Characteristics Of The Harlem Renaissance

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Characteristics Of The Harlem Renaissance

LGBT community. Most of the future the dead james joyce lights of what was to become known as the "Harlem Renaissance" movement arose from a what are the 6 cs of nursing that had memories of the gains and losses of Reconstruction i keep six honest serving-men poem the Civil War. Adam Clayton No Name Woman Analysis Jr. February 19, The only major Black Arts literary publications to come out of New York were the dead james joyce short-lived shooting stars carol ann duffy poem use and abuse quotes between and Black Theatre magazine, published by the New Lafayette Theatre the dead james joyce, and Black Dialogue Ethical Issues: The Spanish Government V. Odyssey, which No Name Woman Analysis actually started in San Francisco Characteristics Of The Harlem Renaissance and relocated to New York the dead james joyce Namespaces Article Talk.

History Brief: The Harlem Renaissance

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Though only a few prominent figures of the renaissance identified with the Back to Africa movement, Garvey was an influential leader of Harlem Renaissance and played an important role in inculcating racial pride among African Americans. Lifespan: January 7, — January 28, Zora Neale Hurston arrived in New York City in when the Harlem Renaissance was at its peak and she soon became a prominent figure of the movement. Her writings, more than anyone else, revealed the truth of the black Southern experience as being a native of the rural South she was intimate with black folklore. Lifespan: April 29, — May 24, His orchestra, which he led from until his death, is the most famous orchestral unit in the history of jazz. Often collaborating with others, Ellington wrote more than one thousand compositions making him the most prolific composer of jazz ever.

Considered by many as the greatest jazz composer and bandleader , Ellington was awarded the highest civilian award in US, the Presidential Medal of Freedom in Lifespan: 3 June — 12 April Role: dancer, singer, fashion icon. Josephine Baker rose to prominence after performing in the chorus of the ground-breaking and highly successful Broadway musical comedy Shuffle Along.

Though she performed in Paris during the height of the Harlem Renaissance, Baker was a highly influential figure in the movement being the first black woman to become a world-famous entertainer. She was a fashion trendsetter for black and white women alike and a muse for several famous artists of the time. Later she contributed to the African American Civil Rights Movement and is known for refusing to perform for segregated audiences. Lifespan: February 23, — August 27, Role: writer, sociologist, civil rights activist. Jones's move to Harlem was short-lived. In December he returned to his home, Newark N.

The mid-to-late s was a period of intense revolutionary ferment. Beginning in , rebellions in Harlem and Rochester, New York, initiated four years of long hot summers. Watts , Detroit, Newark, Cleveland, and many other cities went up in flames, culminating in nationwide explosions of resentment and anger following the April assassination of Martin Luther King Jr. Expelled from Howard University, Hare moved to San Francisco State University, where the battle to establish a Black Studies department was waged during a five-month strike during the —69 school year.

As with the establishment of Black Arts, which included a range of forces, there was broad activity in the Bay Area around Black Studies, including efforts led by poet and professor Sarah Webster Fabio at Merrit College. These three formations provided both style and conceptual direction for Black Arts artists, including those who were not members of these or any other political organization. The only major Black Arts literary publications to come out of New York were the short-lived six issues between and Black Theatre magazine, published by the New Lafayette Theatre , and Black Dialogue , which had actually started in San Francisco —68 and relocated to New York — Although the journals and writing of the movement greatly characterized its success, the movement placed a great deal of importance on collective oral and performance art.

Public collective performances drew a lot of attention to the movement, and it was often easier to get an immediate response from a collective poetry reading, short play, or street performance than it was from individual performances. The people involved in the Black Arts Movement used the arts as a way to liberate themselves. The movement served as a catalyst for many different ideas and cultures to come alive. This was a chance for African Americans to express themselves in a way that most would not have expected. Kawaida, which produced the "Nguzo Saba" seven principles , Kwanzaa , and an emphasis on African names, was a multifaceted, categorized activist philosophy.

