The Harlem Renaissance: The Budding and Flowering of Black Culture

By 1950, more than 2 million African Americans from the south made the decision to locate elsewhere (Tolnay) with hopes for better jobs, better treatment, and a quality life. Many black people coming from the south looked to the north as the place where being black meant more than what it meant in the south. The north was perceived as the one-way ticket to inclusion and integration with the majority. The Great Migration spawned the surge of black communities emerging in places outside of the rural south. With the northeast and Midwest being some of the most popular places for black communities to relocate, large cities like New York and Detroit started to see a large increase in black individuals (Johnson et. al. qtd. in Tolnay).

Thus, a new culture began to mature and develop in the north and Midwest as African Americans began to slowly permeate different forms of entertainment. Primitively, the addition of unique art and new literature was not recognized by the rest of society. Despite the un-warm welcome of some major metropolitan areas up north, there was one place that developed a reputation of accepting African Americans straight-away: Harlem, New York. With its superabundance of jazz, writing, and other forms of entertainment, Harlem quickly became the hub for black communities to not only settle, but flourish (Harden et. al.).

"Dreams" Painted by Jacob Lawrence

The new arts and literature produced during the early 20th century gave black communities a new definition to their culture. Henry Louis Gates, Jr., a historian and American literary critic, confidently contended that “it is difficult not to recognize the signs that African Americans are in the midst of a cultural renaissance” (Gates). Indeed, the Harlem Renaissance left a huge legacy for American culture, especially for black people.

The Harlem Renaissance unquestionably elevated black culture when examining the art forms of literature, music, and dance.

Literature

Langston Hughes, Booker T. Washington, W.E.B. DuBois, and many other black writers are some of the most common household names within the realm of literature during the Harlem Renaissance era. For the first time in modern-American history, African Americans could pick up a piece of writing that told a narrative from the perspective of a black man or woman. A remarkable feat of Harlem Renaissance literature was the inflow of various new motifs being explored; many of these were unprecedented in the way that they resonated with the black community. Some explored concepts were what it meant to be black, facing disenfranchisement and ostracization, and even included how politics played a role in the black community (Harden et. al.). Most importantly, black Harlem Renaissance writers added new elements to writing that accelerated writing and its ability to connect with – and especially a black – audience.

“Harlem Shadows”, a chapter out of poet Claude McKay’s Complete Poems holds a bounty of writings centered around the life of the black American in the north during this time. In the last stanza of “To One Coming Up North”, McKay gave profound insight on the joys one could get out of migrating north:

But oh! more than the changeless southern isles,

When Spring has shed upon the earth her charm,

You’ll love the Northland wreathed in golden smiles

By the miraculous sun turned glad and warm.

(McKay)

 This, along with other poems out of McKay’s collection of literature, allowed non-black Americans to gain more understanding of the day-to-day life of an African American in an unprecedented, yet intimate way. Newly explored themes were not the only addition to American literature on behalf of black intellectuals; literature gained a new dimension. Black Harlem Renaissance writers also popularized the use of rhythmic tone in narratives, stories, and poems.

Langston Hughes is arguably the most well-known writer for his heavy reliance of cadence to deliver emotion to the reader in a way unlike traditional writing. One of his most famous poems is “Mother to Son”, a poem which sets the scene of a mother telling her son how perilous life has been. The rhythmic flow of his poem adds an element to which his audience, especially black people, could connect to on a deeper level. James Baldwin gave his take in an interview and began to discuss the impact Langston Hughes’ poems had on him.

Langston Hughes, pictured by Carl Van Vechten

He wholeheartedly asserted that “[there was] something in “Life Ain’t Been No Crystal Stair” [“Mother to Son”], which corroborated, and in that sense, began to release me from the wretchedness and horror I saw around me every day” (Baldwin qtd. in Riley). He went on to say that Hughes’ writing style created a conversational aspect to his poems. He contended that his poems could create a scene where a child is overhearing an adult conversation and may not fully understand it but can recognize its importance. Baldwin believed “Mother to Son” exemplified this writing style (Baldwin qtd. in Riley).

The motifs explored which highlighted on black struggle and black culture gave a new meaning to what it meant to be black; it was done in a way that was palatable for the rest of society. It added immense depth to what happened within the black community and what they faced in the world around them; this opened new avenues to metacognitive ways of delving into what black culture meant. The usage of rhythmic tone and cadence added a new dimension to writing pieces, and let American culture see the musical influence of black people and how it transcended music and song.

For the black community, it told stories of black life of which could resonate more with them. Ultimately, black literature during the Harlem Renaissance added depth to what black culture was and showcased how creative black people could become when handed the platform to tell his or her story.

Music

Music produced during the Harlem Renaissance shaped the music Americans enjoy even today. One of the most noteworthy accomplishments of music during this time was the introduction of jazz. Black musicians combined their jazz influence learned from living in the south with the new jazz they were introduced to up north. This exotic blend of jazz influences became progressively favored by Americans (Lester).

