The Harlem Renaissance: A Cultural Revolution

The Great Migration, spanning from 1910 to 1970, consisted of two main periods: the first Great Migration from 1910 to 1930 and the Second Great Migration from 1940 to 1970. This movement of African-Americans from the South to the North was influenced by push factors like Jim Crow laws and boll weevil infestations, as well as pull factors such as labor opportunities during World War I and the halt of immigration into the United States.

The Harlem Renaissance was catalyzed by the first Great Migration, leading to a significant increase in New York's African-American population from 140,000 in 1910 to 650,000 by 1940. Harlem, initially a white community, saw a transformation as African-Americans moved in, occupying low-rent apartments and affordable rooms. This demographic shift caught the attention of Philip Payton Jr., an African-American entrepreneur.

Philip Payton Jr., recognizing the trend of African-Americans moving into Harlem, founded the African-American Realty Company in 1904. The company offered 50,000 shares at $10 each to small black investors, aiming to empower the African-American community through property ownership. Payton's strategic investments and advertisements directly targeted black investors, urging them to participate in solving the 'race problem.'

Real estate dynamics in Harlem saw conflicts between white-owned companies like Hudson Realty Company and African-American Realty Company. Hudson Realty's eviction of black tenants and subsequent loss in property value due to racial tensions allowed the African-American Realty Company to expand its holdings in Harlem. This strategic maneuvering by African-American investors like Philip Payton Jr. enhanced their prestige and attracted more investors to the area.

By the time of the 1910 Great Migration, Harlem had become a predominantly black neighborhood, attracting African-Americans not only from the South but also from Caribbean countries like Jamaica, Haiti, Puerto Rico, and the Dominican Republic. Notable figures like Marcus Garvey from Jamaica played a significant role in the cultural and social fabric of Harlem during this period.

The Harlem Renaissance emerged as a fusion of militant black nationalism, academic discourse, and creative cultural developments. It was inspired by Marcus Garvey's vision of bringing millions of black slaves from America, the West Indies, and Africa to fight for liberty and freedom. This movement integrated black political ideas with literary and artistic expression, culminating in the Harlem Renaissance.

The journey from slavery to emancipation began with the 13th Amendment in 1865, which abolished slavery. The subsequent ratification of the 14th Amendment in 1868 granted citizenship and equal protection under the law. To safeguard African-Americans' rights, the enforcement acts were passed, allowing federal intervention to protect voting rights and ensure equal treatment.

After Reconstruction, white supremacist redeemers enacted Black Codes and Jim Crow Laws, promoting segregation under the guise of 'separate but equal.' The Supreme Court's decision in 1883 to strike down the Civil Rights Act paved the way for legalized segregation, culminating in the infamous Plessy v. Ferguson case of 1896, which upheld segregation as long as facilities were 'separate but equal.'

In the North, racism manifested through housing segregation, discriminatory banking and lending practices, and job discrimination. The military was already segregated, and President Woodrow Wilson furthered workplace segregation in 1913, echoing practices from the South. African-American facilities were often inferior, underfunded, and poorly managed, perpetuating institutionalized racism and discrimination.

William Edward Burghardt Du Bois, born in 1868 in Great Barrington, Massachusetts, faced challenges early in life as his father deserted the family. Despite this, Du Bois excelled academically, attending Fisk University and later Harvard, where he earned a doctorate in history. His seminal work, 'The Souls of Black Folk,' highlighted the struggles of African-Americans and advocated for racial equality and social justice.

W.E.B. Du Bois, a prominent figure in the Harlem Renaissance, disagreed with Booker T. Washington's approach to African-American advancement. Washington, born on April 5th, 1856, advocated for incremental progress through education and acceptance of discrimination. In contrast, Du Bois believed in rapid change and opposed racial segregation. This led to the formation of the Niagara Movement in 1905 as a response to Washington's passive strategy.

