HARLEM RENAUSSANCE MA 2

8/18/2019 HARLEM RENAUSSANCE MA 2

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INTRODUCTION

APPROACH AND RATIONALE

The Harlem Renaissance is one of over 60 National Center for History in the

Schools teachin !nits that are the fr!its of colla"orations "et#een history

$rofessors an% e&$erience% teachers of "oth 'nite% States an% (orl% History)

The !nits re$resent s$ecific %ramatic e$iso%es in history from #hich yo! an%

yo!r st!*%ents can $a!se to %elve into the %ee$er meanins of these selecte%

lan%mar+ events an% e&$lore their #i%er conte&t in the reat historical narrative)

,y st!%yin a cr!cial e$iso%e in history- the st!%ent "ecomes a#are that

choices ha% to "e ma%e "y real h!man "eins- that those %ecisions #ere the

res!lt of s$ecific factors- an% that they set in motion a series of historical

conse.!ences) (e have selecte% %ramatic moments that "est "rin alive that

%ecision*ma+in $ro*cess) (e ho$e that thro!h this a$$roach- yo!r st!%ents

#ill reali/e that history in an onoin- o$en*en%e% $rocess- an% that the

%ecisions they ma+e to%ay create the con%itions of tomorro#s history)

O!r teachin !nits are "ase% on $rimary so!rces- overnment %oc!ments- arti*

facts- maa/ines- ne#s$a$ers- films- $rivate corres$on%ence- literat!re- contem*

$orary $hotora$hs- an% $aintins from the $erio% !n%er st!%y) (hat #e ho$e

to achieve !sin $rimary so!rce %oc!ments in these lessons is to remove the

%istance that st!%ents feel from historical events an% to connect them more

intimately #ith the $ast) In this #ay #e ho$e to recreate for yo!r st!%ents a

sense of 1"ein there-1 a sense of seein history thro!h the eyes of the very

$eo$le #ho #ere ma+in %ecisions) This #ill hel$ yo!r st!%ents %evelo$

historical em$athy- to reali/e that history is not an im$ersonal $rocess %ivorce%

from real $eo$le li+e themselves) At the same time- "y analy/in $rimary1


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so!rces- st!%ents #ill act!ally $ractice the historians craft- %iscoverin for

themselves ho# to analy/e evi%ence- esta"lish a vali% inter$retation an%

constr!ct a coherent narrative in #hich all the relevant factors $lay a $art)

BACKGROUND

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'ntil the en% of the Civil (ar - the ma2ority of African Americans ha% "een

enslave% an% live% in the So!th) D!rin the Reconstr!ction Era- the

emanci$ate% African Americans- free%men- "ean to strive for civic

$artici$ation- $olitical e.!ality an% economic an% c!lt!ral self*%etermination)

Soon after the en% of the Civil (ar the 3! 3l!& 3lan Act of 454 ave rise

to s$eeches "y African*American Conressmen a%%ressin this ,ill) ,y 457

si&teen "lac+s ha% "een electe% an% serve% in Conress an% ave n!mero!s

s$eeches #ith their ne#fo!n% civil em$o#erment) The 3! 3l!& 3lan Act of

454 #as %eno!nce% "y "lac+ Conressmen an% res!lte% in the $assae of

the Civil Rihts Act of 457- $art of Reconstr!ction leislation "yRe$!"licans)

,y the late 450s- Democratic #hites manae% to reain $o#er in the So!th)

