WEBVTT - How Did the Harlem Renaissance Work?

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<v Speaker 1>Welcome to Brainstuff production of iHeart Radio, Hey brain Stuff

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<v Speaker 1>Lorn Bogebaum here. From poetry and prose to music, painting,

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<v Speaker 1>and sculpture, the cultural movement known as the Harlem Renaissance

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<v Speaker 1>produced an unprecedented array of art and social change in

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<v Speaker 1>the United States. The end of the Civil War in

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<v Speaker 1>eighteen sixty five ushered in the emancipation of hundreds of

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<v Speaker 1>thousands of Black Americans who had been enslaved in the South,

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<v Speaker 1>and by nineteen twenty about three hundred thousand of them

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<v Speaker 1>had moved north in search of economic, social, and political freedoms.

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<v Speaker 1>This is known as the Great Migration, and it was

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<v Speaker 1>also a time of general urbanization. Northern cities like St. Louis, Chicago,

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<v Speaker 1>and Cleveland saw many new citizens, but Harlem, in particular,

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<v Speaker 1>a three square mile or seven hundred and seventy seven

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<v Speaker 1>Hector neighborhood in New York's northern Manhattan, became a destination

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<v Speaker 1>for around one hundred and seventy five thousand Black Americans

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<v Speaker 1>seeking a fresh start. It offered them lower real estate

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<v Speaker 1>and rental prices than many other locations. But Harlem was

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<v Speaker 1>a significant city for a number of reasons, as Black

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<v Speaker 1>Americans began re establishing and redefining what it meant to

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<v Speaker 1>be black in a post slavery world. We spoke with

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<v Speaker 1>William J. Maxwell, professor of English and African and African

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<v Speaker 1>American Studies at Washington University in Saint Louis. He said,

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<v Speaker 1>to think about it in a concrete and practical way.

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<v Speaker 1>New York was where the existing artistic infrastructure was a

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<v Speaker 1>big publishing companies were now in New York and no

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<v Speaker 1>longer in Boston. Modern art was centered in New York,

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<v Speaker 1>and Harlem was becoming an attractive destination for black artists.

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<v Speaker 1>Harlem was also so important because it was the most

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<v Speaker 1>international black city in the United States. That's the place

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<v Speaker 1>Caribbean migrants came, and you had people from Barbados and

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<v Speaker 1>Haiti pouring in. Jamaicans like political activist Marcus Garvey and

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<v Speaker 1>the poet Claude Mackay were deeply involved in the movement

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<v Speaker 1>and were coming to New York along with a lot

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<v Speaker 1>of Africans outside of Africa or Paris. New York was

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<v Speaker 1>probably the most international black city in the world at

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<v Speaker 1>that point. While changes were flourishing in other parts of

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<v Speaker 1>the country as well. The movement an explosion of literary, artistic, intellectual,

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<v Speaker 1>and social change among Black Americans quickly became known as

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<v Speaker 1>the Harlem Renaissance. Maxwell said it was a self conscious

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<v Speaker 1>movement in the sense that the people who organized it

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<v Speaker 1>knew they were holding a renaissance. It was called different

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<v Speaker 1>things at the time, but it wasn't the kind of

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<v Speaker 1>esthetic or cultural event that was only labeled from a

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<v Speaker 1>distance of years. It was labeled at the time it

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<v Speaker 1>was actually happening. While many view the Harlem Renaissance as

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<v Speaker 1>a primarily literary movement that included the birth of works

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<v Speaker 1>from leading poet and author Langston Hughes, the Golden Era

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<v Speaker 1>that lasted from approximately the nineteen teens through the mid

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<v Speaker 1>thirties also saw the proliferation of visual arts, music, theater,

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<v Speaker 1>and more. But at its core, the Harlem Renaissance was

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<v Speaker 1>more than an artistic movement. It was an age dedicated

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<v Speaker 1>to reclaiming and redefining blackness in a new way. Maxwell explained,

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<v Speaker 1>a renaissance is about the idea of rebirth. There are

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<v Speaker 1>examples like what the Italian Renaissance. The Harlem Renaissance had

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<v Speaker 1>a similar idea in the rebirth of African culture as

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<v Speaker 1>it was before slavery, but it was also about reinventing

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<v Speaker 1>a connection all over the black world for cultural possibility

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<v Speaker 1>and power. What's paradoxical about the Harlem Renaissance is the

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<v Speaker 1>black artists were defining what it meant to be a

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<v Speaker 1>modern black people. In other words, for black people to

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<v Speaker 1>be urban or to have found various forms of economic freedom,

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<v Speaker 1>which is one reason it was centered in New York.

