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Archibald Motley painting Blues (1929). The Chicago Black Renaissance (also known as the Black Chicago Renaissance) was a creative movement that blossomed out of the Chicago Black Belt on the city's South Side and spanned the 1930s and 1940s before a transformation in art and culture took place in the mid-1950s through the turn of the century.
Poems such as "Etta Moten's Attic" and "Africa, Drifting Through Me Sings" demonstrate Danner's growing passion for black African arts, cultures and peoples in the 1940s and 1950s. She looked to National Geographic magazines, anthropology books and American museums for information and images. [8]
The Chicago Black Renaissance and women's activism (U of Illinois Press, 2023. Lemann, Nicholas. The Promised Land: The Great Migration and How It Changed America (1991). Logan, John R., Weiwei Zhang, and Miao David Chunyu. "Emergent ghettos: Black neighborhoods in New York and Chicago, 1880–1940." American Journal of Sociology 120.4 (2015 ...
In 1922, Genevieve Forbes took Tribune readers on an armchair tour of Chicago’s demimonde. She regularly covered crime and high society, but it was a slow news day. So she wrote about black and ...
The Black Belt was an area of aging, dilapidated housing that stretched 30 blocks along State Street on the South Side. It was rarely more than seven blocks wide. [21] Many African Americans who moved to the Black Belt area of Chicago were from the Southeastern region of the United States. Discrimination played a big role in the lives of blacks.
Other Chicago Black Renaissance artists included Willard Motley, William Attaway, Frank Marshall Davis, and Margaret Walker. St. Clair Drake and Horace R. Cayton represented the new wave of intellectual expression in literature by depicting the culture of the urban ghetto rather than the culture of blacks in the South in the monograph Black ...
Chicago's black arts movement came to rival the vibrancy seen in New York's Harlem Renaissance, and Sebree benefited from connections with artists such as Margaret Taylor-Burroughs and Eldzier Cortor, as well as the network of support created through affiliations with such institutions as the South Side Community Arts Center and the Art Institute.
In the late 1800s and early 1900s, a new breed of women started to emerge from the depths of circus tents around the world: the strong-woman. These women quickly drew large crowds of circus lovers ...