Does anyone what to have the BEST ANSWER????

Question

I'll give it to the first person who can tell me how the harlem renaisance started and what the theory behind it was. Please it's for a project thats due tomorrow and this is the last thing i need. Help me out.

Answer 1

The Harlem Renaissance was a flowering of African American art, literature, music and culture in the United States led primarily by the African American community based in Harlem, New York City, after World War I.

Literary historians and academics have yet to reach a consensus as to when the period known as the Harlem Renaissance began and ended. It is unofficially recognized to have begun in 1919 and ended during the early or mid 1930s, however its ideas lived on much longer. The zenith of this “flowering of ***** literature,” as James Weldon Johnson instead preferred to call the Harlem Renaissance, is placed between 1924 when Opportunity magazine hosted a party for black writers where many white publishers were in attendance and 1929, the year of the stock market crash and the resulting economic Great Depression.

Most of the participants in this African American literary movement were descendants from a generation whose parents or grandparents had witnessed the injustices of slavery and the gains and losses that would come with Reconstruction after the American Civil War as the nation moved forward into the gradual entrenchment of Jim Crow in the Southern states and in its non-codified forms in many other parts of the country. Many of these people were part of the Great Migration out of the South and other racially stratified communities who sought relief from the worst of prejudices against them for a better standard of living in the North and Midwest regions of the United States. Others were Africans and people of African descent from the Caribbean who had come to the United States hoping for a better life. Uniting most of them was their convergence in Harlem, New York. They would make Harlem the most famous center of African American life in the United States at that time and one that would have far reaching influence on people of Africa and people of African descent across the world as well as American culture in general.

Characterizing the Harlem Renaissance was an overt racial pride that came to be represented in the idea of the New ***** who through intellect, the production of literature, art, and music could challenge the pervading racism and stereotypes from the larger white community of that era to promote progressive or socialist politics and racial integration and social integration. The creation of art and literature would serve to “uplift” the race. This became known as racial political propaganda. There would be no set style or uniting form singularly characterizing the various forms of art coming out of the Harlem Renaissance. Rather, there would be a mix of celebrating a Pan-Africanist perspective, “high-culture” and the “low-culture or low-life,” the traditional form of music to the blues and jazz, traditional and new experimental forms in literature like modernism and in poetry, for example, the new form of jazz poetry. This duality would eventually result in a number of African American artists of the Harlem Renaissance coming into conflict with conservatives in the black intelligentsia who would take issue with certain depictions of black life in whatever medium of the arts.

The Harlem Renaissance was one of primarily African American involvement and an interpersonal support system of black patrons, black owned businesses and publications, and so on. But, on the periphery it was supported by a number of white Americans who through genuine altruistic generosity, paternalism, and perhaps a degree of liberal guilt provided various forms of assistance to these black artists and opened doors for them which otherwise would have remained closed to the publicizing of their work to a larger audience outside of the black American community. This support often took the form of being a patron, a publisher, or another artist of some variety. Then, there were those whites interested in so-called “primitive” cultures, as many whites viewed black American culture at that time and wanted to see this “primitivism” in the work coming out of the Harlem Renaissance. Other interpersonal dealings between whites and blacks can be categorized as exploitive because of the desire to capitalize on the “fad,” and “fascination” of the African American being in “vogue.” This vogue of the African American would extend to Broadway, as in Porgy and Bess, and into music where in many instances white band leaders would defy racist attitude to include the best and the brightest African American stars of music and song. For blacks, their art was a way to prove their humanity and demand for equality. For a number of whites, preconceived prejudices were challenged and overcome.

The Harlem Renaissance would help lay the foundation of the Civil Rights Movement. Moreover, many black artists coming into their own creativity after this literary movement would take inspiration from it.

Answer 2

Have you tried Google-ing it?

Don't use Wikipedia for references as anybody can change the content and it is less credible. Also you could get some total garbage off of it.

Try aiming for government, museum, historical sites or the like for more reliable information. You could try the library (old school) or on-line databases. You should be able to access some on-line databases though your local library's web site.

The Internet is so full of crap that in every 10 sites you find only one may be good to use. Look carefully and look at stuff that has better credibility than someone's blog or personal fascination web site.

Sorry I don't know much about the Harlem Renaissance or its time and theories, but I hope my pointers on your research help.

Answer 3

It started in 1920 in New York city. It transformed the Africian-American identity and history. It transformed American culture. It transformed through the Africian_American art, music,literature and dance. It later became named the New ***** Movement. This is about all I know about it.