8rom 4590 to 4905 they $rocee%e% to $ass leislation that %isenfranchise% most

Neros an% many $oor #hites- tra$$in them #itho!t re$resentation) They

esta"lishe% #hite s!$remacist reimes of :im Cro# sereation in the So!th

an% one*$arty "loc+ votin "ehin% so!thern Democrats) The Democratic #hites

%enie% African Americans their e&ercise of civil an% $olitical rihts "y

terrori/in "lac+ comm!nities #ith lynch mo"s an% other forms of viilante

violence as #ell as "y instit!tin a convict la"or system that force% many

tho!san%s of African Americans "ac+ into !n$ai% la"or in mines- on $lantations-

an% on $!"lic #or+s $ro2ects s!ch as roa%s an% levees) Convict la"orers #ere

ty$ically s!"2ect to "r!tal forms of cor$oral $!nishment- over#or+- an% %isease

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https://en.wikipedia.org/wiki/American_Civil_Warhttps://en.wikipedia.org/wiki/Southern_United_Stateshttps://en.wikipedia.org/wiki/Reconstruction_Erahttps://en.wikipedia.org/wiki/Ku_Klux_Klan_Acthttp://www.law.nyu.edu/sites/default/files/KlanActSpeeches.pdfhttp://www.law.nyu.edu/neglectedvoiceshttp://www.law.nyu.edu/neglectedvoiceshttps://en.wikipedia.org/wiki/Civil_Rights_Act_of_1875https://en.wikipedia.org/wiki/Republican_Party_(United_States)https://en.wikipedia.org/wiki/Democratic_Party_(United_States)https://en.wikipedia.org/wiki/White_supremacyhttps://en.wikipedia.org/wiki/Jim_Crow_lawshttps://en.wikipedia.org/wiki/Democratic_Party_(United_States)https://en.wikipedia.org/wiki/Southern_United_Stateshttps://en.wikipedia.org/wiki/Reconstruction_Erahttps://en.wikipedia.org/wiki/Ku_Klux_Klan_Acthttp://www.law.nyu.edu/sites/default/files/KlanActSpeeches.pdfhttp://www.law.nyu.edu/neglectedvoiceshttp://www.law.nyu.edu/neglectedvoiceshttps://en.wikipedia.org/wiki/Civil_Rights_Act_of_1875https://en.wikipedia.org/wiki/Republican_Party_(United_States)https://en.wikipedia.org/wiki/Democratic_Party_(United_States)https://en.wikipedia.org/wiki/White_supremacyhttps://en.wikipedia.org/wiki/Jim_Crow_lawshttps://en.wikipedia.org/wiki/Democratic_Party_(United_States)https://en.wikipedia.org/wiki/American_Civil_War


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from !nsanitary con%itions) Death rates #ere e&traor%inarily hih) (hile a

small n!m"er of "lac+s #ere a"le to ac.!ire lan% shortly after the Civil (ar-

most #ere e&$loite% as sharecro$$ers); As life in the So!th "ecame increasinly

%iffic!lt- African Americans "ean to mirate north in reat n!m"ers)


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D!rin the early $ortion of the =0th cent!ry- Harlem #as the %estination for

mirants from aro!n% the co!ntry- attractin "oth $eo$le see+in #or+ from the

So!than% an e%!cate% class #ho ma%e the area a center of c!lt!re- as #ell as a

ro#in 1Nero1 mi%%le class) The %istrict ha% oriinally "een %evelo$e% in the

49th cent!ry as an e&cl!sive s!"!r" for the #hite mi%%le an% !$$er mi%%le

classes? its affl!ent "einnins le% to the %evelo$ment of stately ho!ses- ran%

aven!es- an% #orl%*class amenities s!ch as the Polo >ro!n%s an% the Harlem

O$era Ho!se) D!rin the enormo!s infl!& of E!ro$ean immirants in the late

49th cent!ry- the once e&cl!sive %istrict #as a"an%one% "y the #hite mi%%le

class- #ho move% f!rther north)

Harlem "ecame an African*American neih"orhoo% in the early 4900s) In 4940-

a lare "loc+ alon 4@7th Street an% 8ifth Aven!e #as "o!ht "y vario!s

African*American realtors an% a ch!rch ro!$) reat


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comm!nities- even in the North) After the en% of (orl% (ar I- many African*

American sol%iersB#ho fo!ht in sereate% !nits s!ch as the Harlem

Hellfihters Bcame home to a nation #hose citi/ens often %i% not res$ect their

accom$lishments) Race riots an% other civil !$risins occ!rre% thro!ho!t the

'S %!rin the Re% S!mmer of 4949- reflectin economic com$etition over 2o"s

an% ho!sin in many cities- as #ell as tensions over social territories)

MAINSTREAM RECOGNITION OF HARLEM CULTURE

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https://en.wikipedia.org/wiki/Harlem_Hellfightershttps://en.wikipedia.org/wiki/Harlem_Hellfightershttps://en.wikipedia.org/wiki/Mass_racial_violence_in_the_United_Stateshttps://en.wikipedia.org/wiki/Red_Summer_of_1919https://en.wikipedia.org/wiki/Harlem_Hellfightershttps://en.wikipedia.org/wiki/Harlem_Hellfightershttps://en.wikipedia.org/wiki/Mass_racial_violence_in_the_United_Stateshttps://en.wikipedia.org/wiki/Red_Summer_of_1919


