Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
the value of african American literature
research in african american literature
the value of african American literature
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: the value of african American literature
Before Harlem’s public life was controlled by consumerism, there was democratic interaction by citizens. Chandler Owens, an African American writer and socialist, believed that cabarets invoked self expression and liberation. He wanted them incorporated into Harlem’s public life. However, other citizens were afraid that their community was going to become the central place for “entertainment and profit” (312). These citizens were afraid that their neighborhood was going to become a place solely for the purpose of making money. In the last paragraph of page 312 to the last paragraph of page 313 of Kevin Mattson’s “The Struggle for an Urban Democratic Public: Harlem in the 1920s” Mattson makes the argument that not only citizens, but also intellectuals came together to fight against issues that they believed were detrimental to their community. He argues that their battle against cabaret had everything to do with their morality and their “balance between rights and duties” (314) and nothing to do with Victorian prudery as Chandler Owen believed. Evidence of these arguments is given throughout the paragraphs. The cabarets not only brought money to Harlem, but also illegal alcohol and offensive advertisements. Mattson reveals that the citizens of Harlem “organized around these issues” (313). They gathered together to hold public meetings to talk about the action they needed to take to salvage their community. Mattson also mentions Edgar Grey who was a respected writer for the Amsterdam News and against cabarets. Grey, as an intellectual, did not fight back against Owen’s notion that those for cabarets just wanted to feel freedom and those who were against cabarets were basing their feelings on Victorian values. Grey founded his a... ... middle of paper ... ...essage in a more believable manner (The Harlem Renaissance, n.d.) In just a few paragraphs Mattson provides concrete evidence for his overall argument by creating more specific arguments and by using evidence from sources from the 1920s. In the three short paragraphs found on pages 312 to 314 he proves that before consumerism took over, Harlem was a place of strong democratic debate by citizens. He illustrates how passionately people gathered to educate themselves on issues that would affect them. His readers realize that without this communication public space is just a place where strangers pass each other by. The democratic interactions created much needed unity among neighbors, but the story of Harlem presented in this text shows how consumer culture and corporate power eventually takes over making Harlem a “playground for a new urban consumer ethic” (292).
“A Spectacle in Color: The Lesbian and Gay Subculture of Jazz Age Harlem” by Eric Garber discusses how the Great Migration to Harlem was not only significant for blacks but for gays and lesbians as well. Garber argues that Harlem’s gay subculture was at its peak in the 1920’s and declined to shell of its previous self after the Stock Market crash in 1929. He goes on to discuss how in black communities, specifically Harlem, there were troubles of segregation, racism, and economic despair, but that being gay in Harlem added new troubles.
Williams, Iain Cameron. Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall. London: Continuum, 2002. Print.
Gilbert Osofsky’s Harlem: The Making of a Ghetto paints a grim picture of inevitability for the once-exclusive neighborhood of Harlem, New York. Ososfky’s timeframe is set in 1890-1930 and his study is split up into three parts. His analysis is convincing in explaining the social and economic reasons why Harlem became the slum that it is widely infamous for today, but he fails to highlight many of the positive aspects of the enduring neighborhood, and the lack of political analysis in the book is troubling.
The 1920s was a decade for creativity for black Americans that were living in New York city, particularly Harlem. Here Harlem became the race capital. Essentially, “on one hand, there emerged a new generation of black thinkers who were attracted by the promise of socialism” (Locke 929). The thinking Negro, has been encouraged to share a general attitude and focus his attention or controversial issues, to see himself as a view of a social problem.
The "New Negro," the Black writers in 1920/30, tried to get out of the dominant white assimilation and practice their own tradition and identity in autonomous and active attitude. In virtue of their activities, the Harlem Renaissance became the time of sprouting the blackness. It offered the life of the black as the criterion to judge how well the democracy practices in America and to weigh the measure of the dream of America. Their vitality and artistic spirit, and dreams were so impressive that the Harlem of the 1920s has never been eluded out from the memory of American (Helbling 2).
1920’s Harlem was a time of contrast and contradiction, on one hand it was a hotbed of crime and vice and on the other it was a time of creativity and rebirth of literature and at this movement’s head was Langston Hughes. Hughes was a torchbearer for the Harlem Renaissance, a literary and musical movement that began in Harlem during the Roaring 20’s that promoted not only African-American culture in the mainstream, but gave African-Americans a sense of identity and pride.
