Harlem Renaissance. By: Katie Mulloy 8 th hour. The Banjo Lesson By: Henry Ossawa Tanner. Thesis:. The Harlem Renaissance was not only about the music, poetry, fashion, and art, but about a lifestyle change for African Americans. MUSIC. JAZZ.
Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.
By: Katie Mulloy
The Banjo Lesson By: Henry Ossawa Tanner
“Music, is in everyone's soul somewhere, you may have to dig a little deeper.”
No two people on earth are alike, and it's got to be that way in music or it isn't music.
WARING by: Laura Wheeler
REBIRTH by: Aaron Douglass
THE JANITOR THAT PAINTS
By: Palmer Hayden
Writers: Paul Lawrence Dunbar, Carl Van Vechten, Wallace Thurman, and Zora Neale Hurston
MY spirit wails for water, water now!
My tongue is aching dry, my throat is hot
For water, fresh rain shaken from a bough,
Or dawn dews heavy in some leafy spot.
My hungry body's burning for a swim
In sunlit water where the air is cool,
As in Trout Valley where upon a limb
The golden finch sings sweetly to the pool.
Oh water, water, when the night is done,
When day steals gray-white through the windowpane,
Clear silver water when I wake, alone,
All impotent of parts, of fevered brain;
Pure water from a forest fountain first,
To wash me, cleanse me, and to quench my thirst!
Claude McKayFamous poems
I, too, sing America.I am the darker brother.They send me to eat in the kitchenWhen company comes,But I laugh,And eat well,And grow strong.Tomorrow,I'll be at the tableWhen company comes.Nobody'll dareSay to me,"Eat in the kitchen,"Then.Besides,They'll see how beautiful I amAnd be ashamed--I, too, am America. Langston Hughes
Conclusion: The Harlem Renaissance was a way to express your self through whatever you did, it could be dancing, painting, music, or poetry. Your life, your way, your moves. It’s your lifestyle.
A new phase of Ellington's career began late in 1927 when his orchestra landed a job at the Cotton Club, one of New York's premier nightspots, located in Harlem at 142nd Street and Lenox Avenue. Operated by the gangster Owney Madden, patronized by wealthy whites, and staffed by blacks, the Cotton Club put on high-powered music revues featuring sultry chorus girls, sensual choreography, exotic production numbers, and plenty of hot jazz. Ellington's orchestra had played for revues at the Kentucky Club in Times Square, but there the scale had been smaller and the stakes lower. At the Cotton Club, some of New York's top black performers joined forces with such talented white songwriters as Jimmy McHugh, Dorothy Fields, Harold Arien, and Ted Koehler. While celebrities and socialites flocked there to soak up African-American entertainment and Prohibition liquor, listeners around the nation could tune into the sounds of Duke Ellington's orchestra via broadcasts on NBC. As composer and bandleader, Ellington flourished in this environment.
The Ellington orchestra remained at the Cotton Club, with periodic interruptions, until early February 1931. During this time it expanded to twelve pieces, three reeds, three trumpets, two trombones, and four in the rhythm section (piano, banjo or guitar, bass, drums). Trumpeter Arthur Whetsol, who had left the Washingtonians in 1923, returned in 1928, joining other newcomers who would figure prominently in the coming years: reed-players Johnny Hodges and Barney Bigard, trumpeter Freddie Jenkins, and in 1929, trumpeter Cootie Williams and valve trombonist Juan Tizol. Challenged by his job and stimulated by the vivid musical personalities in his band, Ellington began to compose and record prolifically, turning out over 180 sides between December 1927 and February 1931 (compared with the 31 his band had make in nearly four years at the Kentucky Club). Although principally under contract to Victor, the Ellington orchestra regularly recorded for other labels under various pseudonyms, among them The Jungle Band, The Whoopee Makers, and Mills Ten Blackberries.
Ellington's intense creative activity, together with the exposure afforded by the Cotton Club, brought him important notices in a variety of national publications. And the achievements of this period inspired the young Boston critic R.D. Darrell to write "Black Beauty" (1932), the first serious essay on Ellington's music to be published.
Passage for this book.