41 ______.

Our ﬁnal reason is that ______Share evidence. ______. This example shows that ______Describe what this evidence shows ______about African American life. ______.

Conclusion Summarize and generalize your In conclusion, our group believes that African evidence to try to persuade the others to Americans were / were not better off in the North because agree with your team. circle one! Example: In the long ______run, although African Americans had more ______food and access to ______work once they had moved to the North, ______they still faced violence and ______. segregation…

Extra cha#enge

If you have pictures, have the artist explain what he or she created and how it illustrates life for African Americans.

Day 10 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 42 Reflection sh(t

How well did our group work together? How well did I work?

Name:

Did I know what I Yes Sometimes No needed to do? How will you What will you improve? change?

Did I do what I Yes Sometimes No needed to do? How will you What will you improve? change?

I helped my group in the debate by:

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Day 10 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 44 Take a position! African Americans in the Great Migration

Do you think African Americans were much better off in the North during the Great Migration? Prepare to write an essay on your position.

Look over your group’s notes preparing for the debate. Think about different evidence presented in the class debate.

Write three paragraphs about why African Americans were better off in the North OR why African Americans were not better off in the North.

Begin with a clear statement of your position. Include at least three facts to back up your position. Your facts can come from the books The Great Migration and Harlem Stomp!, from workbook readings Leaving the South, Sharecro$ing, Jim Crow, Writing home from the North, Be%er jobs in the North, Life in the North, Problems in the North, Mi!ing the South and Race riot, and from the class debate. Give speciﬁc examples. Write a strong conclusion.

Remember to use phrases such as:

In my opinion,

I argue that

I strongly believe

Use facts and examples from the readings to back up your opinions. Phrases that will help you back up your opinion are:

My reasons are

One fact is

Additionally,

A compelling argument is

To wind down your argument you can use phrases such as:

Finally,

In conclusion,

To co n c lu d e,

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Day 10 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 46 My position on African Americans during the Great Migration

______

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Day 10 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 48 Black writers in Harlem in the 1920s Exploring Harlem Stomp!

Use Chapter 4: “The Dam Breaking” and Chapter 5: “Fire!!” to learn about Black writers in Harlem in the 1920s. Find the page numbers for these chapters in the table of contents of Harlem Stomp!

Ch. 4 ______Ch. 5 ______

Black writers were part of a lot of excitement in Harlem. Many poems and short stories talked about dreams and hopes for a better life. By the 1920s, Black pride was growing, especially in Harlem. A group of young Black writers began to meet. They worked together on magazines like FIRE!! Find the cover of FIRE!! on page 54 of Harlem Stomp!

What image do you see first on the cover of FIRE!!? Describe the image.

______It shows

______

There’s a second image on the cover of FIRE!! Describe the image.

______It shows

Where do these cover images come from? ______

Page 58 of Harlem Stomp! shows the cover of another magazine that Black writers started in Harlem. The magazine is called Opportunity.

What image do you see on the cover of Opportunity?

______

Day 11 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 49 Read the quote about FIRE!! on the top of conquest winning, victory page 55 in Harlem Stomp! revitalizing waking up linger stay The authors of the quote are young Black writers. dozing napping, sleeping

What do you think they might be saying?

______They are speaking to Black people in the U.S. and saying

______

How would you describe the authors’ attitudes? ______

______

These young writers talked and wrote about all the arts. Look at the Table of Contents of the 1920s magazine, The New Negro. This is on pages 62–63 of Harlem Stomp!

What different kinds of writing do you see listed in the table of contents here? ______

Day 11 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 50 Some famous writers of AUTHOR’S TITLE GENRE the Harlem Renaissance NAME wrote for The New Negro. Jessie Fauset

Look in the Table of Contents of The New Zora Neale Negro again. Find these Hurston four authors’ names. Then ﬁnd the title of the Gwendolyn piece they wrote for the Bennett magazine, and the genre (ﬁction, poetry, drama, Arna music). Bontemps

Use the index in Harlem Stomp! to ﬁnd a photo or drawing of a writer who wrote for The New Negro: Jessie Fauset, Zora Neale Hurston, Langston Hughes, Countee Cullen, or Wallace Thurman. Hint: in the index, the page numbers for pictures are written in italics like this:

Toomer, Jean, 46, 50, 53, 59

Write down the name of the author you picked and the page number in Harlem Stomp! where you found his or her picture.

Author: ______page ______

Describe the author from the photo or drawing.

______

Day 11 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 51 low pil ma Even more on com chunking words into pi lot sy#ables co ma

We know how to chunk words with two middle cotton consonants like cotton or disdain. We split these words between the two middle consonants: disdain

˘ The ﬁrst syllable in these words has a short vowel cot˘ dis sound:

But how do we chunk words with just one consonant in bogus the middle?

