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The Harlem Renaissance, or the New Negro Movement, was named after the term used in the anthology The New Negro, edited by Alain Locke and published in 1925. Centered in the Harlem neighborhood of New York City, the movement impacted urban centers throughout the United States. Across the cultural spectrum (literature, drama, music, visual art, dance) and also in the realm of social thought (sociology, historiography, philosophy), artists and intellectuals found new ways to explore the historical experiences of black America and the contemporary experiences of black life in the urban North.
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The Harlem Renaissance, or the New Negro Movement, was named after the term used in the anthology The New Negro, edited by Alain Locke and published in 1925. Centered in the Harlem neighborhood of New York City, the movement impacted urban centers throughout the United States. Across the cultural spectrum (literature, drama, music, visual art, dance) and also in the realm of social thought (sociology, historiography, philosophy), artists and intellectuals found new ways to explore the historical experiences of black America and the contemporary experiences of black life in the urban North. Challenging white paternalism and racism, African-American artists and intellectuals rejected imitating the styles of Europeans and white Americans, and instead celebrated black dignity and creativity. Asserting their freedom to express themselves on their own terms, they explored their identities as black Americans, celebrating the black culture that had emerged out of slavery, as well as cultural ties to Africa.
The Harlem Renaissance had a profound impact not only on African-American culture but also on the cultures of the African diaspora. Afro-Caribbean artists and intellectuals from the British West Indies, who had migrated to New York in number, were part of the movement. Moreover, many French-speaking black writers from African and Caribbean colonies who lived in Paris were also influenced by the Harlem Renaissance.
Historians disagree as to when the Harlem Renaissance began and ended. It is unofficially recognized to have spanned from about 1919 until the early or mid 1930s. Many of its ideas lived on much longer. The zenith of this "flowering of Negro literature", as James Weldon Johnson preferred to call the Harlem Renaissance, is placed between 1924 (the year that Opportunity: A Journal of Negro Life hosted a party for black writers where many white publishers were in attendance) and 1929 (the year of the stock market crash and beginning of the Great Depression).
In 1917 Hubert Harrison, "The Father of Harlem Radicalism," founded the Liberty League and The Voice, the first organization and the first newspaper of the "New Negro Movement". Harrison's organization and newspaper were political, but also emphasized the arts (his newspaper had "Poetry for the People" and book review sections). In 1927, in the Pittsburgh Courier, Harrison challenged the notion of the renaissance. He argued that the "Negro Literary Renaissance" notion overlooked "the stream of literary and artistic products which had flowed uninterruptedly from Negro writers from 1850 to the present", and said the so-called "renaissance" was largely a white invention.
Origins
The Harlem Renaissance grew out of the changes that had taken place in the black community since the abolition of slavery. These accelerated as a consequence of World War I and the great social and cultural changes in the early 20th century United States. Industrialization was attracting people to cities from rural areas and gave rise to a new mass culture. Contributing factors leading to the Harlem Renaissance were the Great Migration of African Americans to northern cities, which concentrated ambitious people in places where they could encourage each other, and the First World War, which had created new industrial work opportunities for tens of thousands of people. Factors leading to the decline of this era include the Great Depression.
The Harlem Renaissance reflected social and intellectual transformations in the African-American community. Until the end of the Civil War, the vast majority of African Americans had been enslaved and lived in the South. Immediately after the end of slavery, the emancipated African Americans began to strive for civic participation, political equality and economic and cultural self-determination. By the late 1870s conservative whites managed to regain power in the South. From 1890 to 1908 they proceeded to pass legislation and constitutional amendments that disenfranchised most blacks and many poor whites, trapping them without representation. They established white supremacist regimes of Jim Crow segregation in the South and one-party block voting behind southern Democrats. The conservative whites denied African Americans their exercise of civil and political rights. The region's reliance on an agricultural economy continued to limit opportunities for most people. Blacks were exploited as share croppers and laborers. As life in the South became increasingly difficult, African Americans began to migrate North in great number.