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The first stae of the Harlem Renaissance starte% in the late 4940s) In 494- the

$remiere of Three Plays for a Nero Theatre too+ $lace) These $lays- #ritten "y

#hite $lay#riht Ri%ely Torrence- feat!re% African*American actors

conveyin com$le& h!man emotions an% yearnins) They re2ecte% the

stereoty$es of the "lac+face an% minstrel sho# tra%itions) :ames (el%on

:ohnson in 494 calle% the $remieres of these $lays 1the most im$ortant sinle

event in the entire history of the Nero in the American Theater1) Another

lan%mar+ came in 4949- #hen the $oet Cla!%e

feat!re% in his 494 $oems 1Invocation1 an% 1Harlem Dancer1 $!"lishe% !n%er

the $se!%onym Eli E%#ar%s- these #ere his first a$$earance in $rint in the

'nite% States after immiratin from :amaica) Altho!h 1If (e

never all!%e% to race- African*American rea%ers hear% its note of %efiance in the

face of racism an% the nation#i%e race riots an%lynchins then ta+in $lace) ,y

the en% of the 8irst (orl% (ar- the fiction of :ames (el%on :ohnson an% the

$oetry of Cla!%e


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ne#s$a$er #ere $olitical- "!t also em$hasi/e% the arts his ne#s$a$er ha%

1Poetry for the Peo$le1 an% "oo+ revie# sections) In 49=- in thePitts"!rh

Co!rier- Harrison challene% the notion of the renaissance) He ar!e% that the

1Nero Literary Renaissance1 notion overloo+e% 1the stream of literary an%

artistic $ro%!cts #hich ha% flo#e% !ninterr!$te%ly from Nero #riters from

4570 to the $resent1- an% sai% the so*calle% 1renaissance1 #as larely a #hite

invention)

The Harlem Renaissance re# o!t of the chanes that ha% ta+en $lace in the

African*American comm!nity since the a"olition of slavery- as the e&$ansion of

comm!nities in the North) These accelerate% as a conse.!ence of (orl% (ar

I an% the reat social an% c!lt!ral chanes in early =0th*cent!ry 'nite% States)

In%!striali/ation #as attractin $eo$le to cities from r!ral areas an% ave rise to

a ne# mass c!lt!re) Contri"!tin factors lea%in to the Harlem Renaissance

#ere the >reat


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Christianity $laye% a ma2or role in the Harlem Renaissance)


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ario!s forms of reliio!s #orshi$ e&iste% %!rin this time of African*

American intellect!al rea#a+enin) Altho!h there #ere racist attit!%es #ithin

the c!rrent A"rahamic reliio!s arenas many African Americans contin!e% to

$!sh to#ar%s the $ractice of a more incl!sive %octrine) 8or e&am$le- >eore

:ose$h


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CRITICISM

Reliio!s criti.!e %!rin this era #as fo!n% in literat!re- art- an% $oetry) The

Harlem Renaissance enco!rae% analytic %ialo!e that incl!%e% the o$en

criti.!e an% the a%2!stment of c!rrent reliio!s i%eas)

One of the ma2or contri"!tors to the %isc!ssion of African*American

renaissance c!lt!re #as Aaron Do!las #ho- #ith his art#or+- also reflecte% the

revisions African Americans #ere ma+in to the Christian %oma) Do!las !ses

"i"lical imaery as ins$iration to vario!s $ieces of art #or+ "!t #ith the

re"ellio!s t#ist of an African infl!ence)