In 1910, Du Bois moved to New York and joined the NAACP, where he edited the monthly journal 'The Crisis.' Despite facing challenges with the predominantly white leadership, Du Bois gained fame among black readers. His views on lynching, World War I, pan-Africanism, and the New Deal sparked discussions. Du Bois positioned himself as a torchbearer of the Harlem Renaissance, emphasizing the importance of artistic and literary expression for black legitimacy.

Du Bois organized a competition for black writers through 'The Crisis,' leading to the discovery of talents like Langston Hughes. While advocating for black artistic expression, Du Bois was criticized for his intellectual snobbery, as he favored classical music and European artists over African-American talents. This contradiction alienated him from the movement he helped create, as he struggled to fully embrace African-American culture.

Du Bois's ideological differences with figures like Booker T. Washington and Marcus Garvey reflected his push for full equality and rejection of incremental progress. While Washington advocated patience and gradual growth, Du Bois demanded immediate change. In contrast, Marcus Garvey symbolized black pride and political assertiveness, providing a different approach to African-American empowerment.

Marcus Garvey, born on August 17th, 1887, in Jamaica, emerged as a charismatic leader promoting black pride and modern black nationalism. Influenced by Du Bois's pan-Africanism and Washington's pragmatic views, Garvey envisioned a future where African Americans could aspire beyond colonial power. His travels, education, and contributions to African publications shaped his vision for uplifting and providing direction to the African-American community.

Marcus Garvey, a politically conscious black diasporan, was influenced by Ali and initially adopted Booker T. Washington's ideology of accommodating colonial rule. However, after experiencing racial politics in the United States during the New Negro era, Garvey founded the Universal Negro Improvement Association in response to the East St. Louis race riot of 1917. This event marked a turning point in Garvey's vision and activism, leading to the emergence of Garveyism.

Garveyism, spearheaded by Marcus Garvey, advocated for African-American economic and cultural independence. Garvey viewed Africa as a fallen society in need of restoration by the black race. His vision attracted many young blacks to the United States in the 1920s for higher education, supported by independent churches promoting Ethiopianism. These churches emphasized direct contact between the black race and God for emancipation, contrasting with traditional white-dominated churches.

The Universal Negro Improvement Association, led by Marcus Garvey, became a central hub for the promotion of black business and the facilitation of the return of American blacks to Africa. The movement's headquarters in Harlem housed Liberty Hall and affiliated businesses, including the Black Star Line. Operating from 1919 to 1922, the Black Star Line aimed to spread black business globally, although it did not achieve financial success. Despite grassroots support, intellectuals like Du Bois criticized Garvey for his separatist views.

In 1927, Garvey was deported back to Jamaica after referring to Du Bois as an 'ugly fat black man,' while Du Bois himself forfeited his American citizenship and moved to Ghana.

The Harlem Renaissance was not just a cultural movement but also an artistic one, establishing a new black cultural uniqueness and signaling a new age for African-Americans.

Du Bois believed that black achievement was equal to white achievements, stating that judging blacks by criminals and prostitutes was unfair. He advocated for cultural achievement as a basis for equality.

Aaron Douglas, born on May 26th, 1899 in Topeka, Kansas, was a prominent artist of the Harlem Renaissance. He incorporated Art Deco with modernist forms and stylized geometric patterns in his work, illustrating books and collaborating with notable writers.

In Paris, a cultural movement similar to the Harlem Renaissance called the Paris Noir or the black Paris was thriving. Black artists found greater appreciation for their art in Paris, inspiring innovation and sophistication in their work.

The return of black artists from Paris led to the materialization of the finest work in Visual Arts from the Harlem Renaissance in the 1930s. Their art inspired local New York artists, contributing to the cultural landscape.

Palmer C. Hayden, born on January 15th, 1890 in Widewater, Virginia, depicted African-American social landscapes using oils and watercolors. He attended art institutions in New York and Maine, creating notable works like 'Fetish Eure.'

Archibald John Motley Jr., born on October 7th, 1891 in New Orleans, Louisiana, was characterized as a Jazz Age modernist. His art captured dynamic scenes of black life and he played a significant role in the art movement in Chicago.

