CHAPTER 11 SECTION 5 THE HARLEM RENAISSANCE

1. CHAPTER 11 SECTION 5 THE HARLEM RENAISSANCE

2. The Harlem Renaissance • WORLD WAR I AND THE GREAT MIGRATION LED • MILLIONS OF AFRICAN AMERICANS RELOCATED FROM • RURAL SOUTH TO THE URBAN NORTH • – CONTRIBUTED TO A FLOWERING OF MUSIC AND • LITERATURE • – JAZZ AND THE HARLEM RENAISSANCE MADE A • LASTING IMPACT ON THE CULTURE OF ALL AMERICANS

3. AFRICAN AMERICANS LEFT THE SOUTH FOR A BETTER • FUTURE • – ECONOMIC OPPORTUNITY, SOCIAL ADVANCEMENT AND • GREATER POLITICAL RIGHTS • MOST FOUND A BETTER LIFE THAN IN THE SOUTH • – HOWEVER DID NOT EXCAPE RACISM AND OPPRESSION • – FORCED TO LIVE IN THE WORST HOUSING AND • WORKED IN THE LOWEST PAYING JOBS • – SOME WERE THREATENED WITH VIOLENCE • AFTER WWI AFRICAN AMERICANS INCREASED THEIR • DEMAND FOR SOLUTIONS TO THE COUNTRY’S RACIAL • PROBLEMS

4. HARLEM BECAME THE FOCAL POINT FOR THE • ASPIRATION OF THOUSANDS OF AFRICAN AMERICANS • – 200,000 AFRICAN AMERICANS SETTLED IN HARLEM • MIGRANTS FROM THE SOUTH MIXED WITH IMMIGRANTS • FROM CARIBBEAN ISLANDS • – CREATED A BLED OF DIFFERENT CULTURES AND • TRADITIONS

5. Marcus Garvey • MOST PROMINENT AFRICAN • AMERICAN LEADER TO EMERGE • IN THE 1920S • – BELIEVED THAT BLACKS WERE • EXPLOITED EVERYWHERE • HE PROMOTED THE IDEA OF • UNIVERSAL BLACK NATIONALISM • AND ORGANIZED A “BACK TO • AFRICA’ MOVEMENT • DID NOT CALL FOR BLACKS TO • WORK TOGETHER TO IMPROVE • AMERICA • – INSTEAD ADVOCATED THE • SEPARATION OF RACES

6. FOUNDED THE • UNIVERSAL NEGRO • IMPROVEMENT • ASSOCIATION • - HAD 2.5 MEMBERS AND • SYMPATHIZERS • GARVEY’S MOVEMENT • FELL APART IN THE • SECOND HALF OF THE • DECADE • – THE FEDERAL • GOVERNMENT SENT • GARVEY TO PRISON • FOR MAIL FRAUD AND • DEPORTED HIM TO • JAMAICA Marcus Garvey

7. Marcus Garvey • THE NATIONALIST AND • SEPARATIST ASPECTS OF THE • NATION OF ISLAM AND THE • BLACK POWER MOVEMENT IN • THE 1960’S WERE INFLUENCED • BY GARVEY • – SO DID APPEALS TO BLACK • PRIDE, SELF RELIANCE AND • CULTURAL TIES TO AFRICA

8. The Jazz Age • NAME CAME FROM F. SCOTT • FITZGERALD • JAZZ IS A MUSICAL FORM • BASED ON IMPROVISATION • – RECOMBINE DIFFERENT • FORMS OF MUSIC, • INCLUDING AFRICAN • AMERICAN BLUES AND • RAGTIME AND EUROPEAN • BASED POPULAR MUSIC

9. The Jazz Age • JAZZ EMERGED IN THE • SOUTHAND MIDWEST • – PARTICULARLY NEW • ORLEANS • – WHERE DIFFERENT • CULTURES AND • TRADITIONS CAME • TOGETHER AND • INFLUENCED EACH OTHER • – SPREAD NORTH WITH THE • GREAT MIGRATION • JAZZ WAS ALSO A SYMBOL • OF THE ROARING TWENTIES • – PLAYED IN SPEAKEASIES • AND NIGHTSPOTS IN BIG • CITIES