Most of the African-American literary movement arose from a generation that had lived through the gains and losses of Reconstruction after the American Civil War. Sometimes their parents or grandparents had been slaves, but many also had white ancestry. Their ancestors had sometimes benefited by paternal investment in social capital, including better than average education. Many in the Harlem Renaissance were part of the Great Migration out of the South into the black neighborhoods of the North and Midwest. African Americans sought a better standard of living and relief from the institutionalized racism in the South. Others were people of African descent from racially stratified communities in the Caribbean who came to the United States hoping for a better life. Uniting most of them was their convergence in Harlem, New York City.
Development of African-American community in Harlem
By the turn of the twentieth century, the African-American community had established a middle class, especially in the cities. Harlem, in New York City, became a center of this expanding black middle class. In the nineteenth century, the district had been built as an exclusive suburb for the white middle class and upper middle classes, with stately houses, grand avenues and amenities such as the Polo Grounds and an opera house. During the enormous influx of European immigrants in the late nineteenth century, the once exclusive district was abandoned by the native white middle-class. Harlem became a black neighborhood in the early 1900s. In 1910, a large block along 135th Street and Fifth Avenue was bought by various African-American realtors and a church group. Many more African Americans arrived during the First World War. Due to the war, the migration of laborers from Europe virtually ceased, while the war effort resulted in a massive demand for unskilled industrial labor. The Great Migration brought hundreds of thousands of African Americans to cities like Chicago, Philadelphia, Cleveland, and New York City.
The Great Migration greatly expanded black communities, creating a greater market for black culture and Jazz and Blues, the black music of the South, came to the North with the migrants and was played in the nightclubs and hotspots of Harlem. At the same time, whites were becoming increasingly fascinated by black culture. A number of white artists and patrons began to offer blacks access to "mainstream" publishers and art venues.
Despite the increasing popularity of black culture, virulent white racism, often by more recent ethnic immigrants, continued to impact African-American communities, even in the North. After the end of World War I, many African American soldiers (who fought in segregated units like the Harlem Hellfighters) came home to a nation whose citizens often did not respect their accomplishments. Race riots and other civil uprisings occurred throughout the US during the Red Summer of 1919, reflecting economic competition over jobs and housing in many cities, as well as tensions over social territories.
New Intellectual and Activist Movements Emerge
Despite the occurrence of racist mob violence, the relative political freedom in the North enabled African Americans to organize themselves politically and intellectually. In the first two decades of the twentieth century, during the so-called nadir of American race relations in the South, the Northern black middle class began to set up and support a number of political movements.
These movements, with a new political agenda advocating racial equality, struggled against the white racism of the South and that affecting blacks in the North. Championing the agenda were the National Urban League and the National Association for the Advancement of Colored People (NAACP), led by black historian and sociologist W.E.B. DuBois. They struggled against racial segregation and lynchings. Du Bois rejected the accommodationist philosophy of Booker T. Washington, who emphasized more limited educational goals in his institute. The more activist agenda, which celebrated black culture, was also reflected in the efforts of Hubert Henry Harrison and Jamaican-born black nationalist Marcus Garvey. His populist Afrocentric Back to Africa movement inspired racial pride among working-class blacks in the United States in the 1920s. All these movements had their headquarters in New York City. African Americans in Harlem also established and contributed to numerous magazines and newspapers, such as Crisis, edited by Du Bois for the NAACP; Opportunity, edited by sociologist Charles S. Johnson for the NUL; The Messenger, edited by socialists A. Philip Randolph and Chandler Owen; and Marcus Garvey's Negro World.
An explosion of culture in Harlem
African-American literature and arts had begun an expansion just before the turn of the century. In the performing arts, black musical theatre featured such accomplished artists as songwriter Bob Cole and composer J. Rosamond Johnson (brother of writer James Weldon Johnson). Jazz and blues music by legends such as Clyde Livingston, moved with black populations from the South and Midwest into the bars and cabarets of Harlem.
In literature, the poetry of Paul Laurence Dunbar and the fiction of Charles W. Chesnutt in the late 1890s were among the earliest works of African Americans to receive national recognition. By the end of World War I, the fiction of James Weldon Johnson and the poetry of Claude McKay anticipated the literature that would follow in the 1920s. They described the reality of black life in America and the struggle for racial identity.
