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Baker used this approach in his 1987 study, Modernism and the Harlem Renaissance, in which he takes black critics to task for accepting the common notion that the Harlem Renaissance was a failure and then shows how notions of modernism based on European and Angloamerican texts are "inappropriate for understanding Afro-American modernism". [3]
The Harlem Renaissance was an intellectual and cultural revival of African-American music, dance, art, fashion, literature, theater, politics and scholarship centered in Harlem, Manhattan, New York City, spanning the 1920s and 1930s. [1]
Melvin Beaunorus Tolson (February 6, 1898 – August 29, 1966) was an American poet, educator, columnist, and politician. As a poet, he was influenced both by Modernism and the language and experiences of African Americans, and he was deeply influenced by his study of the Harlem Renaissance.
John Thomas Biggers (April 13, 1924 – January 25, 2001) [1] was an African-American muralist who came to prominence after the Harlem Renaissance and toward the end of World War II. Biggers created works critical of racial and economic injustice.
The writer, social activist and leading Harlem Renaissance figure Langston Hughes moved into the top floor of this Italianate-style brownstone on New York City’s East 127th Street in 1947.
Laura Wheeler Waring (May 26, 1887 – February 3, 1948) was an American artist and educator, most renowned for her realistic portraits, landscapes, still-life, [1] and well-known African American portraitures she made during the Harlem Renaissance. [1]
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New York City, in particular Harlem, was referred to as a black mecca during the Harlem Renaissance of the 1920s, 1930s, 1940s and still is as of today. [ 2 ] [ 3 ] [ 4 ] Atlanta has also adopted the name and has been referred to as a black mecca since the 1970s, while Black Enterprise has referred to Houston as the emerging equivalent.