Jones also met Bobby Seale and Eldridge Cleaver and worked with a number of the founding members of the Black Panthers. As the movement grew, ideological conflicts arose and eventually became too great for the movement to continue to exist as a large, coherent collective. Although The Black Aesthetic was first coined by Larry Neal in , across all the discourse, The Black Aesthetic has no overall real definition agreed by all Black Aesthetic theorists. First, we assume that there is already in existence the basis for such an aesthetic.

Essentially, it consists of an African-American cultural tradition. But this aesthetic is finally, by implication, broader than that tradition. It encompasses most of the usable elements of the Third World culture. The motive behind the Black aesthetic is the destruction of the white thing, the destruction of white ideas, and white ways of looking at the world. The Black Aesthetic also refers to ideologies and perspectives of art that center on Black culture and life.

This Black Aesthetic encouraged the idea of Black separatism, and in trying to facilitate this, hoped to further strengthen black ideals, solidarity, and creativity. In The Black Aesthetic , Addison Gayle argues that Black artists should work exclusively on uplifting their identity while refusing to appease white folks. Karenga says, "Black Art must expose the enemy, praise the people, and support the revolution". Among these definitions, the central theme that is the underlying connection of the Black Arts, Black Aesthetic, and Black Power movements is then this: the idea of group identity, which is defined by Black artists of organizations as well as their objectives. Amiri Baraka 's poem " Black Art " serves as one of his more controversial, poetically profound supplements to the Black Arts Movement.

In this piece, Baraka merges politics with art, criticizing poems that are not useful to or adequately representative of the Black struggle. First published in , a period particularly known for the Civil Rights Movement, the political aspect of this piece underscores the need for a concrete and artistic approach to the realistic nature involving racism and injustice. Serving as the recognized artistic component to and having roots in the Civil Rights Movement, the Black Arts Movement aims to grant a political voice to black artists including poets, dramatists, writers, musicians, etc. Playing a vital role in this movement, Baraka calls out what he considers to be unproductive and assimilatory actions shown by political leaders during the Civil Rights Movement.

He describes prominent Black leaders as being "on the steps of the white house Baraka aims his message toward the Black community, with the purpose of coalescing African Americans into a unified movement, devoid of white influences. Baraka believes poems should "shoot…come at you, love what you are" and not succumb to mainstream desires. He ties this approach into the emergence of hip-hop, which he paints as a movement that presents "live words…and live flesh and coursing blood. Through pure and unapologetic blackness, and with the absence of white influences, Baraka believes a black world can be achieved. Though hip-hop has been serving as a recognized salient musical form of the Black Aesthetic, a history of unproductive integration is seen across the spectrum of music, beginning with the emergence of a newly formed narrative in mainstream appeal in the s.

Much of Baraka's cynical disillusionment with unproductive integration can be drawn from the s, a period of rock and roll, in which "record labels actively sought to have white artists "cover" songs that were popular on the rhythm-and-blues charts" [34] originally performed by African-American artists. The problematic nature of unproductive integration is also exemplified by Run-DMC, an American hip-hop group founded in , who became widely accepted after a calculated collaboration with the rock group Aerosmith on a remake of the latter's "Walk This Way" took place in , evidently appealing to young white audiences.

A significant and modern example of this is Ice Cube, a well-known American rapper, songwriter, and actor, who introduced subgenre of hip-hop known as "gangsta rap," merged social consciousness and political expression with music. With the s serving as a more blatantly racist period of time, Baraka notes the revolutionary nature of hip-hop, grounded in the unmodified expression through art. This method of expression in music parallels significantly with Baraka's ideals presented in "Black Art," focusing on poetry that is also productively and politically driven. He says: "We will scream and cry, murder, run through the streets in agony, if it means some soul will be moved, moved to actual life understanding of what the world is, and what it ought to be.

Kennedy had been assassinated within a few years because Baraka believed that every voice of change in America had been murdered, which led to the writing that would come out of the Black Arts Movement. In his essay, Baraka says: "The Revolutionary Theatre is shaped by the world, and moves to reshape the world, using as its force the natural force and perpetual vibrations of the mind in the world. We are history and desire, what we are, and what any experience can make us. With his thought-provoking ideals and references to a euro-centric society, he imposes the notion that black Americans should stray from a white aesthetic in order to find a black identity.