Louis Armstrong, an honored jazz musician during the 20th century, is a clear-cut example of a Harlem Renaissance musician who brought the southern sound to booming northern metropolis. With him he brought his “cultural baggage of New Orleans jazz” (Lester). Harlem was not just introduced to a southern jazz sound; influence from big cities like Chicago also reached Harlem. It was understood that Armstrong went to Chicago prior to migrating to Harlem, as did many other upcoming jazz musicians at the time (Lester).

New forms of jazz were beginning to take over contemporary music in the nation. Swing jazz, bebop, and sounds from the south introduced new rhythmic patterns jazz had not previously seen before. Black jazz musicians flourished during this time as a result. Black musicians who were women were also given the platform within the realm of entertainment. Ella Fitzgerald was an influential and recognizable jazz voice during this era. Her swing style and unique vocals was well-received by music-lovers across the country. Many other jazz bands and acts including women took the stage and entertained large crowds on the weekends.

The nightclubs that emerged during this time were what gave black pianists, vocalists, and other musicians a platform. The nightclubs added to the culture that surrounded black jazz sound and the people they attracted. The Cotton Club was a well-known nightclub that had famous performers such as Duke Ellington, Cab Calloway, and others. With its location being in the center of Harlem, New York, it quickly began to be a highly populated area for people to enjoy new-sounding jazz and upcoming black artists. It also offered small acts, dances, and performances to be showcased (“A Night at the Cotton Club”).

The influence of black artistry by the means of music during the Harlem Renaissance did more than just permeate pop culture. It changed the trajectory of music as a whole; it can be observed even in more recent times. Various bills have been passed centered around the commemoration of jazz and its influence. House Congress Resolution 57 was passed through the senate decades after the height of the Harlem Renaissance. It served its purpose by making sure jazz music was not only recognized but was perceived as an “American national treasure” (United States Congress). Conclusively, music during the Harlem Renaissance showcased the unique musical ability of black people and made their culture even more acceptable within the eyes of the majority.

Dance

The Lindy Hop dance, pictured by Carl Van Vechten

Dance was yet again another art form that truly put black culture on a pedestal during the Harlem Renaissance era.

Before this period, dance that was considered “black” due to its distinct rhythm was confined to being showcased informally: in religious settings, and within their respective communities (Robinson). Eventually, dances such as the Lindy Hop, the Charleston, the Jitterbug, the Shimmy, and others were introduced to society with boldness and vibrance.

At a time where the Depression was sweeping the nation – especially in the city of Harlem – it is no wonder people were craving entertainment and various outlets to escape reality. Thus, Harlem had some of the most entertainment to offer (Crowther qtd. in Brown). Traditionally, dances offered on behalf of the white community included ballroom dance, ragtime dance, polka, and other traditional dances. Unlike the dances black choreographers and performers offered, traditional dance had a slower tempo and had more restricted and uniform movement. Black choreographers introduced the use of syncopation: dancing to the off-beat of a melody rather than the “on-beat”.

This, in turn, yielded a new appearance to dances performed at various nightclubs. The rhythms used in the dances would increasingly become rapid, giving the illusion that the environment was getting more and more exciting and intense (Robinson). Jazz instrumentalists worked together with notable choreographers such as Maude Rutherford, the creator of the Charleston dance (Los Angeles Sentinel) to create fun environments which brought people together.

Theorist Alain Locke, credited as the “Father of the Harlem Renaissance”, gave his take on the contribution of black arts during the Harlem Renaissance:

“What is […] important […] is the fact of a new group dynamic acquired at this time and a steadily increasing maturity coming into the Negro’s formal self-expression in the arts [was coming about]” (Locke).

The originality of some dances created during this time were diluted by culture appropriation; however, one can still thank the brave dance pioneers of the Harlem Renaissance who laid the foundation for fresh and unique styles. Similar to how jazz helped eventually develop hip-hop, jazz dances that were produced during this time helped influence dance with a hip-hop flare (“The Influence of Jazz”).

Evidently, dance from this era has shifted the focus to being on black-influenced rhythms and styles. Dance from the Harlem Renaissance has successfully opened avenues for black culture to influence one of the most popular forms of expression; it has also given opportunities for choreographers and dancers alike, outside of the church buildings and small communities.

In Closing...

Moreover, the arts have undoubtably accelerated the diffusion of black culture with the rest of society. Many brave minds of the 20th century took advantage of what the North had to offer by using their voices, their intellect, and their moves to remove the stigma surrounding black culture. While the Harlem Renaissance was an amazing influx of black culture taking America by storm, it still should be remembered as a symbol of how far black people have come and how far they still must come.

Many artists and musicians at this time still were subject to discrimination, unfairness, and scrutiny. Jim Crow laws, though characteristically associated with the southernmost part of the United States, still had a stronghold on citizens who lived up North. Although the North was generally “not as bad” as the South, black artists had to face disenfranchisement and made their journeys to stardom that much more difficult.

