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While at its core it was primarily a literary movement, the Harlem Renaissance touched all of the African American creative arts. While its participants were determined to truthfully represent the African American experience and believed in racial pride and equality, they shared no common political philosophy, social belief, artistic style, or aesthetic principle. This was a movement of individuals free of any overriding manifesto. While central to African American artistic and intellectual life, by no means did it enjoy the full support of the black or white intelligentsia; it generated as much hostility and criticism as it did support and praise. From the moment of its birth, its legitimacy was debated. Nevertheless, by at least one measure, its success was clear: the Harlem Renaissance was the first time that a considerable number of mainstream publishers and critics took African American literature seriously, and it was the first time that African American literature and the arts attracted significant attention from the nation at large.
Library of Essays on Renaissance Music – University …
A Library of Essays on Renaissance Music (New edition)
As important as these literary outlets were, they were not sufficient to support a literary movement. Consequently, the Harlem Renaissance relied heavily on white-owned enterprises for its creative works. Publishing houses, magazines, recording companies, theaters, and art galleries were primarily white-owned, and financial support through grants, prizes, and awards generally involved white money. In fact, one of the major accomplishments of the Renaissance was to push open the door to mainstream periodicals, publishing houses, and funding sources. African American music also played to mixed audiences. Harlem's cabarets attracted both Harlem residents and white New Yorkers seeking out Harlem nightlife. The famous Cotton Club carried this to a bizarre extreme by providing black entertainment for exclusively white audiences. Ultimately, the more successful black musicians and entertainers moved their performances downtown.
Renaissance Music (The Library of Essays on Mu… | WHSmith
The relationship of the Harlem Renaissance to white venues and white audiences created controversy. While most African American critics strongly supported the movement, others like Benjamin Brawley and even W. E. B. Du Bois were sharply critical and accused Renaissance writers of reinforcing negative African American stereotypes. Langston Hughes's assertion that black artists intended to express themselves freely, no matter what the black public or white public thought, accurately reflected the attitude of most writers and artists.
Download A Library Of Essays On Renaissance Music A Library Of Essays On Renaissance Music In undergoing this life, many people always try to …Traditionally the Harlem Renaissance was viewed primarily as a literary movement centered in Harlem and growing out of the black migration and the emergence of Harlem as the premier black metropolis in the United States. Music and theater were mentioned briefly, more as background and local color, as providing inspiration for poetry and local color for fiction. However, there was no analysis of the developments in these fields. Likewise, art was discussed mostly in terms of Aaron Douglas and his association with Langston Hughes and other young writers who produced Fire!! in 1926, but there was little or no analysis of the work of African American artists. And there was even less discussion or analysis of the work of women in the fields of art, music, and theater.