What if we chunked the word after the one middle bogus consonant?

Then the ﬁrst syllable bog has the pattern CVC bogus˘ (consonant-vowel-consonant). We say a short vowel sound for CVC syllables:

But that doesn’t sound right. Instead, we can break the bogus word before the middle consonant.

¯ Then the ﬁrst syllable bo has the pattern CV bogus (consonant-vowel). We say a long vowel sound for CV syllables like no and go:

Day 12 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 52 What’s the chunking rule for words with just one middle consonant? • Try chunking the word before the single middle consonant. • The first syllable will have a CV pattern. • Say the first syllable with a long vowel sound. Long vowels say their name. • If the word doesn’t sound right, try chunking the word after the single middle consonant. • Say the first syllable with a short vowel sound.

Read the words below that have just one middle consonant. • Underline the one middle consonant • Mark the vowel in the ﬁrst syllable as long ¯ or short ˘ • See what sounds right!

vital very important

Lenox the name of a main street in Harlem, also a 1920s nightclub

human belonging to people

Crisis the name of an African American magazine started in 1910

talent a special ability or skill

hazy unclear or smoky

vivid bright, or having a strong, clear image

How many of these words have a long vowel in the ﬁrst syllable? _____

How many of these words have a short vowel in the ﬁrst syllable? _____

Day 12 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 53 Waring Cuney Poet and singer

Many writers slowly build up a name for themselves. But Waring Cuney became famous when he was only 18!

Waring grew up as part of a middle class Black family. He attended Armstrong High School in Washington, D.C. where he showed talent as a singer.

As teenagers, Waring and poet Langston Hughes met on a city streetcar. Waring and Langston talked about poetry as they rode through the city. They became friends and planned to attend college together.

In Waring’s first year in college, his poem “No Images” won a magazine contest. His poems reached many readers of magazines like FIRE!!, Ebony and Topaz, The Crisis, and The New Negro.

Waring’s poems talked about pride, about knowing your history, and getting through hard times. Protest singer Josh White set many of Waring’s poems to music, including “Hard Times.”

From “Hard Times”

Went down home ‘bout a year ago Things so bad, Lord my heart was sore Folks had nothing, was a sin and a shame Everybody said hard times was to blame.

Find and underline these VCV words in the passage above:

famous Topaz protest Cuney

Write these words below in syllables and mark the ﬁrst vowel sound as long ¯ or short ˘.

____ | ______| _____

Day 12 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 54 Write two “right there” questions about Waring Cuney. Use the question words who, what, when, or where.

______

Underline the words in the passage that give the answers to your questions.

What is something you wonder about Waring Cuney that isn’t stated right in the passage?

______

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Day 12 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 56 Homework Day 12 Even more on chunking words

Went to the depot, looked up on the board Went to the depot, looked up on the board It read good times here, but better down the road

The writer Waring Cuney grew up middle class but loved remorse regret or shame the blues. The blues started out as poor people’s music but zenith the top or the height inspired many poets in the Harlem Renaissance.

The themes in the blues—break-ups, hard times and remorse—connected with everybody’s lives. In the 1920s and 30s, the blues moved from the South to Chicago, Washington, and New York. You could hear the blues played on street corners or in clubs. Record players, a new invention, meant people could listen to the blues at home. Companies like RCA and ABC signed blues artists and promoted their careers. Radio stations featured blues programs that carried the music across the U.S.

At its zenith of popularity, the blues along with jazz ruled the air waves. Blues singers performed with guitars, harmonicas, and later with drums and electric guitars. The blues sounded different from pop. It was deeper and showed more emotion. In the 1950s and 60s, the sound of a new kind of music, rock, came straight from the blues.

Underline the single middle consonant words in the passage above.

record depot zenith

Write them below in syllables. Mark the ﬁrst vowel sound as long ¯ or short ˘.

_____ | ______| ______| _____

continued

Day 12 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 57 Comprehension focus

What’s a “right there” question you could ask about this article?

______

Underline the words in the article that answer your “right there” question.

What’s a harder how, why or describe question that you could ask about this article?

______

Double underline the groups of words in the article that answer your question.

Day 12 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 58 Poems can represent di'erent m"ds

Poet Claude McKay wrote the poem “If We Must Die” after the terrible summer of 1919. Hundreds of people died in race riots in American cities. Black people were often targeted, chased, and attacked.

Read “If We Must Die” on page 31 of Harlem Stomp! inglorious shameful; not honorable mock laughing at; looking down on accursed cursed; terrible What word would you use to describe “in vain” without succeeding the mood of “If We Must Die”? defy to go against ______constrained forced foe enemy Turn and talk to your partner.

Compare the words you used to describe the mood of “If We Must Die.”