Answer 4

"The Harlem Renaissance was a time of great
creativity and innovation for African American writers, artists, and
musicians, and swing was just one of many art forms to prosper at
that time."
Got it from this website:
http://www2.kenyon.edu/depts/IPHS/Projects/swing1/history/history.htm
I dont understand wut u mean by "the theory behind it".

Answer 5

i love how you kids do homework these days. and the worst part is that people are pathetic enough to do it for 10 points that are completely worthless

Answer 6

How familiar are you with outstanding literature by African-Americans?
Review this list prepared by Black Issues Book Review (Nov-Dec. 99, pp 33-52) to identify excellent works to put on your "must read" list for 2002!



Writing in 1897, W.E.B. DuBois, a scholar with a freshly minted Ph.D. in history from Harvard and cofounder that same year of the American ***** Academy, declared that Black America represented "a nation stored with wonderful possibilities of culture." I doubt that even DuBois, the prophet who would predict in 1900 that "the problem of the twentieth century was the problem of the color line" and in 1909 foresee the urgent need of an Encyclopaedia Africana, could have imagined the remarkable accomplishments in the arts that African Americans would achieve in the last century of the millennium.
Just think about it: In the past one hundred years, our people have created ragtime, the classic blues, gospel, jazz, rhythm and blues, soul and hip hop, in music; the modernist collage techniques of Romare Bearden and Jacob Lawrence in the visual arts; and redefined fundamentally the very possibilities the human form can assume in the dance, from the Cakewalk and the Black Bottom, the Twist and the Bougaloo, from Josephine Baker and Katherine Dunham to Arthur Mitchell and Judith Jamison, James Brown, Michael Jackson, and Savion Glover. And despite all of these grand manifestations of what the literary scholar Benjamin Brawley called "The ***** Genius," our people's accomplishments in the literary arts are unparalleled for a people who were in 1900, merely thirty-five years "up from slavery," as Booker T. Washington put it.

Indeed, this century commenced with a call in 1900 by Washington for a "New *****," and a "New ***** Renaissance" was announced in black magazines as early as 1904. The great flowering of ***** written arts occurred, of course, at the height of the Jazz Age, a movement enshrined forever by Alain Locke in his classic anthology The New ***** (1925). That movement, all-too-short, gave birth in the mid-thirties both to the Negritude movement in Paris, but also to its counter movement, the black social realism of Richard Wright, Ann Petry, and
the early Ralph Ellison.

By 1950, a new mode of black modernism predominated, in the form of
Gwendolyn Brooks, whose poetry earned a Pulitzer Prize, and dazzling novels by Brooks, Wright, Ellison, and a young James Baldwin. If works by these and other authors in the fifties represented a literature of civil rights, a younger generation led by the inimitable Amiri Baraka and poet Larry Neal, created the Black Arts Movement in 1965, which functioned as the aesthetic wing of the Black Power Movement.

The Black Arts Movement, in turn, led to the creation in the 1970's of the Black Women's Literary Movement, the most sustained and in many ways most prolific of all of our literary movements. This movement—born in 1970 when Maya Angelou published I Know Why the Caged Bird Sings, Toni Morrison published The Bluest Eye and Alice Walker published The Third Life of Grange Copeland, has produced more Pulitzer Prizes, National Book Awards, and other prizes than all of the other literary movements combined. And male writers such as James Alan McPherson,

August Wilson, John Wideman, Ishmael Reed, Walter Mosley, and Yusef Komunyakaa, among many others, continue to be prolific, win awards, and extend the tradition as defined by Wright, Ellison,and Baldwin.

The hallmark of the Black Women's Movement is that it has extended to three generations of writers since 1970, an unprecedented development in African American literary history. And the power of the fictions created by black women has led to the creation of a new broadly-based black readership, fully capable of placing writers such as Terry McMillan, E. Lynn Harris, Cornel West, Morrison and Walker on any national bestseller list. And no doubt the crowning achievement of this century's history of African American literature was the awarding of the Nobel Prize for Literature to Toni Morrison in 1993, exactly 220 years after another black woman, Phillis Wheatley, gave birth to the African American literary tradition by publishing a book of poetry.

DuBois's 1909 dream of a Pan-African encyclopedia, one that symbolically reunited the fragments of the African Diaspora created by the European slave trade, has been published in the last year of this century, in the form of an interactive CD-ROM and a book. It is a fitting tribute to the glories of the black literary tradition, to W.E.B. Du Bois's role in it, and to DuBois himself, the person who predicted in 1897 that this would be the African American Century in the Arts.

Answer 7

go here

Answer 8

http://en.wikipedia.org/wiki/Harlem_Renaissance

There ya go