Co!ntee C!llenFs $oem 1Heritae1 e&$resses the inner str!le of an African

American "et#een his $ast African heritae an% the ne# Christian c!lt!re) A

more severe criticism of the Christian reliion can "e fo!n% in Lanston

H!hesF $oem 1


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MUSIC

A ne# #ay of $layin the $iano calle% the Harlem Stri%e style #as create%

%!rin the Harlem Renaissance- an% hel$e% "l!r the lines "et#een the $oor

Neroes an% socially elite Neroes) The tra%itional 2a// "an% #as com$ose%

$rimarily of "rass instr!ments an% #as consi%ere% a sym"ol of the so!th- "!t

the $iano #as consi%ere% an instr!ment of the #ealthy) (ith this instr!mental

mo%ification to the e&istin enre- the #ealthy "lac+s no# ha% more access to

2a// m!sic) Its $o$!larity soon s$rea% thro!ho!t the co!ntry an% #as

conse.!ently at an all*time hih) Innovation an% liveliness #ere im$ortant

characteristics of $erformers in the "einnins of 2a//) :a// m!sicians at the

time s!ch as 8ats (aller - D!+e Ellinton- :elly Roll arrett- 1The

res!ltin $ortrait of Ellinton reveals him to "e not only the ifte% com$oser-

"an%lea%er- an% m!sician #e have come to +no#- "!t also an earthly $erson

#ith "asic %esires- #ea+nesses- an% eccentricities)1 Ellinton %i% not let his

$o$!larity et to him) He remaine% calm an% foc!se% on his m!sic)

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https://en.wikipedia.org/wiki/Stride_(music)https://en.wikipedia.org/wiki/Jazzhttps://en.wikipedia.org/wiki/Fats_Wallerhttps://en.wikipedia.org/wiki/Duke_Ellingtonhttps://en.wikipedia.org/wiki/Jelly_Roll_Mortonhttp://var/www/apps/conversion/tmp/scratch_1/Smithhttp://var/www/apps/conversion/tmp/scratch_1/Smithhttps://en.wikipedia.org/wiki/Stride_(music)https://en.wikipedia.org/wiki/Jazzhttps://en.wikipedia.org/wiki/Fats_Wallerhttps://en.wikipedia.org/wiki/Duke_Ellingtonhttps://en.wikipedia.org/wiki/Jelly_Roll_Mortonhttp://var/www/apps/conversion/tmp/scratch_1/Smithhttp://var/www/apps/conversion/tmp/scratch_1/Smith


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D!rin this $erio%- the m!sical style of "lac+s #as "ecomin more an% more

attractive to #hites) (hite novelists- %ramatists an% com$osers starte% to

e&$loit the m!sical ten%encies an% themes of African Americans in their #or+s)

Com$osers !se% $oems #ritten "y African*American $oets in their sons- an%

#o!l% im$lement the rhythms- harmonies an% melo%ies of African*American

m!sicBs!ch as "l!es- s$irit!als- an% 2a//Binto their concert $ieces) Neroes

"ean to mere #ith (hites into the classical #orl% of m!sical com$osition)

The first Nero male to ain #i%e reconition as a concert artist in "oth his

reion an% internationally #as Rolan% Hayes) He traine% #ith Arth!r Calho!n

in Chattanooa- an% at 8is+ 'niversity in Nashville) Later- he st!%ie% #ith

Arth!r H!""ar% in ,oston an% #ith >eore Henschel an% Aman%a Ira

Al%ri%e in Lon%on- Enlan%) He "ean sinin in $!"lic as a st!%ent- an%

to!re% #ith the 8is+ :!"ilee Siners in 4944

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https://en.wikipedia.org/wiki/Blueshttps://en.wikipedia.org/wiki/Spiritualshttps://en.wikipedia.org/wiki/Musical_compositionhttps://en.wikipedia.org/wiki/Roland_Hayeshttps://en.wikipedia.org/wiki/Chattanoogahttps://en.wikipedia.org/wiki/Nashvillehttps://en.wikipedia.org/wiki/Bostonhttps://en.wikipedia.org/wiki/George_Henschelhttps://en.wikipedia.org/wiki/Amanda_Ira_Aldridgehttps://en.wikipedia.org/wiki/Amanda_Ira_Aldridgehttps://en.wikipedia.org/wiki/London,_Englandhttps://en.wikipedia.org/wiki/Fisk_Jubilee_Singershttps://en.wikipedia.org/wiki/Blueshttps://en.wikipedia.org/wiki/Spiritualshttps://en.wikipedia.org/wiki/Musical_compositionhttps://en.wikipedia.org/wiki/Roland_Hayeshttps://en.wikipedia.org/wiki/Chattanoogahttps://en.wikipedia.org/wiki/Nashvillehttps://en.wikipedia.org/wiki/Bostonhttps://en.wikipedia.org/wiki/George_Henschelhttps://en.wikipedia.org/wiki/Amanda_Ira_Aldridgehttps://en.wikipedia.org/wiki/Amanda_Ira_Aldridgehttps://en.wikipedia.org/wiki/London,_Englandhttps://en.wikipedia.org/wiki/Fisk_Jubilee_Singers


