Harlem Renaissance Book Report

Black theater is as old as the first tribes in Africa who would dance with wooden masks to represent gods or legends (Kerr, p3). The playwrights of this time were the Griots, who were known as the keepers of history in African tribes and mark the beginning of African literary tradition (Freeman.) But when does the development of black playwright actually take off?

August Wilson’s 1996 address entitled “The Ground on Which I Stand”, sparked a vigorous debate in the world of theater over the idea of “colorblind casting” and he presented the need for a Black Theatre. Mr. Wilson was outraged by the fact that of the 66 major companies belonging to the League of Resident Theaters, only one was black. He felt that the supporters of black theatre used their funds to increase black hiring in primarily white theatres as opposed to creating a theatre for the black community. Hw wanted to have more black theaters established to cater to the black actors as well as draw in black audiences. He attacks the increasingly popular trend of “colorblind casting” which basically meant casting black actors in roles traditionally

Theatre has evolved over the many years. As it has grown, it moved to include more diverse performers, crew, producers, and audiences. This is an exploration of the expansion of diverse theatre.

This book holds scenes from 16 individual plays during the Harlem Renaissance. It holds scripts from playwright and social activist, Langston Hughes. This

The article is about black creative production (theater) since the play is directed by African American playwright Richard Wesley. In addition, the predominantly black casts are spectacular and deliver a strong performance. The ability to be multi-skilled in your craft displays creativity and versatility where the actors can utilize their many talents.

When thinking about black actresses in the 1930s through 1950s, a few names may come to mind like Nina McKinney, Lena Horne, Dorothy Dandridge, and Hattie McDaniel. However, many other black actresses have graced the big screen including Suzette Harbin, Theresa Hams, Ethel Moses, Mae Turner, and Hilda Simms just to name a few. Many of these talented actresses differ in their career paths, but they all endured some form of racism and sexism which made it laborious for them to thrive in their careers. By the Way, Meet Vera Stark represents the hardships of black actresses during the 1930s through 1950s. The protagonist, Vera Stark, persistently tries to prove to the people around her that she has star quality for show business. However, she does not reach her potential because of her race. Although she obtains some gigs, the gigs demean black women during that time. The offensive parts for black actresses vary from mammy to slave woman to seductress. The following roles offered black actresses’ opportunities to one day acquire star making roles. Unfortunately, those roles did not apply to black actresses. Only white actors and actresses experienced that fortuity. By the Way, Meet Vera Stark exposes Hollywood’s misconduct of black actresses and further explains the lack of black representation today. Indeed, roles for black actresses have increased since the 1930s through 1950s; however the roles have become more stereotypical like the obnoxious black woman, the token black

History.com (2009) describes the Harlem Renaissance movement as “a literary, artistic, and intellectual movement that kindled a new black cultural identity.” The 1920s and 1930s emcompass a time in history where blacks found themselves ostracized from mainstream society. It was uncommon to see the expressions of black artistry in everyday life, especially on a literary level.

In the 1920s the expanding culture of African Americans was wildly represented by the Harlem Renaissance. It happened after the Great Migration, when they started to develop new styles of literature, art, and music (doc. 6,7). The 1920s were called the “Jazz Age” because musicians recombined blues, European- based music, and ragtime. The Harlem Renaissance changed the way African Americans were looked at by other people in the U.S. and how they lived. It did this by giving them the chance to overcome the things they had gone through in the past. The Harlem Renaissance also allowed them to express how they feeled and show their talents.

August Wilson’s plays relate directly to his African heritage, and were and are a part of his success. His expression of the struggles of the blacks

The period after the Civil War was a time of Reconstruction. During this time the Southern states had passed laws placed a racial caste system that placed African Americans into a second class citizen. They were pretty much segregated in all aspects of life, from schools to the drinking fountains. The set of laws in the South was known as Jim Crow. Before World War 1 almost ninety percent of the African Americans lived in the South and seventy five percent of them in the rural South. As the war began blacks started to migrate more and more to the North because of the demand of labor, the destruction of the cotton crops in the South, and because of the rise in white terrorist, such as the Ku Klux Klan. This group had become very popular in the 1920’s and its members reached to about four million people. It only took ninety days for the African Americans to leave Mississippi. In the mid 1910’s around three hundred thousand Southern blacks moved to the north, this was known as the Great Migration. In New York the Great Migration created a cultural group which has described that era as the Harlem Renaissance. The Harlem Renaissance

Thousands of white Americans came to Harlem to experience the night life. The nightclubs in New York appealed to the whites as they were very famous. Jazz music was thriving in the area. It originated in the Unites States among African-American musicians. It was at this time that jazz was at its most famous point. Many people would host rent parties which were very popular at the time. Apartment owners would hold a party and would charge a fee to those who wanted to enter. They used this money in order to pay off their rent (Worth). The influence of jazz also brought musical reviews. Soon white novelists, dramatists and composers started to exploit the musical tendencies and themes of African Americans in their works. Composers used the literary works of African-American poets in their songs. Negros began to merge with Whites into the classical world of musical composition (Wikipedia). Soon, the works of artists were being displayed in nationwide magazines. Their culture began to spread with great velocity.

Over the course of approximately one-hundred years there has been a discernible metamorphosis within the realm of African-American cinema. African-Americans have overcome the heavy weight of oppression in forms such as of politics, citizenship and most importantly equal human rights. One of the most evident forms that were withheld from African-Americans came in the structure of the performing arts; specifically film. The common population did not allow blacks to drink from the same water fountain let alone share the same television waves or stage. But over time the strength of the expectant black actors and actresses overwhelmed the majority force to stop blacks from appearing on film. For the longest time the performing arts were

The articles The Ground on Which I Stand by August Wilson and Steps toward the Negro Theatre by Alain Locke were both phenomenal read. Wilson and Locke discussed the design of black theatre and how it needs to be and can be structured for the future. They also discussed the racial and dividing system in America society which branched off to theatre.

The production spearheaded with a solemn poem by Langston Hughes entitled "Harlem." Preparing for an emotionally empowering theater piece, the poem quieted the audience and placed a serious blanket over us. While appropriate for me, I found it extremely coincidental that the poem's title, ties in directly with James Baldwin and his extensive writings on the 1943 Harlem race riots. With the lights off and just a solitary voice reciting the poem, it gave us, the audience, an immediate notion of play's melancholy style.

Throughout this course we discussed the Jazz Age, cultural appropriation, racial and gender differences, and African Americans and Parisians during the interwar years. We looked at many African American performers and performances that had a huge impact on France’s cultural identity. After learning about all of this in class, I wanted to take my research further. I decided to research female foreign performers who have had a major influence on the Jazz Age in Paris. I decided to focus specifically on three foreign females, and they are: singer and dancer Josephine Baker, dancer Molly Spotted Elk, and dancer Ada “Bricktop” Smith. Each of these female performers had a large impact on taking the Jazz Age in Paris to another level.