Augusta Savage, a prominent sculptor, created bronze busts of African-American leaders and advocated for young black artists' development. Her work was influenced by both Africa and America, making her a key figure in the Civil Rights Movement.

Meta Vaux Warrick Fuller, a poet, sculptor, and painter, produced distinctly Afrocentric work with a classical European influence. She was considered one of the most imaginative black artists of her generation, embodying the new Pro black identity emerging from the Harlem Renaissance.

The Harlem Renaissance produced a staggering amount of literature in various forms such as poetry, drama, periodicals, journals, and news reporting. A significant event on March 21st, 1924, organized by Charles S. Johnson, celebrated the publication of Jesse Faucet's 'There is Confusion,' which portrayed new and significant portrayals of African-Americans in literature.

The event organized by Charles S. Johnson was held at the Civic Club, located about 100 blocks south of Harlem. Initially focused on Jesse Faucet, Alan Lock expanded the event to include all African-American writers, fostering a sense of community and collaboration among black writers during the Harlem Renaissance.

Alan Lock, born on September 13th, 1885, in Philadelphia, was a key Harlem Renaissance artist. He was the first black man to obtain a Rhodes scholarship and authored 'The New Negro' in 1925, which envisioned a revitalized black future. Lock, an advocate for young gay African-Americans, hosted a spectacular Civic Club dinner that brought together over 100 guests, including prominent figures like James Welden Johnson, accelerating the scholarly aspect of the Harlem Renaissance.

The musical 'Shuffle Along,' performed at the 63rd Street Music Hall, was a groundbreaking production during the Harlem Renaissance. It introduced black music and theater to white audiences, defined the essence of nightlife, and showcased talents like Josephine Baker and Paul Robeson, who later became superstars. 'Shuffle Along' played a pivotal role in the development of jazz and blues, influencing Broadway and popularizing African-American culture.

Harlem, a hub of creativity during the Great Migration, became synonymous with jazz. Legendary venues like the Alhambra Ballroom, Apollo Theater, and Club Harlem hosted iconic performers like Ella Fitzgerald, Louis Armstrong, and Billie Holiday, propelling them to international stardom. Jazz clubs proliferated in Harlem, shaping the cultural landscape and attracting diverse audiences to experience the vibrant music scene.

In the late 20th century, Paris emerged as a center for black cultural revitalization, with the Negritude movement gaining prominence. Educated black leaders from African colonies, influenced by Western politics and society, sought to embrace modernity while preserving their cultural heritage. Leopold Sedar Senghor, a key advocate of Negritude, promoted the philosophy in Senegal, challenging French assimilation policies and fostering a vibrant black social and academic scene in Paris.

Leopold Sedar Senghor, a key figure in the Negritude movement, received his education in French and later became a professor at the universities of Tours and Paris from 1935 to 1945. After World War II, he served as the dean of the Linguistics Department at the Echol National De La France De Ultra until 1960. Senghor, along with other founders like Aime Cesaire and Leon Damas, promoted Negritude, a movement celebrating African heritage and opposing French colonization.

The Nard Doul sisters, Pette and Jean, played a significant role in the Negritude movement. Born into an upper-middle-class family, they facilitated the movement through their Salon, Le Clont Salon, which was a meeting place for intellectuals discussing Negritude. The sisters refined the fundamental philosophies of Negritude, translated works of Harlem Renaissance writers into French, and founded the influential journal 'La Revu Deon,' conveying panafrican ideals.

Black military men during World War I were the first to notice artistic and social freedom in Paris. The city, with a significant black population dating back to the sale of Louisiana, provided a comparatively racism-free environment that attracted many African-Americans. Paris became a hub for African-American artists and writers, fostering creativity and cultural exchange.