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FASHION

D!rin the Harlem Renaissance- ,lac+ Americas clothin scene too+ a

%ramatic t!rn from the $rim an% $ro$er)


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CHARACTERISTICS AND THEMES

Characteri/in the Harlem Renaissance #as an overt racial $ri%e that came to

"e re$resente% in the i%ea of the Ne# Nero- #ho thro!h intellect an%

$ro%!ction of literat!re- art- an% m!sic co!l% challene the

$erva%in racism an% stereoty$es to $romote $roressive or socialist $olitics-

an% racial an% social interation) The creation of art an% literat!re #o!l% serve

to 1!$lift1 the race)

There #o!l% "e no !nitin form sin!larly characteri/in the art that emere%

from the Harlem Renaissance) Rather- it encom$asse% a #i%e variety of c!lt!ral

elements an% styles- incl!%in aPan*African $ers$ective- 1hih*c!lt!re1 an%

1lo#*c!lt!re1 or 1lo#*life-1 from the tra%itional form of m!sic to the "l!es an%

2a//- tra%itional an% ne# e&$erimental forms in literat!re s!ch asmo%ernism an%

the ne# form of 2a// $oetry) This %!ality meant that n!mero!s African*

American artists came into conflict #ith conservatives in the "lac+

intellientsia- #ho too+ iss!e #ith certain %e$ictions of "lac+ life)

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https://en.wikipedia.org/wiki/New_Negrohttps://en.wikipedia.org/wiki/Racismhttps://en.wikipedia.org/wiki/Stereotypeshttps://en.wikipedia.org/wiki/Progressivismhttps://en.wikipedia.org/wiki/Socialisthttps://en.wikipedia.org/wiki/Racial_integrationhttps://en.wikipedia.org/wiki/Social_integrationhttps://en.wikipedia.org/wiki/Pan-Africanhttps://en.wikipedia.org/wiki/Modernismhttps://en.wikipedia.org/wiki/Jazz_poetryhttps://en.wikipedia.org/wiki/New_Negrohttps://en.wikipedia.org/wiki/Racismhttps://en.wikipedia.org/wiki/Stereotypeshttps://en.wikipedia.org/wiki/Progressivismhttps://en.wikipedia.org/wiki/Socialisthttps://en.wikipedia.org/wiki/Racial_integrationhttps://en.wikipedia.org/wiki/Social_integrationhttps://en.wikipedia.org/wiki/Pan-Africanhttps://en.wikipedia.org/wiki/Modernismhttps://en.wikipedia.org/wiki/Jazz_poetry


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Some common themes re$resente% %!rin the Harlem Renaissance #ere the

infl!ence of the e&$erience of slavery an% emerin African*American fol+

tra%itions on "lac+ i%entity- the effects of instit!tional racism- the %ilemmas

inherent in $erformin an% #ritin for elite #hite a!%iences- an% the .!estion of

ho# to convey the e&$erience of mo%ern "lac+ life in the !r"an North)

The Harlem Renaissance #as one of $rimarily African*American involvement)

It reste% on a s!$$ort system of "lac+ $atrons- "lac+*o#ne% "!sinesses an%

$!"lications) Ho#ever- it also %e$en%e% on the $atronae of #hite Americans-

s!ch as Carl an echten an% Charlotte Osoo%


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Interest in African*American lives also enerate% e&$erimental "!t lastin

colla"orative #or+- s!ch as the all*"lac+ $ro%!ctions of >eore >ersh#inFs

o$era Pory an% ,ess- an% iril Thomson an% >ertr!%e SteinFs 8o!r Saints in

Three Acts) In "oth $ro%!ctions the choral con%!ctor Eva :essye #as $art of the

creative team) Her choir #as feat!re% in 8o!r Saints) The m!sic #orl% also

fo!n% #hite "an% lea%ers %efyin racist attit!%es to incl!%e the "est an% the

"rihtest African*American stars of m!sic an% son in their $ro%!ctions)

