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This Material May Be Protected by Copyright Law (Title 17 U.S This material may be protected by Copyright Law (Title 17 U.S. Code) Learn more about related issues at: https://www.lib.umn.edu/copyright HIDDEN FROM HISTORY w RECLAIMINGTHE GAY AND LESBIAN PAST EDITED BY Martin Baum] Duberman ‘ Martha Vicinus and George Chauncey, Jr. NAL®BOOKS NEW 7 AMERICAN, LIBRARY ADIVISIONOFPENGUINBOOKSUSAINC. NEWYORK PUBLISHED N CANADA 3* PENGUIN EMS CANADA LNKTED. MARKHAM. WARD Copyright © 1989 by Martin Bauml Duberman. Martha Vicinus and Gears: Chauncey, Jr. All rights reserved. For information addressNew American Library. Ackno wlcd'gmem: “Lesbian Sexuality in Medieval and Early Modern Europe" by Judith C. Brown. Reprinted from Immodesl Acts: The Life of 0 Lesbian Nun in Renaissance Italy. copyright 0 1985by Judith C. Brown. Reprinted by permission of Oxford University Press. "Lesbians'In American Indian Cultures" by PaulaGunn Allen Reprinled from TheSacredHoop. copyright© 1986by PaulaGunn Allen. Reprinted by permission of Beacon Press “Inverts, Pcrverts, and Mary-Anncs: Male Prostitution and the Regulation 6! Homosexuality in England in the Nineteenth and Early Twentieth Centuries" by Jeffrey Weeks. Reprinted from Historical Perspectiveson Homosexuality, eds. Salvatore J Licata and Robert P. Peterson. copyright © 198] by Jeffrey . Weeks. Reprinted by permission of The Haworth Press. Inc. “Discourses of Sexuality and Subjectivity; The New Woman 1870—1936“by Carroll Smilh—Rosenberg.Reprinted from Disorderly Conduct: Visions of Gender in Victorian America, copyright «D 1985 by Carroll Smith-Rosenbcrg. Reprinted by permission of Alfred A. Knopf. Inc. NAL TRADEMARK REG, U 5. PAT. OFF. AND FOREIGN COUNTRIES REGISTERED TRADEMARK—MARCA REGISTRADA HECHO EN DRESDEN, TN. USA. SIGNET.SIGNETCLASSIC.MENTOR.ONYX, PLUME.MERIDIAN and NAL BOOKSare published in the United Statesby New American Library, a division 01’Penguin Books USA Inc., 1633Broadway, New York. Ncw York 10019. in Canadaby PenguinBooks CanadaLimited. 2801John Street. Markham. Ontario L3R 134 Designedby Leonard Telesca Library of CongressCataloging—in-PublicationData Hidden from history : reclaiming the gay and lesbian past / ediled by Martin Baum] Dubcnnan, Martha Vicinus. and George Chaunocy. Jr. p. cm. Includes bibliographies. ISBN 0—453-00689-2 1. Homosexuality—History. 2. Gays—History. I. Dubcrman, Martin B. I]. Vicinus, Martha. III. Chauncey, George. H076.25.H527 1989 306.76'6'09—dc20 89—9417 CIP First Printing, November, 1989 1 2 3 4 S 6 7 8 9 PRINTED IN THE UNITED STATES OF AMERICA A Spectaclein Color:TheLesbianandGaySubcultureof JazzAgeHarlem 319 alliances for progressive social change. But the prosperity of the 19205 A SPECTACLEIN COLOR: iwasshort—lived,and the Harlem gay subculture quickly declined following the Stock Market crash of 1929 and the repeal of Prohibition, sogn THE becoming its LESBIAN AND GAY SUBCULTURE " only a shadow of earlier self. Nevertheless, the traditions - OF JAZZ AGE HARLEM and institutions created by Harlem lesbiansand gay men during the Jazz Agecontinueto this day. ’1 The key historical factor in the development of the lesbian ,and + gay subculture in Harlem was the massive migration of thousands of Afro- Americans to northern urban areas after the turn of the century. Since the beginning of American slavery, the vast majority of blacks had lived ERIC GARBER in rural southern states. American participation in World War I led to an increasein northern industrial production and brought an end to immi- gration, which resulted in thousands of openings in northern factories becoming available to blacks. Within two decades,large communities of black Americans had developed in most northern urban areas. 50 signi■- cant was this shift in population that it is now referred to as the “Great Migration.” Black communities developed in Chicago, Detroit, and Buf- falo, but the largest and most spectacularwas Harlem, which becamethe meccafor Afro-Americans from all over the world. Nowhere else could you ■nd a geographic area so large, so concentrated. really a city within a The Harlem Renaissancehas recognized long been as a seminal city, populated entirely by blacks. There were black schoolteachers,black in Afro-American history. Eric work moment Garber's showsthat it entrepreneurs, black police officers, and even black millionaires. A spirit also significant was a moment in the history of gay Americans, and wasin the air—of hope, progress, and possibilitiee—which proved partic- that black lesbians ■ and gay men and the interracial gay social ularly alluring to the young and unmarried. Harlem’s streets soon filled networks they created—played a crucial role in the literary renais- with their music, their voices, and their laughter. in the blues. and in the clubs which made famous in