Lieutenant James Reese Europe, a key figure in the Jazz Revolution in Paris, brought African-American jazz clubs like Le Grand Duke and Sha Florence to prominence. Europe's association with the castles and his arrangement of the Memphis Blues contributed to breaking down prejudices against black music. The 369th US Army regiment, known as the Harlem Hell Fighters, gained respect for their combat efforts and famous marching band during World War I.

In February 9th, 1919, the 369th returned to New York after recording 24 instrumental and six vocal Ensemble sides for the French record company BTE. James Europe, tragically killed in a knife attack at the age of 39, became the first African-American to have a public funeral in New York City. His influence lived on through band members who stayed in France, organizing performances in Paris. The District of lower monm martra became known as black monm martra, where Jazz, initially popular with French audiences, took time for French composers to embrace. By 1930, Jazz became more mainstream in France.

Josephine Baker transformed from a chorus girl to a star under the guidance of Sisle. Despite initial criticisms of her performances, she gained popularity and eventually moved to Harlem. In 1925, a wealthy American woman named Carolyn Dudley offered to take Baker to Paris with a troop of black dancers and singers. Baker, driven by a desire to escape racism in America, set sail for France at age 19. Upon arriving in Paris, she was welcomed warmly and began her journey to becoming a Parisian superstar.

Outside the theater de shiz in Paris, Josephine Baker caught the attention of artist Paul Colin, who was commissioned to create a poster advertising a show. Impressed by Baker, Colin convinced her to pose for sketches, leading to a famous poster featuring her. The director of the theater, dissatisfied with the show's programming, hired Ja Charles to feature Baker more prominently and create a performance closer to the idea of primal exoticism. Despite initial reluctance, Baker's incredible performance on opening night solidified her status as a Parisian superstar.

After her captivating performance at the theater de shiz, Josephine Baker quickly rose to stardom in Paris. She received lavish gifts and jewelry from fans, lived in a luxurious two-bedroom Suite in a hotel, and became a fashion icon thanks to French designer Paul Poiret. Baker's unique talent and charisma made her a beloved figure in Parisian society, earning her titles like the African Heros, the black Venus, and the Nefertiti of now. In just one night, Josephine Baker transformed into a Parisian Superstar.

Josephine Baker's rise to fame began when Paul Cin, the artist who designed her poster, became romantically involved with her. By the end of 1926, she became the most photographed woman in the world. Her image was featured in advertising, and Josephine Baker dolls sold to thousands of fans. White women held her up as a beauty template and a symbol of liberation.

Ironically, while white women admired Josephine Baker's skin color and tanned to look like her, Josephine herself used lemon juice, goat's milk, and bleach to lighten her skin. This contradiction highlighted the complexities of racial identity and beauty standards during that time.

In the 1930s, Josephine Baker started touring with a show named Lea De Paris, eventually touring worldwide by 1933. She made history by becoming the first black woman to perform on Zigfield Follies, a significant achievement in the entertainment industry.

Upon returning to America, Josephine Baker faced continued racism and discrimination, being treated as a second-class citizen. Despite her international success, she encountered harsh criticism from both white and African American communities, highlighting the challenges she faced in her career.

Before her 30th birthday in 1936, Josephine Baker was active in the Red Cross and the French Resistance during World War II. She received two of France's highest military honors, the Croix de Guerre and the Legion of Honor. Baker also participated in the March on Washington alongside Martin Luther King in 1963, showcasing her commitment to civil rights and social justice.

The Harlem Renaissance was a pivotal time for African Americans, reinventing ideas of Blackness in art, dance, and literature. Influential figures like W.E.B. Du Bois and Marcus Garvey sparked debates, while artists such as Hayden Motley and John Johnson continue to inspire painters today. Dances popularized by Josephine Baker and Maëlle can still be seen in modern platforms like TikTok, showcasing the lasting impact of the movement.

The speaker expresses hope for a new Black Renaissance akin to the Harlem Renaissance, emphasizing the importance of cultural movements that inspire creativity and social change. The speaker encourages viewers to engage with historical and contemporary Black art, literature, and music, highlighting the ongoing relevance of past cultural movements.