alain locke intro the new negro n.
Download
Skip this Video
Loading SlideShow in 5 Seconds..
Alain Locke Intro. “The New Negro” PowerPoint Presentation
Download Presentation
Alain Locke Intro. “The New Negro”

Loading in 2 Seconds...

play fullscreen
1 / 22

Alain Locke Intro. “The New Negro” - PowerPoint PPT Presentation


  • 199 Views
  • Uploaded on

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

loader
I am the owner, or an agent authorized to act on behalf of the owner, of the copyrighted work described.
capcha
Download Presentation

PowerPoint Slideshow about 'Alain Locke Intro. “The New Negro”' - saeran


An Image/Link below is provided (as is) to download presentation

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.


- - - - - - - - - - - - - - - - - - - - - - - - - - E N D - - - - - - - - - - - - - - - - - - - - - - - - - -
Presentation Transcript
alain locke the father of the harlem renaissance 1885 1954
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

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

Selected Bibliography

* “Harlem: Mecca of the New Negro.” Survey Graphic 6.6 (1 March 1925). [1].

* 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

alain locke the father of the harlem renaissance 1885 1954 bibliography cont
Alain Locke, “The Father of the Harlem Renaissance” (1885-1954) Bibliography Cont.

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 new negro how to account for a new psychology
The New Negro:How to account for a new psychology

Talking Points

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 old negro in american letters
The “Old Negro” in American Letters

Talking Points

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

the shadow of self awareness the sense of self as a social problem
The shadow of Self Awareness:The Sense of Self as a Social Problem

Talking Points

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

self understanding and art shedding folk shame
Self Understanding and Art:Shedding Folk Shame

Talking Points

The point towards “Negro” art as “folk art” and its political implications

The necessity for self understanding in “Negro emancipation”

Imitation, Inferiority, Pride, Emancipation

current artistic production yielding a new self knowledge
Current Artistic Production: Yielding a New Self Knowledge

Talking Points

The relationship between race leadership and artistic production

The buoyancy of psychic life and the precariousness of “conditions without”

Mental and physical migrations.

the great migration s consequences part i
The Great Migration’s ConsequencesPart I

Talking Points

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

part ii cosmopolitanism heterogeneity and melding a race
Part IICosmopolitanism, Heterogeneity and Melding a Race

Talking Points

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

race radicals the vanguard and a new era
Race radicals:The Vanguard and a New Era

Talking Points

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

cultural nationalism in an interracial republic
Cultural Nationalism in an Interracial Republic

Talking Points

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

negro self expression achieving national expression and understanding
Negro “Self Expression”: Achieving National Expression and Understanding

Talking Points

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….”

racialism and americanism non exclusive terms
Racialism and Americanism:Non-Exclusive Terms

Talking Points

Separatism, Nationalism, and Racial Uplift

The Negro Problem as a test of American Democracy

repositioning the negro in letters and society self respect and self reliance
Repositioning the Negro in Letters and SocietySelf-Respect and Self-Reliance

Talking Points

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”

art tension ideals and reality
Art: Tension Ideals and Reality

Talking Points

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

negro art social creeds and social practices
Negro Art:Social Creeds and Social Practices

Talking Points

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 practices of diaspora
The Practices of Diaspora?

Talking Points

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.

re evaluating art past and present where the negro already is
Re-evaluating Art Past and Present:Where the Negro Already Is…

Talking Points

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.

internationalism garvey the american negro and pan africanisms
Internationalism:Garvey, the American Negro, and pan-Africanisms

Talking Points

Cooperative development between Africa and the New Negro

Marcus Garvey and the UNIA

“Black is Beautiful”

The American Negro’s “New Internationalism”

the renaissance the promise of the 2 nd crop
The Renaissance: The Promise of the 2nd Crop

Talking Points

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

selections from the new negro
Selections from The New Negro
  • Zora Neale Hurston: Spunk
  • Poetry: Cullen, McKay, Toomer, Johnson, Hughes, Bontemps, Johnson, Spencer, Grimke, Alexander
  • Countee Cullen “Heritage”
  • Alain Locke “The Legacy of the Ancestral Arts” and “American Negro Folk Literature”
  • W.E.B. Du Bois “The Negro Mind Reaches Out”