The Harlem Renaissance ~ ~ “The Harlem Renaissance transformed African-American identity and history, but it also transformed American culture in general. Never before had so many Americans read the thoughts of African-Americans and embraced the African-American community’s productions, expressions, and style.”

The Harlem Renaissance The Harlem Renaissance was also known as “The New Negro Movement.” This movement resulted from the Great Migration that brought nearly three million African Americans to the North between 1900 and 1930 seeking racial equality and economic opportunity. The Harlem Renaissance redefined African American expression and was considered a celebration of heritage. The Harlem Renaissance gave birth to many notable African American performers, artists, and authors.

The Lindy Hop The Lindy Hop is the original swing dance. It was invented at the Savoy Ballroom in Harlem in Both African Americans and Caucasians gathered at the Savoy to enjoy Lindy Hop contests. The Lindy Hop is featured in many motion pictures depicting the era. It eventually became a dance craze known as the Jitterbug, and later evolved into many other forms of swing dancing.

Painters Lois Mailou Jones

Les Pommes Vertes, 1938

Lois Mailou Jones Textile Design for Cretonne, 1928

Lois Mailou Jones Totem Poles, 1928

Painters William H. Johnson

Street Life – Harlem,

William H. Johnson Mount Calvary

William H. Johnson Self Portrait, 1929

Painters Palmer Hayden

Jeunesse

Palmer Hayden Nous Quatre a Paris

Authors As with the art and music of the Harlem Renaissance, many authors produced novels, short stories, poems, and plays that reflected pride in being a “black American” and expressed concerns with racism. Publishing houses that primarily published and marketed white authors began recognizing the quality literature coming from African American writers. Not only did they begin publishing these works, they promoted the material to white audiences. This had been unheard of prior to the Harlem Renaissance.

Claude McKay

Langston Hughes

Countee Cullen

Zora Neale Hurston

Birthdate: Jan. 7, 1891 in Notasulga, Alabama Zora was the fifth of eight children Parents: Lucy Potts and John Hurston Her father was a Baptist preacher, carpenter, and sharecropper. When Zora was three, her family moved to Eatonville, Florida, the first incorporated black township in America. Her father would eventually become mayor.

Eatonville, Florida Zora considered Eatonville a utopia, glorified in her stories as a place where black Americans could live as they desired, independent of prejudice in all its ways.

Zora Neale Hurston Zora’s mother died when Zora was 13 years old. After her mother’s death, Zora’s family passed her around the family for several years. As a young adult, Zora worked as a waitress and manicurist. Zora graduated from Barnard College, an affiliate of Columbia University, in Hurston published many magazine articles, short stories, and plays during the era of the Harlem Renaissance. Foremost, she was considered a novelist, folklorist, and anthropologist.

Their Eyes Were Watching God Their Eyes Were Watching God was Hurston’s second novel and was published in Hurston wrote the novel in seven weeks while living in Haiti. The novel is the coming of age story of Janie and the three men who ultimately shape her character.

Zora Neale Hurston Zora spent her last years in poverty and obscurity. She suffered a stroke in 1959, after which she was committed to the Saint Lucie County Welfare Home in Fort Pierce, Florida. She died there on January 28, 1960, at the age of 69.

Zora Neale Hurston When Hurston died, she was so poor that a collection was taken to give her a proper funeral. There wasn’t enough money left to purchase a headstone for her grave. In 1973, Alice Walker located Hurston’s grave and placed a headstone there as a tribute to Hurston’s impact on African American literature.

Dialect In Their Eyes Were Watching God, Hurston’s characters speak in a distinct dialect. Dialect is a special way of speaking a language. (Ex. Southern, Creole, etc.) Because the book’s character’s are African American and their culture has long spoken in a rich, folk-style, Hurston’s use of dialect makes her characters more realistic.

“ Janie, Ah hope God may kill me, if Ah’m lyin’. Nobody else on earth kin hold uh candle tuh you, baby. You got de keys to de kingdom.”