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<v Speaker 1>After the Great Migration. There was a revival of African

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<v Speaker 1>culture as it was before slavery, but the more important

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<v Speaker 1>piece was defining what it meant to be a Black

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<v Speaker 1>American in relation to modernity. According to Maxwell, the significance

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<v Speaker 1>of the Harlem Renaissance extended beyond the arts and permi

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<v Speaker 1>at culture as a whole. He said, there were a

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<v Speaker 1>lot of different styles, and all these people were trying

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<v Speaker 1>to redefine Blackness as modern. One of the basic elements

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<v Speaker 1>of nineteenth and twentieth century racism was the idea that

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<v Speaker 1>black people were primitive or behind the curve of history.

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<v Speaker 1>The Harlem Renaissance really pushed against that and suggested the

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<v Speaker 1>Black people maybe the most modern people who have the

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<v Speaker 1>capacity for change. One crucial way Black Americans pushed back

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<v Speaker 1>against historic racism was to effectively transform the country's musical landscape.

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<v Speaker 1>While jazz music had roots in southern towns and cities

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<v Speaker 1>like New Orleans and Memphis, and was also developed in

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<v Speaker 1>cities like Chicago, it found fame on the East Coast.

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<v Speaker 1>Maxwell explained classical nineteen twenties jazz wasn't invented in New

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<v Speaker 1>York City, but that's where jazz music first became marketable

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<v Speaker 1>at a national commodity. Artists like Bessie Smith and Duke

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<v Speaker 1>Ellington weren't from New York, but they played clubs there

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<v Speaker 1>and established an audience there. New York is where early

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<v Speaker 1>jazz joined the national entertainment industries. According to Maxwell, it's

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<v Speaker 1>thanks to New York that the jazz imported from elsewhere

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<v Speaker 1>began to be played on the radio and in movie theaters. However,

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<v Speaker 1>a specific style of jazz did originate there. He said.

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<v Speaker 1>Some jazz did get invented in New York, a specific

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<v Speaker 1>style called stride piano from artists like Fats waller In

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<v Speaker 1>James P. Johnson, who wrote the music for the Charleston.

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<v Speaker 1>Those guys showed the power of New York City as

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<v Speaker 1>an entertainment capital, and that they became professional songwriters in

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<v Speaker 1>Tin pan Alley. While the Harlem Renaissance continues to be

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<v Speaker 1>celebrated for the contributions of renowned figures like dancer Josephine

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<v Speaker 1>Baker and artist Aaron Douglas, there's still a lot to

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<v Speaker 1>be discovered and learned from the era, unpublished novels by

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<v Speaker 1>authors like Claude McKay, for example. Maxwell said there was

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<v Speaker 1>a great variety of work created during the Harlem Renaissance

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<v Speaker 1>that we don't understand yet, but people know the works

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<v Speaker 1>of Langston Hughes, the great poet who produced classical A

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<v Speaker 1>Tree Soaked in Black folklore and speech styles, and Zoraneil Hurston,

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<v Speaker 1>one of the great storytellers and anthropologists, who is also

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<v Speaker 1>known for bringing black oral forms into prose. But beyond that,

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<v Speaker 1>there's a lot of other work like that from a

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<v Speaker 1>young novelist named Rudolf Fisher, who was also a serious

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<v Speaker 1>physician and wrote witty novels like Walls of Jericho. Also,

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<v Speaker 1>there were young poets like Helene Johnson, who wrote witty,

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<v Speaker 1>almost Dorothy Parker like pieces. The Harlem Renaissance effectively ended

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<v Speaker 1>in the nineteen thirties after the economic effects of the

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<v Speaker 1>great depression set in, causing businesses, nightclubs, and publishing houses

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<v Speaker 1>to shutter and writers and artists to scatter in search

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<v Speaker 1>of employment. Although the historic period of the Harlem Renaissance

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<v Speaker 1>hit its height a century ago, its influence has continuously

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<v Speaker 1>impacted American culture through the decades, from its effect on

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<v Speaker 1>the civil rights movement of the nineteen sixties to its

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<v Speaker 1>lasting legacy in modern arts and culture. Carry de Winz,

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<v Speaker 1>a distinguished professor of history at Texas learn University, put

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<v Speaker 1>it this way, in the Harlem Renaissance was the first

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<v Speaker 1>time that a considerable number of mainstream publishers and critics

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<v Speaker 1>took African American literature seriously, and it was the first

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<v Speaker 1>time that African American literature and the arts attracted significant

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<v Speaker 1>attention from the nation at large. Today's episode was written

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<v Speaker 1>by Michelle Konstantinovski and produced by Tyler Clay. For more

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<v Speaker 1>on this and lots of other topics, is it how

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<v Speaker 1>stuffworks dot com. Brain Stuff is a production of I

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