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.an extraordinary foothold on this continent. 4On the plus side, this Negro fad of the twenties in the United Statesled to an unprecedented artistic activity that focused on the depiction of theNegro in fiction, drama, poetry, painting and sculpture.More white writersin the South as well as the North wrote about the Negro and in sheerquantity the record remains unmatched to this day.One group of writers andintellectuals, centered at the University of North Carolina, Chapel Hill,devoted their careers almost entirely to Negro-related writing.5 Knowngenerally as writers of the Southern Renaissance, the group included PaulGreen, Julia Peterkin, DuBose Heyward, T.S.Stribling, Elizabeth LayGreen, and Edward Sheldon.Friederich Koch, the director of theUniversity s little theater group, the Carolina Playmakers, and formerstudent of George Pierce Baker, particularly encouraged plays that made an 25Black and White Symbiosisartistic use of Negro themes.Under the leadership of Harry WoodburnChase, the Massachusetts-born president of the University, liberal Southernsocial scientists such as Frank Graham and Howard Odum published manyimportant studies of the Negro and in 1927, 1928 and 1929, the CarolinaMagazine devoted one number entirely to work by Negro contributors.Inthe North, many white writers such as Eugene O Neill, Sherwood Anderson,and e.e.cummings followed the trend already set by Gertrude Stein s Melanctha (1909) and Vachel Lindsay s The Congo (1914) in presenting thealleged primitivism of the Negro as a bulwark against increasingstandardization.Besides, anthropologists like Franz Boas and MelvilleHerskovits published many pioneering studies of the Negro.The most significant result of the Negro vogue was the encouragementthat black musicians, writers, and other artists received from white audiencesand important white individuals.Jazz and blues thrived and defined themood of the period.Black musicians Roland Hayes, Duke Ellington, LouisArmstrong, Bessie Smith, among others came to public attention.In 1921,Shuffle Along, produced by Flourney Miller and Aubrey Lyles, ran for so longat the 63rd Street Theatre that it came to symbolize black New York.It wasfollowed on Broadway by the moderate success of many other revues of thesame variety.Black actors and actresses like Josephine Baker, Charles Gilpin,Paul Robeson, and Florence Mills gave spectacular performances in plays byblack and white dramatists.In painting and sculpture, black artists such asAaron Douglas, Hale Woodruff, Richard Barthe, and others moved awayfrom the academic realism of Henry O.Tanner to experiment in a variety ofstyles and to attempt a more objective and effective self-portrayal.But it is in literature that we see the most impressive results of this newand open mood.There were more books published by blacks in the twentiesthan ever before and it would not be until the sixties that Afro-Americanliterary activity would again exhibit equal or greater vitality.The collectiveliterary product of the period is indicated today by the term HarlemRenaissance or Negro Renaissance. The young writers of the period wereguided and encouraged not only by their black seniors such as Alain Locke,James Weldon Johnson, Charles S.Johnson, Walter White, W.E.B.Du Boisand Jessie Fauset but also by many sympathetic whites including WaldoFrank, Carl Van Vechten, Victor F.Calverton, and others.It is not my purpose here to attempt a detailed history of the HarlemRenaissance as a movement.It has been done elsewhere.6 It is agreed that thephenomenon identified generally as Harlem Renaissance appeared on theAmerican scene during the closing years of World War I, was publiclyrecognized by men such as Alain Locke and Charles S.Johnson in 1924 or 26Amritjit Singh1925, and had begun declining about the time of the stock market crash in1929 [ Pobierz całość w formacie PDF ]
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.an extraordinary foothold on this continent. 4On the plus side, this Negro fad of the twenties in the United Statesled to an unprecedented artistic activity that focused on the depiction of theNegro in fiction, drama, poetry, painting and sculpture.More white writersin the South as well as the North wrote about the Negro and in sheerquantity the record remains unmatched to this day.One group of writers andintellectuals, centered at the University of North Carolina, Chapel Hill,devoted their careers almost entirely to Negro-related writing.5 Knowngenerally as writers of the Southern Renaissance, the group included PaulGreen, Julia Peterkin, DuBose Heyward, T.S.Stribling, Elizabeth LayGreen, and Edward Sheldon.Friederich Koch, the director of theUniversity s little theater group, the Carolina Playmakers, and formerstudent of George Pierce Baker, particularly encouraged plays that made an 25Black and White Symbiosisartistic use of Negro themes.Under the leadership of Harry WoodburnChase, the Massachusetts-born president of the University, liberal Southernsocial scientists such as Frank Graham and Howard Odum published manyimportant studies of the Negro and in 1927, 1928 and 1929, the CarolinaMagazine devoted one number entirely to work by Negro contributors.Inthe North, many white writers such as Eugene O Neill, Sherwood Anderson,and e.e.cummings followed the trend already set by Gertrude Stein s Melanctha (1909) and Vachel Lindsay s The Congo (1914) in presenting thealleged primitivism of the Negro as a bulwark against increasingstandardization.Besides, anthropologists like Franz Boas and MelvilleHerskovits published many pioneering studies of the Negro.The most significant result of the Negro vogue was the encouragementthat black musicians, writers, and other artists received from white audiencesand important white individuals.Jazz and blues thrived and defined themood of the period.Black musicians Roland Hayes, Duke Ellington, LouisArmstrong, Bessie Smith, among others came to public attention.In 1921,Shuffle Along, produced by Flourney Miller and Aubrey Lyles, ran for so longat the 63rd Street Theatre that it came to symbolize black New York.It wasfollowed on Broadway by the moderate success of many other revues of thesame variety.Black actors and actresses like Josephine Baker, Charles Gilpin,Paul Robeson, and Florence Mills gave spectacular performances in plays byblack and white dramatists.In painting and sculpture, black artists such asAaron Douglas, Hale Woodruff, Richard Barthe, and others moved awayfrom the academic realism of Henry O.Tanner to experiment in a variety ofstyles and to attempt a more objective and effective self-portrayal.But it is in literature that we see the most impressive results of this newand open mood.There were more books published by blacks in the twentiesthan ever before and it would not be until the sixties that Afro-Americanliterary activity would again exhibit equal or greater vitality.The collectiveliterary product of the period is indicated today by the term HarlemRenaissance or Negro Renaissance. The young writers of the period wereguided and encouraged not only by their black seniors such as Alain Locke,James Weldon Johnson, Charles S.Johnson, Walter White, W.E.B.Du Boisand Jessie Fauset but also by many sympathetic whites including WaldoFrank, Carl Van Vechten, Victor F.Calverton, and others.It is not my purpose here to attempt a detailed history of the HarlemRenaissance as a movement.It has been done elsewhere.6 It is agreed that thephenomenon identified generally as Harlem Renaissance appeared on theAmerican scene during the closing years of World War I, was publiclyrecognized by men such as Alain Locke and Charles S.Johnson in 1924 or 26Amritjit Singh1925, and had begun declining about the time of the stock market crash in1929 [ Pobierz całość w formacie PDF ]