A newspaper from 1899 refers to a Negro paper that said, “There is nothing elevating or ennobling about ‘coon songs’ and ‘rag-time music’ and the cakewalk is positively degrading”. This critique is interesting because it is not only by African Americans, but it scorns African Americans. Even though it is odd to say, one could understand where some Cakewalk critics come from if they stay open-minded. Another colored critic from 1897 shared his feelings about a cakewalk in a newspaper that said, “He thinks the exhibition vulgar and degrading to its participants.” and “All the quaint charm of the old negro who did these things for their own sake is lost by these people who do them as a matter of show. Their self-consciousness spoils their naturalness.” The critic’s accusations of the dancers only performing to put on a show rather than “the purpose of keeping alive a characteristic custom of the negro” are comprehensible. While it is certain that some dancers performed honorably, the critic seems to have been justified in his opinion that dancing without a meaningful purpose is rather shameful. White critics had similar things to say about the Cakewalk, and another way that whites degraded African Americans was through sheet music covers filled with stereotypes and
Harlem provided a source of entertainment for many people. With its Jazz Clubs and poetry readings it was the “hip” place to be. This was a shock to many African-American’s, who had never before had the opportunity to perform in such affluent surroundings. Oftentimes funding for these clubs or programs was provided by White Americans. This in itself was not a problem. However, the Harlem Renaissance became so dependant on the funding that when it stopped coming, there was no means by which to keep any of the clubs or literary cafes open. Some clubs in Harlem even discriminated against Black audience members. The popular Cotton Club, which featured solely Black performers, even went so far as to ban African-Americans’ from its audience entirely. Even in the Mecca of supposed racial equality, these sorts of discrimination were still prevalent. Advertisements for products produced by African-Americans were also skewed. Para...
management decided what audiences wanted to see in their clubs. As a result of the Harlem Renaissance and the growing interest in black entertainment, audiences
The Harlem Renaissance, originally known as “the New Negro Movement”, was a cultural, social, and artistic movement during the 1920’s that took place in Harlem. This movement occurred after the World War I and drew in many African Americans who wanted to escape from the South to the North where they could freely express their artistic abilities. This movement was known as The Great Migration. During the 1920’s, many black writers, singers, musicians, artists, and poets gained success including Zora Neale Hurston, Langston Hughes, Marcus Garvey, and W.E.B. Du Bois. These creative black artists made an influence to society in the 1920’s and an impact on the Harlem Renaissance.
Occurring in the 1920’s and into the 1930’s, the Harlem Renaissance was an important movement for African-Americans all across America. This movement allowed the black culture to be heard and accepted by white citizens. The movement was expressed through art, music, and literature. These things were also the most known, and remembered things of the renaissance. Also this movement, because of some very strong, moving and inspiring people changed political views for African-Americans. Compared to before, The Harlem Renaissance had major effects on America during and after its time.
Kellner, Bruce, ed. The Harlem Renaissance: A Historical Dictionary for the Era. Connecticut: Greenwood Press, 1984
The article discusses the need for these early Chicago saloons as a neighborhood commune for those men who labor long hours only to come home to poverty and despair of a desolate household. Melendy focuses on the mental, physiological, and moral nature of these workingmen. He points out that this saloon culture allows it’s patrons to develop these traits by interacting with their peers—others facing the same despair. These establishments are described as the “workingman’s school. He is both scholar and teacher” (Melendy pg. 78). Patrons gather at the bar, around tables and in the next room amongst games of pool, cards, and darts to discuss political and social problems, sporting news, and other neighborhood gossip. Here men, native and immigrant, exchange opinions and views of patriotism, brotherhood, and lessons in civil government. Melendy describes this atmosphere as cosmopolitan, and articulates that these businesses advertise this issue in their names. For example one of the downtown saloons was entitled “Everybody’s Exchange.” The saloon’s customers experienced a buffet of nationalities upon which was not so for those of poverty in previous decades. Saloons also served as disguises of corruption as Melendy illustrates by declaring “...
During the 1940’s, the world found itself dealing with World War II and in the United States ,a huge African culture movement swept throughout the north-eastern states. One specific artist that captivated the “Nightlife” of African Americans during that era was Archibald Motley Jr. He painted a series of paintings that involved African Americans and their culture. In the painting, “Nightlife” we see a group of African Americans dancing at a club/bar, enjoying life, and swaying their hips to the music. Perhaps, in this painting, Motley wanted his public to notice the breakthrough, blacks had during the 1940’s and wanted to show how music took their mind on a different stroll apart from the troubling issues the world was dealing with. Archibald wanted the world to notice the dynamic and exciting Negro culture.
In “To New York”, Senghor talks about the importance of black culture in New York and how cultures need to intermingle and work together in order to create a stronger society. He recognized that Harlem, a city within a city, was somehow alienated because of white cultural dominance in New York City. He felt that Harlem had many things that offered a positive contribution to the cultural unity of the city that were going unnoticed because of the ongoing Civil Rights struggles of that time period. Instead of pushing the message of revolt or fighting back, Senghor wanted people to recognize the importance of diversity and embrace their black cultural heritage, which was a functional part of New York city ...