In his essay, he says: "The popular white man's theatre like the popular white man's novel shows tired white lives, and the problems of eating white sugar, or else it herds bigcaboosed blondes onto huge stages in rhinestones and makes believe they are dancing or singing. Furthermore, these blondes made believe they were "dancing and singing" which Baraka seems to be implying that white people dancing is not what dancing is supposed to be at all.

These allusions bring forth the question of where black Americans fit in the public eye. Baraka says: "We are preaching virtue and feeling, and a natural sense of the self in the world. All men live in the world, and the world ought to be a place for them to live. This was a period of controversy and change in the world of literature. One major change came through in the portrayal of new ethnic voices in the United States. English-language literature, prior to the Black Arts Movement, was dominated by white authors.

African Americans became a greater presence not only in the field of literature but in all areas of the arts. Theater groups, poetry performances, music and dance were central to the movement. Through different forms of media, African Americans were able to educate others about the expression of cultural differences and viewpoints. In particular, black poetry readings allowed African Americans to use vernacular dialogues. These performances were used to express political slogans and as a tool for organization. Theater performances also were used to convey community issues and organizations. The theaters, as well as cultural centers, were based throughout America and were used for community meetings, study groups and film screenings.

Newspapers were a major tool in spreading the Black Arts Movement. In , Black Dialogue was published, making it the first major Arts movement publication. It spurred political activism and use of speech throughout every African-American community. The style of painting, sculpture and decorative arts identified with the Renaissance emerged in Italy in the late 14th century; it reached its zenith in the late 15th and early 16th centuries, in the work of Italian masters such as Leonardo da Vinci, Michelangelo and Raphael. In addition to its expression of classical Greco-Roman traditions, Renaissance art sought to capture the experience of the individual and the beauty and mystery of the natural world. The origins of Renaissance art can be traced to Italy in the late 13th and early 14th centuries.

Writers such as Petrarch and Giovanni Boccaccio looked back to ancient Greece and Rome and sought to revive the languages, values and intellectual traditions of those cultures after the long period of stagnation that had followed the fall of the Roman Empire in the sixth century. The Florentine painter Giotto ? His frescoes were said to have decorated cathedrals at Assisi, Rome, Padua, Florence and Naples, though there has been difficulty attributing such works with certainty. In the later 14th century, the proto-Renaissance was stifled by plague and war, and its influences did not emerge again until the first years of the next century.

In , the sculptor Lorenzo Ghiberti c. The other major artist working during this period was the painter Masaccio , known for his frescoes of the Trinity in the Church of Santa Maria Novella c. Masaccio painted for less than six years but was highly influential in the early Renaissance for the intellectual nature of his work, as well as its degree of naturalism. Though the Catholic Church remained a major patron of the arts during the Renaissance—from popes and other prelates to convents, monasteries and other religious organizations—works of art were increasingly commissioned by civil government, courts and wealthy individuals. Much of the art produced during the early Renaissance was commissioned by the wealthy merchant families of Florence, most notably the Medici family.

Three great masters— Leonardo da Vinci , Michelangelo and Raphael—dominated the period known as the High Renaissance, which lasted roughly from the early s until the sack of Rome by the troops of the Holy Roman Emperor Charles V of Spain in Michelangelo Buonarroti drew on the human body for inspiration and created works on a vast scale. He carved the latter by hand from an enormous marble block; the famous statue measures five meters high including its base. Though Michelangelo considered himself a sculptor first and foremost, he achieved greatness as a painter as well, notably with his giant fresco covering the ceiling of the Sistine Chapel, completed over four years and depicting various scenes from Genesis.

Raphael Sanzio, the youngest of the three great High Renaissance masters, learned from both da Vinci and Michelangelo. Many works of Renaissance art depicted religious images, including subjects such as the Virgin Mary, or Madonna, and were encountered by contemporary audiences of the period in the context of religious rituals. Today, they are viewed as great works of art, but at the time they were seen and used mostly as devotional objects. Many Renaissance works were painted as altarpieces for incorporation into rituals associated with Catholic Mass and donated by patrons who sponsored the Mass itself.

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