Alain Locke Intro. “The New Negro”. Alain Locke, “The Father of the Harlem Renaissance” (1885-1954) . 1907) Graduates from Harvard with degrees in English and Philosophy 1910-11) Studies in Germany and France as a Rhodes Scholar
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1907) Graduates from Harvard with degrees in English and Philosophy
1910-11) Studies in Germany and France as a Rhodes Scholar
1911) Works with Carter Woodson at Howard University where he comes in close contact with other race leaders like Du Bois.
1918) Receives Ph.D. from Harvard for his doctoral thesis The Problem of Classification in the Theory of Value
1918) Becomes chair of the Howard Department of Philosophy
1918-1925) Locke tirelessly promotes African American artists, writers, and musicians, encouraging them to look to Africa as an inspiration for their works
1925) Publishes his issue of Survey Graphic which becomes the template for the New Negro
* “Harlem: Mecca of the New Negro.” Survey Graphic 6.6 (1 March 1925). .
* When Peoples Meet: A Study of Race and Culture Contacts. Alain Locke and Bernhard J. Stern, eds.New York: Committee on Workshops, Progressive Education Association, 1942.
* The Philosophy of Alain Locke: Harlem Renaissance and Beyond. Edited by Leonard Harris. Philadelphia: Temple University Press, 1989.
* Race Contacts and Interracial Relations: Lectures of the Theory and Practice of Race. Washington, D.C.: Howard University Press, 1916. Reprinted & edited by Jeffery C. Stewart. Washington: Howard University Press, 1992.
* Negro Art Past and Present. Washington: Associates in Negro Folk Education, 1936. (Bronze Booklet No. 3).
* The Negro and His Music. Washington: Associates in Negro Folk Education, 1936. (Bronze Booklet No. 2).
* “The Negro in the Three Americas.” Journal of Negro Education 14 (Winter 1944): 7–18.
* “Negro Spirituals.” Freedom: A Concert in Celebration of the 75th Anniversary of the
Thirteenth Amendment to the Constitution of the United States (1940). Compact disc. New York: Bridge, 2002. Audio (1:14).
* “Spirituals” (1940). The Critical Temper of Alain Locke: A Selection of His Essays on Art and Culture. Edited by Jeffrey C. Stewart. New York and London: Garland, 1983. Pp. 123–26.
* The New Negro: An Interpretation. New York: Arno Press, 1925.
* Four Negro Poets. New York: Simon and Schuster, 1927.
* Plays of Negro Life: a Source-Book of Native American Drama. New York: Harper and Brothers, 1927.
* A Decade of Negro Self-Expression. Charlottesville, Virginia, 1928.
* The Negro in America. Chicago: American Library Association, 1933.
* Negro Art - Past and Present. Washington, D.C.: Associates in Negro Folk Education, 1936.
* The Negro and His Music. Washington, D.C.: Associates in Negro Folk Education, 1936; also New York: Kennikat Press, 1936.
* The Negro in Art: A Pictorial Record of the Negro Artist and of the Negro Theme in Art. Washington, D.C.: Associates in Negro Folk Education, 1940; also New York: Hacker Art Books, 1940.
* A Collection of Congo Art. Arts 2 (February 1927): 60–70.
* Harlem: Dark Weather-vane. Survey Graphic 25 (August 1936): 457–462, 493-495.
* The Negro and the American Stage. Theatre Arts Monthly 10 (February 1926): 112–120.
* The Negro in Art. Christian Education 13 (November 1931): 210–220.
* Negro Speaks for Himself. The Survey 52 (April 15, 1924): 71–72.
* The Negro's Contribution to American Art and Literature The Annals of the American Academy of Political and Social Science 140 (November 1928): 234–247.
* The Negro's Contribution to American Culture. Journal of Negro Education 8 (July 1939): 521–529.
* A Note on African Art. Opportunity 2 (May 1924): 134–138.
* Our Little Renaissance. Ebony and Topaz, edited by Charles S. Johnson. New York: National Urban League, 1927.
* Steps Towards the Negro Theatre. Crisis 25 (December 1922): 66–68.
* The Problem of Classification in the Theory of Value: or an Outline of a Genetic System of Values. Ph.D. dissertation: Harvard, 1917.
* “Locke, Alain.” [Autobiographical sketch.] Twentieth Century Authors. Ed. Stanley Kunitz and Howard Haycroft. New York: 1942. P. 837.
* “The Negro Group.” Group Relations and Group Antagonisms. Edited by Robert M. MacIver. New York: Institute for Religious Studies, 1943
* World View on Race and Democracy: A Study Guide in Human Group Relations. Chicago: American Library Association, 1943.