The African Americans !se% art to $rove their h!manity an% %eman%

for e.!ality) The Harlem Renaissance le% to more o$$ort!nities for "lac+s to "e

$!"lishe% "y mainstream ho!ses)


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The Renaissance #as more than a literary or artistic movement- as it $ossesse%

a certain socioloical %evelo$mentB$artic!larly thro!h a ne# racial

conscio!snessBthro!h ethnic $ri%e- as seen in the ,ac+ to Africa movement

le% "y arvey) At the same time- a %ifferent e&$ression of ethnic $ri%e-

$romote% "y () E) ,) D! ,ois- intro%!ce% the notion of the 1talente% tenth1

those Neroes #ho #ere fort!nate eno!h to inherit money or $ro$erty or

o"tain a collee %eree %!rin the transition from Reconstr!ction to the :im

Cro# $erio% of the early t#entieth cent!ry) These 1talente% tenth1 #ere

consi%ere% the finest e&am$les of the #orth of "lac+ Americans as a res$onse to

the ram$ant racism of the $erio%) No $artic!lar lea%ershi$ #as assine% to the

talente% tenth- "!t they #ere to "e em!late%) In "oth literat!re an% $o$!lar

%isc!ssion- com$le& i%eas s!ch as D! ,oisFs conce$t of 1t#oness1 %!alism

#ere intro%!ce% see The So!ls of ,lac+ 8ol+ ? 490@) D! ,ois e&$lore% a

%ivi%e% a#areness of oneFs i%entity that #as a !ni.!e criti.!e of the social

ramifications of racial conscio!sness) This e&$loration #as later revive% %!rin

the ,lac+ Pri%e movement of the early 490s)

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https://en.wikipedia.org/wiki/Back_to_Africahttps://en.wikipedia.org/wiki/Marcus_Garveyhttps://en.wikipedia.org/wiki/W._E._B._Du_Boishttps://en.wikipedia.org/wiki/Talented_tenthhttps://en.wikipedia.org/wiki/Jim_Crowhttps://en.wikipedia.org/wiki/Jim_Crowhttps://en.wikipedia.org/wiki/The_Souls_of_Black_Folkhttps://en.wikipedia.org/wiki/Black_Pridehttps://en.wikipedia.org/wiki/Back_to_Africahttps://en.wikipedia.org/wiki/Marcus_Garveyhttps://en.wikipedia.org/wiki/W._E._B._Du_Boishttps://en.wikipedia.org/wiki/Talented_tenthhttps://en.wikipedia.org/wiki/Jim_Crowhttps://en.wikipedia.org/wiki/Jim_Crowhttps://en.wikipedia.org/wiki/The_Souls_of_Black_Folkhttps://en.wikipedia.org/wiki/Black_Pride


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TEACHER BACKGROUND MATERIALS

I) 'NIT OERIE(

In the Crisis in 49=0- ()E), D! ,ois calle% for Ja renaissance of American

Nero literat!re ) ) ) Kfor; the strane- heart*ren%in race tanle is rich "eyon%

%ream an% only #e can tell the tale an% sin the son from the heart) KA$ril-

=95M99;) ,y 49=7- the Ne# or+ Heral% Tri"!ne $roclaime% that a JNero

renaissance #as #ell !n%er*#ay K


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society to%ay)

'sin a variety of %oc!ments- $l!s coo$erative an% in%ivi%!al instr!ctional

activi*ties that em$hasi/e critical thin+in- st!%ents #ill e&amine the attit!%es

an% strat*eies of a $eo$le "attlin to ta+e their rihtf!l $lace in American

society) Art- litera*t!re- m!sic- an% film are also !se% to ill!strate +ey $oints)

II) 'NIT CONTET

The Harlem Renaissance is $art of the $ost*(orl% (ar I c!lt!ral !$heaval that

fo!n% all of American society tryin to come to terms #ith the shift from a r!ral

#ay of life to an !r"an an% in%!striali/e% one) This !nit can "e ta!ht after

st!%yin (orl% (ar I- as a case st!%y of the +in%s of c!lt!re clashes that

%ominate% the 49=0s- or as a transition to the era of the >reat De$ression an%

the Ne# Deal after coverin the =0s) In $re$aration for teachin JThe Harlem

Renaissance- "ac+ro!n% on ,oo+er T) (ashinton- () E) ,) D! ,ois an% the

National Association for the A%vancement of Colore% Peo$le NAACP- the

aric!lt!ral slo#%o#n in the So!th- :im Cro# la#s- the res!rence of the 3l!

