The harlem renaissance and the african american tradition

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The Harlem Renaissance and the African-American Tradition

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The Harlem Renaissance as Postcolonial Phenomenon "Wonder why he chose an American college? Most of the chiefs' sons'U go to Oxford or bust. I know —this fellow is probably from Liberia or thereabouts. American influence—see?" —Rudolph Fisher, The Conjure Man Dies The Harlem Renaissance—as American as Florence Mills inShuffle Along, Langston Hughes composing "The Negro Speaks of Rivers" while crossing the Mississippi on a train, Zora Neale Hurston collecting Black folklore for Franz Boas. And yet the road version of Shuffle Along also hosted chorine Josephine Baker, who scored international stardom as a headliner for the Paris Folies Bergere; Hurston followed her first successful rework- ing of African American folklore in Mules and Men (1935) with Tell My Horse (1938), an examination of the practice of voodoo in Haiti; and Hughes's poem grounds itself specifically in a dias- poric consciousness that embraces the Euphrates, the Congo, and the Nile as rivers of Black geography. On the home front, the biography and career of Casper Holstein, an immigrant from the former Danish Virgin Islands, then ruled by the US Navy, illus- trates just how seminal was the West Indian presence in the Harlem of the 1920s. Holstein, a former porter, invented and enriched himself through the numbers racket; yet as historian David Levering Lewis points out, he used a portion of his wealth not only to promote the Harlem Renaissance but to make the link- age between American racism at home and its export to its unac- knowledged empire. "Invited by his young friend Walrond to use [the National Urban League's journal] Opportunity as a sounding board for conditions in the Virgin Islands, Holstein wrote a detailed, carefully argued article for the October 1925 issue. From then on, the Opportunity network had a generous friend Holstein's gift of a thousand dollars made the 1926 awards possi- ble " (When Harlem Was In Vogue 130).^ In Alain Locke's groimdbreaking anthology The New Negro (1925), which announced the arrival of the Harlem Renaissance on the literary scene, the Caribbean presence is evident. Prominently featured were poems by the Jamaican immigrant Claude McKay, and a short story titled "The Palm Porch," by the West Indian writer Eric Walrond. Essays were contributed by Puerto Rican bibliophile Arthur Schomburg ("The Negro Digs Up His Past"), and by the Jamaican-bom journalists Joel A. Rogers ("Jazz at Home") and Wilfrid A. Domingo. Domingo's "Gift of the Black Tropics" not only claims McKay as a Jamaican poet but explicitly states, "It is probably not realized, indeed, to what extent West Indian Negroes have contributed to the wealth, power and prestige of the United States" (344). Robert Philipson is an inde- pendent scholar who lives in Oakland, California. He has published articles on African and African American literature in Callaloo, Research in African Literatures, and other venues. African American Rew'eiv, Volume 40, Number 1 © 2006 Robert Phi.

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Commentary: Motivated by politics, a group of African-American authors became known as the Black Arts Movement . Preeminent in this movement was the poet Imamu Amiri Baraka. The movement stemmed from the strife following the assassination of Malcom X in 1965, and then the assassination of Dr. Martin Luther King, Jr. in 1968. Those involved in the changes spreading across America, known as Black Nationalism or the Black Power Movement , broke into two primary branches--Revolutionary Nationalists, which included such groups as the Black Panther Party, and Cultural Nationalists, which includes the Black Arts Movement. The expression of the Black Power Movement was evident in several ways: changes in clothing styles (dashikis, for example) adopted among several black groups, more vocal involvement in politics, and more outspoken tones in and topics of writing, speeches, and the plastic arts (sculpture and painting). Though the Black Arts Movement began in Harlem, it quickly spread to many cities around the country. Numerous African-American magazines, publishing houses, and journals flourished during this time, such as Negro Digest, Black World , Third World Press, The Black Scholar , and Lotus Press, among others. Poetry was the predominant form of writing within this movement, but not exclusively--short stories, drama, essay, plays, and music were also key to the content of this era. The Black Arts Movement was not without controversy. The content of its works is often cited as homophobic, exclusive, misogynistic, and anti-Semitic in favor of black identity. The Black Arts Movement’s influence began to fade as the result of an unlikely source--success. As members such as James Baldwin, Maya Angelou, and Nikki Giovanni, among others, became popular and even wealthy as the result of the works they also became mainstream, which was an unforeseen consequence counter to the basis of the movement itself. Recovering the History of African Americans Attempts to recover and recognize the history of African Americans was part of the Black Power Movement. This is seen in African Americans who changed their birth names to African names. Born as Leroi Jones, Amiri Baraka, for example, changed his name in 1964. Stokely Carmichael became Kwame Ture. In Alice Walker's short story "Everyday Use," Dee returns home with the name Wangero. Attitudes and actions that before the 1960s might have been kept private became more overt, which is evident in the essays defining the Black Arts Movement. Richard Wright's comments about African-American writers in his 1937 essay "Blueprint for Negro Writing" were no longer true. In that essay, Wright discussed black writers who "dressed in the knee-pants of servility" as they went "abegging to white America" for approval. He notes, "Negro writing was something external to the lives of educated Negroes themselves." Instead, the arts in the 1960s were more aligned with what Du Bois wrote in 1926, when he call.

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