We chose the same word to describe the mood of the poem.

We chose different words to describe the mood of the poem.

Write down some words or phrases from “If We Must Die” that show the mood of the poem.

______

With your partner, pick one line to read out loud to the class that shows the mood of “If We Must Die.”

______

Practice reciting the line with your partner.

continued

Day 13 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 59 Read “No Images” below by Harlem Renaissance poet Waring Cuney.

She does not know her beauty, she thinks her brown body has no glory.

If she could dance naked under palm trees and see her image in the river, she would know.

But there are no palm trees on the street, and dish water gives back no images.

What word would you use to describe the mood of “No Images”?

______

Turn and talk to your partner.

Compare the words you used to describe the mood of “No images.”

We chose the same word to describe the mood of the poem.

We chose different words to describe the mood of the poem.

Day 13 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 60 Homework Day 13 Questioning when you read

To understand and remember, we ask questions when we read. The most basic kind of question has a “right there” answer. The answer to this question can be found in one place in the text. You don’t need any other information to answer it. Read the passage below. Then write three “right there” questions.

Langston Hughes

Langston Hughes was born in Missouri in 1902. His father was a businessman and lawyer. His mother was a teacher. As a child, Langston lived with his grandmother. His father had moved to Mexico to find more success. His mother also moved away to find work. Growing up in Kansas, Langston stood out. His grandmother would not let him attend a segregated school for first grade. Langston always attended school with White students. He had to fight against prejudice. In seventh grade, all the Black students were seated in one row. Langston and his friends held a protest about this. High school was a better time for Hughes. He joined the track team and started writing poetry. Some of his famous poems were written when he was only in his teens.

Write your three “right there” questions below, using one of the question words who, what, when, or where.

______

Underline the words in the passage that show the answers to your questions. continued Day 13 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 61

Langston published his first poem in The Crisis when he was only 18.

Although the poem sounds like it was written by someone old and wise, Langston felt he had not seen much of the world. His father paid for Langston to attend Columbia University, but he felt he wasn’t really living life. He left school and worked in the kitchen of a ship bound for Africa. There is a story that he threw all his books overboard, just keeping one favorite book of poetry. He lived in Paris where he washed dishes in a nightclub and ended up in Washington, D.C., working as a bus boy. In all of his travels, he was pulled towards jazz and blues and the lives of everyday people.

“Think and search” questions ask about information found several places in the text. What is your “think and search” question about this section? Your question can start with describe or explain.

______

Double underline the places in the passage that answer your question.

Day 13 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 62 Comparisons in poetry

Poets often describe people, things, or experiences by comparing them to something else. Poets use two kinds of comparisons: similes and metaphors.

Similes use the words “like” or “as” to compare two things. Here are a few examples of similes: My brother eats like a pig. As the weekend began, her mood was as light as a feather. His eyes were as cold as ice.

Choose one of these examples of a simile and explain it to your partner. What would it mean to eat like a pig? Feel light as a feather? Have eyes as cold as ice?

Metaphors also compare a person, feeling, or thing to something else. Here are a few examples of metaphors: My son is the light of my life. She has a heart of stone. Life is a journey.

Discuss the metaphors with your partner. Explain one of them (for example, a heart can’t really be made of stone, so what could that mean?). Write notes on your ideas about one of the metaphors. Be ready to share your ideas with the class!

______

Create a few metaphors with your partner:

1. ______Her eyes were

2. ______is the sun

3. ______

What was a strong example you heard from classmates?

______

Day 14 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 63 Read the poem, “My People,” on page 16 of Langston Hughes: Poetry for Young People.

Identify and ﬁll in the comparisons below:

In the poem, “My People,” Langston Hughes compares the beauty of:

. . . ______.the night to

. . . ______.the stars to

. . . ______.to

Read the poem again and think about what it means.

Who is Hughes talking about as “my people”?

______

What is Hughes trying to say?

______

Langston Hughes and Waring Cuney were friends. As teenagers, they shared poems and ideas. Look back at “No Images.”

What connection can you make between “No Images” and “My People”?

______Both poems

______

Day 14 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 64 Homework Day 14 Writing similes

Similes are comparisons that use the words “like” or “as.” Come up with three similes of your own.

1. ______My backpack is as as

2. ______is like a song.

3. ______like

______

Choose one of the similes you wrote and draw a picture that shows it.

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Day 14 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 66 Langston Hughes’s poetry Similes and metaphors

In “Harlem” (p. 44), Hughes uses similes to ask deferred delayed; put on hold questions about “What happens to a dream deferred?”

Read the poem with your partner (you may want to trade off reading lines).

Find a simile and write it here: ______

______

What do you think Hughes is saying about putting off your dreams?

______

In “The Dream Keeper” (p. 20), Hughes uses metaphors.