Louis Armstrong pictured, endorsing a book about the NAACP

Many artists had a heavy expectation from different groups of people: those who expected them to put on the armor of a civil rights activist, and those who simply wanted to see new forms of entertainment. Louis Armstrong, for example, used some of his proceeds to fund The National Association for the Advancement of Colored People (NAACP) (Lester). Some struggled with feeling torn between which advocate they should embody (Lester). Be though as it may, their contributions left an impact on black communities across the country and the entertainment industry for decades that followed. As Alain Locke accurately described it, the Harlem Renaissance was a “spiritual coming of age” (Locke).

From Africans forced into America in shackles and a ball and chain, to “separate but equal” being the excuse for a class divide, black Americans have lived in slavery long since the Emancipation Proclamation of 1865. Black culture was silenced and swept under the rug for decades, especially in the rural south. During the Great Migration, black people with bright futures took the initiative to give the North a try, with only their hopes in what poets and black philosophers had to say about the experience. With the Great Depression hitting America like a ton of bricks and people turning to entertainment for an escape, the opportunity was ripe for black culture to take center stage. Black culture, for the first time, was synonymous with pop culture. The Harlem Renaissance was the fuel that drove black culture to becoming more accepted and appreciated by society.

With out this golden age in American history, the black community would have had to continue to express themselves in silence.

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Works Cited

“A Night at the Cotton Club: Music of Duke Ellington, Harold Arlen & Cab Calloway.” Riverwalk Jazz - Stanford University Libraries, Stanford Libraries, riverwalkjazz.stanford.edu/program/night-cotton-club-music-duke-ellington-harold-arlen-cab-calloway. 

Baldwin, James, and Clayton Riley. “James Baldwin on Langston Hughes.” The Langston Hughes Review, vol. 15, no. 2, 1997, pp. 125–137. JSTOR, www.jstor.org/stable/26435209. Accessed 15 Apr. 2020.

Brown, Tamara. "It Don't Mean a Thing if it Ain't Got that Harlem Swing: Social Dance and the Harlem Renaissance." Afro - Americans in New York Life and History, vol. 22, no. 1, 1998, pp. 41. ProQuest, proquest.com/docview/200849042?accountid=15152.

Gates, Henry Louis. “Harlem on Our Minds.” Critical Inquiry, vol. 24, no. 1, 1997, pp. 1–12. JSTOR, www.jstor.org/stable/1344157. 

Harden, Renata, et. al. "Reading the Harlem Renaissance into Public Policy: Lessons from the Past to the Present." Afro - Americans in New York Life and History, vol. 36, no. 2, 2012, pp. 7-36. ProQuest, proquest.com/docview/1034977290?accountid=15152. 

Lester, Charles. “‘You Just Can’t Keep the Music Unless You Move with It’: The Great Migration and the Black Cultural Politics of Jazz in New Orleans and Chicago.” Escape from New York: The New Negro Renaissance beyond Harlem, edited by Davarian L. Baldwin et. al., University of Minnesota Press, 2013, pp. 313–334. JSTOR, www.jstor.org/stable/10.5749/j.ctt4cggkr.17.

Locke, Alain. “The Negro's Contribution to American Culture.” The Journal of Negro Education, vol. 8, no. 3, 1939, pp. 521–529. JSTOR, doi:10.2307/2292648.

"Maude Rutherford, Dancer Who Introduced Charleston, Dies at 104." Los Angeles Sentinel, Apr 11, 2001. ProQuest, search.proquest.com/docview/369350092?accountid=15152. 

McKay, Claude. Complete Poems: Complete Poems, edited by William Maxwell, University of Illinois Press, 2004. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/waketech-ebooks/detail.action?docID=3414274.

Robinson, Danielle. ""Oh, You Black Bottom!" Appropriation, Authenticity, and Opportunity in the Jazz Dance Teaching of 1920s New York1." Dance Research Journal, vol. 38, no. 1, 2006, pp. 19-42. ProQuest Central, search.proquest.com/docview/195924856?accountid=15152. 

“The Influence of Jazz on RnB, Hip-Hop & Rap.” From Duke Ellington to Flying Lotus How the Jazz Genre Has Impacted Modern Music, WordPress, 2016, blogs.baruch.cuny.edu/jazzmodernmusic/?page_id=26. 

Tolnay, Stewart E. "The African American "Great Migration" and Beyond." Annual Review of Sociology, vol. 29, 2003, pp. 209-232. ProQuest Central, doi:http://dx.doi.org/10.1146/annurev.soc.29.010202.100009. 

United States, Congress, “A Concurrent Resolution Expressing the Sense of Congress Respecting the Designation of Jazz as a Rare and Valuable National American Treasure.” Govtrack, 1987. www.govtrack.us/congress/bills/100/hconres57/details.