3l!& 3lan 333- an% the 4949 race riots #o!l% "e #orth#hile) See the

Annotate% ,i"liora$hy for so!rce s!estions)

III) CORRELATION (ITH THE NATIONAL STANDARDS 8OR 'NITED

STATES

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HISTORY

The Harlem Renaissance $rovi%es teachin materials that a%%ress National

Stan*%ar%s for 'nite% States History- ,asic E%ition Los Aneles National

Center for Historyin the Schools- 4996 Era JThe Emerence of


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Lessons #ithin this !nit li+e#ise a%%ress the Historical Thin+in Stan%ar%s "y

$ro*vi%in $rimary so!rce materials #hich challene st!%ents to analy/e ca!se*

an%*effect relationshi$s- to marshal evi%ence of antece%ent circ!mstances- to

consi%er m!lti$le $ers$ectives- an% to %ra# !$on vis!al %ata- literary- an%

m!sical so!rces) St!%ents are also e&$ecte% to %ra# evi%ence from historical

ma$s)

I) 'NIT O,:ECTIES

Q To i%entify social- economic- an% $olitical events that affecte% African

Americans in the first %eca%es of the t#entieth cent!ry

Q To %escri"e an% analy/e the artistic an% c!lt!ral %evelo$ment of African

Ameri*cans %!rin the Harlem Renaissance

Q To %isc!ss the historical im$act of the Harlem Renaissance

) LESSON PLANS

4) Evol!tion of Harlem 4 %ay

=) Art of the Harlem Renaissance =M@ %ays

@) Historical Im$act of the Harlem Renaissance 4M= %ays


23/27

EVOLUTION OF HARLEM

A) ST'DENT O,:ECTIES

Q To %escri"e the J>reat


24/27

=) >ive st!%ents a co$y of the ma$ JPercentae of African Americans in Total

Po$!*lation of the 'nite% States- 4590 KDoc!ment 4M,;) As+ them to

%etermine #hich $art of the co!ntry nearly all African Americans live% in at

that time the So!th- then to !se their o#n "ac+ro!n% +no#le%e to

s$ec!late a"o!t #hether African Americans #o!l% "e acc!stome% to an

!r"an or a r!ral environment- #hat +in% of 2o"s most of them #o!l% have-

an% #hat social con%itions #o!l% "e li+e for them) This is a oo% $lace to

%isc!ss :im Cro# la#s if st!%ents have not alrea%y st!%ie% them) (ith this

fo!n%ation- st!%ents are rea%y to st!%y the J>reat


25/27

,asic civil rihts #ere %enie% African Americans in the So!th an% their lives

#ere often in %aner)

(aes in the So!th #ere lo# an% #or+in con%itions $oor)

E%!cation $ossi"ilities in the So!th #ere limite% for African Americans)

O$$ort!nities for African Americans to achieve $rominence #ere reater in

the North ive st!%ents JThe Tre+ North#ar% KDoc!ment 4M


26/27

Harlem Renaissance)

7) As+ a st!%ent to rea% alo!% JSave- a 4945 e%itorial in The Crisis KDoc!ment

4MN;) E&$lain that The Crisis #as $!"lishe% "y the NAACP- then %isc!ss s!ch

.!estions as

(hat action %oes the NAACP a%vise African Americans to ta+e

(hat reason %oes it ive that is %irectly relate% to (orl% (ar One

(hat reason is %irectly relate% to con%itions for African Americans

Ho# #o!l% yo! e&$ect $eo$le to feel if they ha% sacrifice% to fiht in (orl%

(ar One- "!t #ere not treate% #ith res$ect after#ar%


27/27

INDEX

Sr. No. DESCRIPTON PAGE

No.

4 INTROD'CTION 4

= ,AC3>RO'ND @

@ DEELOPION 9

6 DISCO'RSE 40 CRITICIS< 44

5

Documents

HARLEM RENAUSSANCE MA 2