Read the whole poem through a couple of times to ﬁgure out what they could mean.

What do you think “heart melodies” are? ______

What different feelings do you get from the phrases “blue cloud-cloth” and “too- rough ﬁngers”? ______

______

What fear or hope do you think the poet is talking about? ______

______

Day 15 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 67 Langston Hughes’s poetry, continued

In “Youth” (p. 17), Hughes uses metaphors and similes. Trade off reading lines of the poem with your partner.

What does Hughes compare tomorrow to? ______

What does Hughes compare yesterday to? ______

What does Hughes compare today to? ______

Draw a picture of one of the metaphors or similes in “Youth” and label it:

What word would you use to describe the mood of “Youth”? ______

Day 15 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 68 Homework Day 15 Writing metaphors

Metaphors are comparisons like “football is legal warfare” or “he was a monster” or “patience is a hard road to walk.”

Thinking about Langston Hughes’s poems “Harlem” and “Youth,” come up with your own metaphors. Give at least two for each sentence starter.

A dream deferred is . . . Tomorrow is . . .

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Day 15 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 70 Guidelines for reading a poem

When you read a poem through several times, you can hear it and understand it better. We will practice reading each poem three times. Every time we read, we will focus on noticing different things about the poem.

Reading #1 - silent

• What mood do you take away from reading the poem?

Reading #2 - out loud

• Note words or phrases you are not sure about and want to clarify. • Are there metaphors or similes in the poem? What are they?

Reading #3 - out loud

• What seems like the most important line? • What do you think the poet is trying to express? Why do you think it’s important (to them or to you)?

Day 16 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 71 Using thr( reads to understand poetry

We’ll read one more Langston Hughes poem. Use the guidelines for reading the poem three times.

Find “Dream Variations” on page 18 of Langston Hughes: Poetry for Young People.

Reading #1 - silent

______A mood I take away is

Reading #2 - out loud

______A word or phrase to clarify is

______I think a metaphor in this poem is

______

Reading #3 - out loud

______I think an important line is

______

______I think an important idea the poet gives us is

______

Day 16 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 72 Using thr( reads to understand poetry, continued

Before you read the next poem, read about the terms below.

Jesse Semple a made-up character from Harlem who appeared in Langston Hughes’s newspaper stories. Sweet Flypaper of Life a book of photographs and writing about Harlem by Roy DeCarava and Langston Hughes. Apollo a theatre on 125th Street in Harlem, famous for jazz music and comedy performances.

Read the poem “Long Live Langston” on pages 5–6 of the book Bronx Masquerade. The poem is written by Wesley, a teenager in Bronx Masquerade. After each reading, turn and talk to your partner.

Reading #1 - silent

______A mood I take away is

Reading #2 - out loud

______A word or phrase to clarify is

______I think a metaphor in this poem is

______

Reading #3 - out loud

______I think an important line is

______

______I think an important idea the poet gives us is

______

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Day 16 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 74 Homework Day 16 Writing about someone you admire

Wesley in Bronx Masquerade writes a poem about Langston Hughes, someone he admires a lot.

Write about someone you admire or would like to be like.

What do you like about them?

What special things do they say or do?

How do you connect yourself to their experience?

______

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Day 16 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 76 mey Chunking words ho on Ty One mi)le consonant Dev rone

What are the chunking rules for words with just one middle y consonant? stud • First try chunking the word before the single middle consonant. - Say the ﬁrst syllable with a long vowel sound. Long vowels say their name. • If the word doesn’t sound right, try chunking the word after the single middle consonant. - Say the ﬁrst syllable with a short vowel sound.

Read the words below that have just one middle consonant. • Underline the one middle consonant • Mark the vowel in the ﬁrst syllable as long ¯ or short ˘ • See what sounds right! Practice the steps with these words from Bronx Masquerade:

honor token stoking

model famous comic shadow

Day 17 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 77 Yearb"k

In some high schools, students make their own yearbook page.

The yearbook page has a photo of the student. Sometimes they give a favorite quote or list their favorite song. They also write something that they want people to remember about them.

As you get to know the students in Bronx Masquerade, you’ll be making your own yearbook pages for them. Here is an example of a yearbook page for Lupe Algarin:

Lupe Algarin

At the beginning of the year:

I wanted somebody to love.

Quotes about me:

“So I don’t have a boyfriend now. So what? Neither does Janelle. Or Gloria. Or Leslie. But we have each other.” (page 67)

I want people to remember:

I made honor roll!

My poems:

Brown Hands, El Noche, Imagine

Day 17 © SERP 2014 Unit 2.3—Harlem Renaissance | p. 78 Wesley Tyrone Boone Bittings

At the beginning of the year: At the beginning of the year: ______

Quotes about me: Quotes about me: ______