* Le rôle du Negro dans la culture des Amerique. Port-au-Prince: Haiti Imprimerie de l’état, 1943.
* “Values and Imperatives.” American Philosophy, Today and Tomorrow. Ed. Sidney Hook and Horace M. Kallen. New York: Lee Furman, 1935. Pp. 312–33. Reprints: Freeport, NY: Books West) 18.10 (January 1928): 315–16.
* “Educator and Publicist,” Star of the West 22.8 (November 1931) 254–55. [Obituary of George William Cook [Baha'i], 1855–1931].
* “Minorities and the Social Mind.” Progressive Education 12 (March 1935): 141–50.
* “The High Cost of Prejudice.” Forum 78 (Dec. 1927).
* “The Negro Poets of the United States.” Anthology of Magazine Verse 1926 and Yearbook of American Poetry. Sesquicentennial edition. Ed. William S. Braithwaite. Boston: B.J. Brimmer, 1926. Pp. 143–151. The Critical Temper of Alain Locke: A Selection of His Essays on Art and Culture. Edited by Jeffrey C. Stewart. New York and London: Garland, 1983. Pp. 43–45.
* Plays of Negro Life: A Source-Book of Native American Drama. Alain Locke and Montgomery Davis, eds. New York and Evanston: Harper and Row, 1927. “Decorations and Illustrations by Aaron Douglas.”
* “Impressions of Luxor.” The Howard Alumnus 2.4 (May 1924): 74–78.
The Sociologist, Philanthropist, Race Leader, and the New Negro
The theme of a younger generation awakening the masses
The role of literature in this project of awakening.
The portrayal of African Americas in letters before the New Negro movement
The polemical necessity of the Old Negro and his status as antiquated in the field of letters
Righting historical fiction
The Enlightenment vs. the Modernist missions of African American letters
Echoes of Du Bois: racial uplift and its ties to self-understanding
The necessity to confront social problems and the necessity to understand self-awareness as a social problem
The metaphor of the veil and the shadow
The point towards “Negro” art as “folk art” and its political implications
The necessity for self understanding in “Negro emancipation”
Imitation, Inferiority, Pride, Emancipation
The relationship between race leadership and artistic production
The buoyancy of psychic life and the precariousness of “conditions without”
Mental and physical migrations.
Fact and the art of the New Negro vs. the “bogeys” of melodramas past
The Migration and the Negro problem as a a national problem
The pitfalls of sectionalism
The advent of the black middle class
The conflagration of sociological shifts in the Negro community and the advent of the New Negro
The heterogeneity and unifying principle of race sympathy
Harlem as a Racial Metropole
Harlem as Prophetic: The New City on Sugar Hill
Echoes of the “Talented Tenth” and the responsibility of the “Race man” v.s. the onset of a truly mass-led movement
The dual edge of patronage: Garrison v.s. Mason
The Negro as an Object of Study: the importance of the international academy
The Negro as an Object of Art: realism and caricature
The Study of the Negro and Negro Art as Interracial contact
The question of labor organization and racist union practices
Philanthropy and “Long distance philanthropy”: the question of patronage
The desire to be understood v.s. the desire for understanding
The New Negro, Democracy, and the fruition pf American Culture
Arts and letters as means to bypass the “spite wall” by allowing for “fuller, truer self-expression….”
Separatism, Nationalism, and Racial Uplift
The Negro Problem as a test of American Democracy
The decline of sentimental appeal in favor of the “inner objective” of a mentality centered on self-respect and self reliance.
Reconstruction and the Sentimental Romance
Race pride as a social contribution
The Recognition of and Incorporation of the Negro as he stands”
The Negro Artist as member of both racial and national vanguards and as a vehicle for social change.
2) The relationship between the republic’s professed ideals and the Negro artist
3) Locke’s own method: searching for evidence of mass movement in artistic production
The “moral advantage” of the Negro Artist and his avoidance of cynicism
The inadequacy of passive resistance and the project of letters as social activism
The absence of an alternative
The New Negro and Internationalism: the race problem as a world problem
Pan-Africanism and the Negro’s Zionism
Heterogeneity and Collectivity
Colonialism and the the “common interests” of darker peoples.
The theme of American art as Negro folk art and music
Negro artistic contributions as extant national expression
The call for a re-evaluation of Negro contribution to mainstream contemporary life.
Cooperative development between Africa and the New Negro
Marcus Garvey and the UNIA
“Black is Beautiful”
The American Negro’s “New Internationalism”
The dual and daunting charge: the betterment of the race and the development of self-expression
The Promise of the Second Crop, Democracy, and a New Spiritual Coming of Age