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Harlem Renaissance : A Very Short Introduction by Cheryl A. Wall (2016, Trade Paperback)
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In this Very Short Introduction, Cheryl A. Wall captures the Harlem Renaissance's zeitgeist by identifying issues and strategies that engaged writers, musicians, and visual artists alike. Folklore - spirituals, stories, sermons, and dance - was considered raw material that the New Negro artist could alchemize into art.
- Buy It NowCheryl A. Wall The Harlem Renaissance (Paperback) Very Short Introductions
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About this product
Product Identifiers
PublisherOxford University Press, Incorporated
ISBN-100199335559
ISBN-139780199335558
eBay Product ID (ePID)219862763
Product Key Features
Book TitleHarlem Renaissance : a Very Short Introduction
Number of Pages160 Pages
LanguageEnglish
TopicAmerican / African American, American / General, African American, Ethnic Studies / African American Studies
Publication Year2016
IllustratorYes
GenreLiterary Criticism, Social Science, History
AuthorCheryl A. Wall
Book SeriesVery Short Introductions Ser.
FormatTrade Paperback
Dimensions
Item Height0.4 in
Item Weight3.5 Oz
Item Length6.8 in
Item Width4.2 in
Additional Product Features
Intended AudienceTrade
LCCN2015-038527
TitleLeadingThe
Table Of ContentChapter 1. When the Negro Was In VogueChapter 2. Defining New Negro IdentitiesChapter 3. Harlem: City of DreamChapter 4. What Is Africa to Me? Chapter 5. Strong Roots Sink DownEpilogue: Beyond HarlemFurther readingIndex
SynopsisThe Harlem Renaissance was a cultural awakening among African Americans between the two world wars. It was the cultural phase of the "New Negro" movement, a social and political phenomenon that promoted a proud racial identity, economic independence, and progressive politics. In this Very Short Introduction , Cheryl A. Wall captures the Harlem Renaissance's zeitgeist by identifying issues and strategies that engaged writers, musicians, and visual artists alike. She introduces key figures such as Langston Hughes, Zora Neale Hurston, Claude McKay, and Jean Toomer, along with such signature texts as "Mother to Son," "Harlem Shadows," and Cane. In examining the "New Negro," she looks at the art of photographer James Van der Zee and painters Archibald Motley and Laura Wheeler and the way Marita Bonner, Jessie Fauset, and Nella Larsen explored the dilemmas of gender identity for New Negro women. Focusing on Harlem as a cultural capital, Wall covers theater in New York, where black musicals were produced on Broadway almost every year during the 1920s. She also depicts Harlem nightlife with its rent parties and clubs catering to working class blacks, wealthy whites, and gays of both races, and the movement of Renaissance artists to Paris. From Hughes's "The Negro Speaks of Rivers" to W.E.B. Du Bois's novel Dark Princess, black Americans explored their relationship to Africa. Many black American intellectuals met African intellectuals in Paris, where they made common cause against European colonialism and race prejudice. Folklore - spirituals, stories, sermons, and dance - was considered raw material that the New Negro artist could alchemize into art. Consequently, they applauded the performance of spirituals on the concert stage by artists like Roland Hayes and Paul Robeson. The Harlem Renaissance left an indelible mark not only on African American visual and performing arts, but, as Cheryl Wall shows, its legacies are all around us., This Very Short Introduction offers an overview of the Harlem Renaissance, a cultural awakening among African Americans between the two world wars. Cheryl A. Wall brings readers to the Harlem of 1920s to identify the cultural themes and issues that engaged writers, musicians, and visual artists alike., The Harlem Renaissance was a cultural awakening among African Americans between the two world wars. It was the cultural phase of the "New Negro" movement, a social and political phenomenon that promoted a proud racial identity, economic independence, and progressive politics. In this Very Short Introduction, Cheryl A. Wall captures the Harlem Renaissance's zeitgeist by identifying issues and strategies that engaged writers, musicians, and visual artists alike. She introduces key figures such as Langston Hughes, Zora Neale Hurston, Claude McKay, and Jean Toomer, along with such signature texts as "Mother to Son," "Harlem Shadows," and Cane. In examining the "New Negro," she looks at the art of photographer James Van der Zee and painters Archibald Motley and Laura Wheeler and the way Marita Bonner, Jessie Fauset, and Nella Larsen explored the dilemmas of gender identity for New Negro women. Focusing on Harlem as a cultural capital, Wall covers theater in New York, where black musicals were produced on Broadway almost every year during the 1920s. She also depicts Harlem nightlife with its rent parties and clubs catering to working class blacks, wealthy whites, and gays of both races, and the movement of Renaissance artists to Paris.From Hughes's "The Negro Speaks of Rivers" to W.E.B. Du Bois's novel Dark Princess, black Americans explored their relationship to Africa. Many black American intellectuals met African intellectuals in Paris, where they made common cause against European colonialism and race prejudice. Folklore - spirituals, stories, sermons, and dance - was considered raw material that the New Negro artist could alchemize into art. Consequently, they applauded the performance of spirituals on the concert stage by artists like Roland Hayes and Paul Robeson. The Harlem Renaissance left an indelible mark not only on African American visual and performing arts, but, as Cheryl Wall shows, its legacies are all around us.
LC Classification NumberPS153.N5W327 2016
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