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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]
Harlem Circles, created by Bennett, were intended to be a place for writers to gather, share ideas, and spark inspiration. Over a period of eight years, some of the most famous Harlem Renaissance figures, such as Wallace Thurman and Langston Hughes met up in these groups and produced significant works as a result. [22]
A Universal Negro Improvement Association parade in Harlem, 1920. A sign on a car says "The New Negro Has No Fear". "New Negro" is a term popularized during the Harlem Renaissance implying a more outspoken advocacy of dignity and a refusal to submit quietly to the practices and laws of Jim Crow racial segregation.
Museum-goers look at a 1930 painting by Nola Hatterman titled “Louis Richard Drenthe/On the Terrace” during a press preview of “The Harlem Renaissance and Transatlantic Modernism ...
It became known as Harlem Week, and would go on to draw back those who had departed. 50 years on, Harlem Week shows how a New York City neighborhood went from crisis to renaissance Skip to main ...
The New Negro: An Interpretation (1925) is an anthology of fiction, poetry, and essays on African and African-American art and literature edited by Alain Locke, who lived in Washington, DC, and taught at Howard University during the Harlem Renaissance. [1]
As New York Times critic Wesley Morris noted of the album upon its release, its title is also a powerful callback to the Harlem Renaissance, an era in which artists and writers fled Jim Crow and ...
Negro World also played an important part in the Harlem Renaissance of the 1920s. The paper was a focal point for publication on the arts and African-American culture, including poetry, [ 8 ] commentary on theatre and music, and regular book reviews.