10. The Jazz Age • LOUIS ARMSTRONG • “IT’S A WONDERFUL WORLD” • BESSIE SMITH • MOST POPULAR JAZZ ENTERTAINERS OF THE 1920S

11. The Jazz Age • PLAYED IN THE COTTON CLUB • – HARLEMS MOST POPULAR • NIGHTSPOT • – BLACK MUSICIANS PLAYED • TO WHITE AUDIENCES • BY THE END OF THE 1920S • JAZZ HAD SPREAD TO EUROPE • – WITH THE HELP OF • JOSEPHINE BAKER

12. The Jazz Age • JAZZ BRIDGED THE RACES • – INFLUENCED WHITE • SONGWRITERS AND • COMPOSERS SUCH AS • COLE PORTER, IRVING BERLIN • AND GEORGE GERSHWIN

13. The Harlem Renaissance • IN THE 1920S NOVELISTS, POETS AND ARTISTS • CELEBRATED THEIR CULTURE AND EXPLORED • QUESTIONS OF RACE IN AMERICA • – THIS FLOWERING OF AFRICAN AMERICAN • CULTURE BECAME KNOW KNOWN AS THE • HARLEM RENAISSANCE • – IT HELPED GIVE A NEW VOCABULARY AND • DYNAMIC TO RACE RELATIONS IN THE U.S.

14. The Harlem Renaissance • IN THE 1920’S THE TERM “NEW NEGRO” • ENTERED THE AMNERICAN VOCABULARY • – SUGGESTED A RADICAL BREAK WITH THE • PAST • – NO LONGER WOULD AFRICAN AMERICANS • ENDURE THE OLD WAYS OF EXPLOITATION • AND DISCRIMINATION

15. The Harlem Renaissance • THIS WAS MOST VIVIDLY • EXPRESSED IN HARLEM, WHICH • ATTRACTED AFRICAN • AMERICAN NOVELISTS, • ESSAYISTS, POETS AND • JOURNALISTS FROM ALL OVER • THE COUNTRY • – THESE WRITERS EXPLORED • THE PAINS AND JOYS OF BEING • BLACK IN AMERICA

16. The Harlem Renaissance • CLAUDE MCKAY • – NOVELIST AND POET WHO SHOWED ORDINARY • AFRICAN AMERICANS STRUGGLING FOR DIGNITY • AND ADVANCEMENT IN THE FACE OF • DISCRIMINATION AND ECONOMIC HARDSHIPS • MCKAY REPRESENTED THE POLITICAL AND • IDEOLOGICAL LEFT WING OF THE HARLEM • RENAISSANCE • – MORE TO THE CENTER WAS LANGSTON HUGHES • – PROBABLY THE MOST POWERFUL AFRICAN • AMERICAN LITERARY VOICE OF HIS TIME

17. The Harlem Renaissance • HUGHES BELIEVED THE • FORCE OF THE MOVEMENT • WASNOT POLITICS BUT A • CELEBRATION OF AFRICAN • AMERICAN CULTURE AND • LIFE • HUGHES CAPTURED THE • DIVERSITY OF EVERYDAY • AFRICAN AMERICAN LIFE

18. The Harlem Renaissance • ZORA HURSTON • – WROTE FOLK TALES AND • ALSO WROTE THEIR EYES • WERE WATCHING GOD • – ABOUT THE NEW LONGING • FOR INDEPENDENCE FELT • BY MANY WOMEN, BLACK • OR WHITE

19. Impact of the Harlem Renaissance • ALTERED THE WAY MANY WHITE AMERIANS VIEWED • AFRICAN AMERICAN CULTURE AND EVEN THE WAY • AFRICAN AMERICANS VIEWED THEMSELVES • THE HARLEM RENAISSANCE ENDED WITH THE • NATIONAL FINANCIAL COLLAPSE THAT ALSO ENDED • THE NATION’S DECADE OF PROSPERITY • THE SENSE OF GROUP IDENTITY AND AFRICAN • AMERICAN SOLIDARITY THAT IT CREATED WOULD • INFLUENCE LATER CIVIL RIGHTS MOVEMENTS