sance. Harlem They called themselves“New Negroes,” Harlem was their capital, and the 19205.In this he documentsthose contributions and essay paints they manifested a new militancy and pride. Black servicemen had been colorful of a portrait the speakeasies,private parties, and drag balls treated with a degreeof respectand given a taste of near-equality while in Harlem’s homosexuals claimed as their own. He also considers the Europe during the World War; their experiencesin■uencedtheir expec« effect of intersection the of racial and sexual oppressionsin creating tations when they returned home. Participation in the war effort had distinctive a black gay subculture, and the sometimes uneasy rela- given the entire black community a senseof involvement in the American ■ tionship between black gaysand the white homosexualswho ocked processand led them to demand their place in the mainstream of Ameri- uptown. can life. Marcus Garvey, the charismatic West Indian orator, had thou- - sands of followers in his enormous black nationalist “Back to Africa? movement. W. E. B. DuBois and his National Association for the Ad- At the beginning of the twentieth century, a homosexual subculture, vancement of Colored People (NAACP), with its radical integrationist uniquely Afro-American in substance.beganto take shapein New York's position, generally appealed to a more educated, middle-class folléi■ing, Harlem. Throughout the so-called Harlem Renaissanceperiod, roughly 5s did Charles W. Johnson‘s National Urban League, but just , were as 1920 to 1935, black lesbians and gay men were meeting each other on militant in their call for racial justice. A variety of individuals and organi- street corners, socializing in cabarets and rent parties, and worshiping in zations generated Afro-American pride and solidarity. church on Sundays,creating a language,a social structure, and a complex The New Negro movement created a new kind of art. Harlem, as the network of institutions. Some were discreet about their sexual identities; New Negro Capital. becamea worldwide center for Afro-Ameriean jazz, others openly expressedtheir personal feelings. The community they built t literature, and the fine arts. Many black musicians, artists, writers, and attracted white homosexuals as well as black, creating friendships be- l entertainers were drawn to the vibrant black uptown neighborhood. Duke tween people of disparate ethnic and economic backgrounds and building Ellington. Fletcher Henderson, Fats Waller, Cab Calloway, Bessie Smith, 318 A Spectacle in Color: 320 ERICGARBER The Lesbian and Gay Subculture of Jan Age Harlem 32] busmesseditor and Ethel Waters played in Harlem nightclubs. Langston Hughes, Zora of the NAACP’s Crisis and personal protege of DuBois had his political sent Hurston, and Countee Cullen published in the local newspapers. Art career destroyed when he was arrested for soliciting public restroom:9 galleries displayed the work of Aaron Douglas and Richmond Barthé. in a hlack gay people were also under attack from the social deyelopmg psychtatnc institutions; These creative talents incorporated the emerging black urban con- Jonathan Katz cites a tragic case in which black sciousness into their art. The resulting explosion of self—consciouslyAfro- a young gay man was incarcerated for most of the 19205at Renaissance,” had the Worcester ‘ American creativity, now known as the “Harlem a (Massachusetts)State Hospital.lo But in spite of racial development of American arts.1 oppression, economic hardship, and homophobic persecution, black Brofound impact on the subsequent lesbi- - of Harlem’s immigrantgwere■be‘st aas and gay men were able to build thriving The social and sexual attitudes new a community of their own f‘ re■e‘eted■theih blues, distinctly‘Afro-Arnericanfolk musicthat had Within existing Afro-American institutions and traditions. a Civil War.» P_riyate the best to“ 'd’eyeloped in rural southern black communities following the parties were place for Harlem lesbiansand gay men subtleties, the blues were im: socralize',provtding safety and privacy. “We used 'go’ parties Structurally simple, yet open to countless to to Mabel;ever mensely popular within American black communities throughout the other night. The girls all had the parties,”remembered Hampton. common 19205.They told of loneliness, homesickness, and poverty, of love and Harlem parties were extremely varied; the most dif■cult, often brutal, kind the “rent party.” Like the good luck, and they provided a window into the was blues, rent parties had been broumifchht north the world of the New Negro immigrant. in Great Migration. Few of Harlem’s new residents had things money, and SOmetimes “the Homosexuality was clearly part of this world. “There’s two got rent was hard to come by. To raise funds ad): understand,"
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