By Cherene Sherrard-Johnson
A significant other to the Harlem Renaissance provides a accomplished selection of unique essays that deal with the literature and tradition of the Harlem Renaissance from the top of worldwide struggle I to the center of the 1930s.
- Represents the main finished insurance of topics and designated new views at the Harlem Renaissance available
- Features unique contributions from either rising students of the Harlem Renaissance and validated educational “stars” within the field
- Offers numerous interdisciplinary positive factors, comparable to the part on visible and expressive arts, that emphasize the collaborative nature of the era
- Includes “Spotlight Readings” that includes lesser identified figures of the Harlem Renaissance and newly found or undervalued writings by way of canonical figures
Read or Download A Companion to the Harlem Renaissance PDF
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Extra resources for A Companion to the Harlem Renaissance
A second “great step forward,” in Johnson’s words, came a couple of years later with a shift from vaudeville to musical comedy with George Lederer’s Broadway production of Clorindy—The Origins of the Cake‐Walk, which brought together composer Will Marion Cook, librettist Paul Laurence Dunbar, and “the natural‐black‐face comedian” Ernest Hogan (1972, 102). Seeking an ever‐expanding white audience, Lederer, according to Johnson, “judged correctly that the practice of the Negro chorus, to dance strenuously and sing at the same time … would be a profitable novelty, … [and] that some injection of Negro syncopated music would produce a like result” (Johnson 2004, 298).
While turn‐of‐the‐century audiences had delighted in his comic short stories, many readers, especially politically conservative whites, resisted his more sober novels that portrayed black Americans’ struggle for civil liberties. “My books were written, from one point of view, a generation too soon. There was no such demand then as there is now for books by and about colored people,” Chesnutt surmised, judging the 1920s as a more promising era for black cultural production (1999c, 514). Chesnutt con cluded by announcing his hopes to publish a new novel “dealing with present day conditions,” but the 70‐year‐old author may have appeared to be a literary relic out of touch with present tastes (1999c, 514).
Oldfield, 120–33. Charlottesville: University Press of Virginia. Orig. pub. 1885. Crummell, Alexander. 1995d. ” In Civilization and Black Progress: Selected Writings of Alexander Crummell on the South, ed. R. Oldfield, 200–203. Charlottesville: University Press of Virginia. Orig. pub. 1897. Crummell, Alexander. 1995e. ” In Civilization and Black Progress: Selected Writings of Alexander Crummell on the South, ed. R. Oldfield, 143–54. Charlottesville: University Press of Virginia. Orig. pub. 1886.
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