The first stage of the Harlem Renaissance started in the late 1910s. 1917 saw the premiere of Three Plays for a Negro Theatre. These plays, written by white playwright Ridgely Torrence, featured black actors' conveying complex human emotions and yearnings. They rejected the stereotypes of the blackface and minstrel show traditions. James Weldon Johnson in 1917 called the premieres of these plays "the most important single event in the entire history of the Negro in the American Theatre." Another landmark came in 1919, when Claude McKay published his militant sonnet If We Must Die. Although the poem never alluded to race, to black readers it sounded a note of defiance in the face of racism and the nationwide race riots and lynchings then taking place. By the end of the First World War, the fiction of James Weldon Johnson and the poetry of Claude McKay was describing the reality of contemporary black life in America.
In the early 1920s, a number of literary works signaled the new creative energy in African-American literature. Claude McKay's volume of poetry, Harlem Shadows (1922), became one of the first works by a black writer to be published by a mainstream national publisher . Cane (1923), by Jean Toomer, was an experimental novel that combined poetry and prose in expressing the life of American blacks in the rural South and urban North. Confusion (1924), the first novel by writer and editor Jessie Fauset, depicted middle-class life among black Americans from a woman's perspective.
With these early works as the foundation, three events between 1924 and 1926 launched the Harlem Renaissance. First, on 21 March 1924, Charles S. Johnson of the National Urban League hosted a dinner to recognize the new literary talent in the black community and to introduce the young writers to New York's white literary establishment. As a result of this dinner, the Survey Graphic, a magazine of social analysis and criticism interested in cultural pluralism, produced a Harlem issue in March 1925. Devoted to defining the aesthetic of black literature and art, the Harlem issue featured work mostly by black writers and was edited by black philosopher and literary scholar Alain Locke. Later that year Locke expanded the special issue into an anthology, The New Negro.
The second event was the publication of Nigger Heaven (1926) by white novelist Carl Van Vechten. The book was a spectacularly popular exposé of Harlem life. Although the book offended some members of the black community, its coverage of both the elite and the baser sides of Harlem helped create a Negro vogue that drew thousands of sophisticated New Yorkers, black and white, to Harlem's exciting nightlife. It also stimulated a national market for African-American literature and music.
Finally, in the Autumn of 1926 a group of young black writers produced their own literary magazine, Fire!!. With Fire!! a new generation of young writers and artists, including Langston Hughes, Wallace Thurman, and Zora Neale Hurston, emerged as an alternative group within the Renaissance.
The Apollo Theater
While the Savoy Ballroom on Lenox Avenue, was a renowned venue for swing dancing and jazz, immortalized in the popular song Stompin' At The Savoy, the Apollo Theater has been the most lasting physical legacy of the Harlem Renaissance. Opened on 125th Street on 26 January 1914, in a former burlesque house, it has remained a symbol of African-American culture. As one of the most famous clubs for popular music in the United States, it was the first place where many figures from the Harlem Renaissance found a venue for their talents and a start to their careers.
The careers of Billie Holiday, Ella Fitzgerald, and Sarah Vaughan (among others) were launched at the Apollo.
With the advent of television and other popular entertainment changes, the theater fell into a decline in the late 1960s but was revived in 1983 through city, state, and federal grant money. It is now operated by a non-profit organization, the Apollo Theater Foundation Inc. It reportedly draws 1.3 million visitors annually. It is the home of Showtime at the Apollo, a nationally syndicated variety show showcasing new talent.
End of an era
A number of factors contributed to the decline of the Harlem Renaissance by the mid-1930s. The Great Depression increased the economic pressure on all sectors of life. Organizations such as the National Association for the Advancement of Colored People and the Urban League, which had actively promoted the Renaissance in the 1920s, shifted their interests to economic and social issues in the 1930s. Many influential black writers and literary promoters, including Langston Hughes, James Weldon Johnson, Charles S. Johnson, and W.E.B. DuBois, left New York City in the early 1930s. Most relocated to France. Finally, the Harlem Riot of 1935—set off in part by the growing economic hardship of the Depression and mounting tension between the black community and the white shop-owners —shattered the notion of Harlem as the Mecca of the New Negro. In spite of these problems, the Renaissance did not disappear overnight. Almost one-third of the books published during the Renaissance appeared after 1929.
Characteristics and themes
Characterizing the Harlem Renaissance was an overt racial pride that came to be represented in the idea of the New Negro, who through intellect and production of literature, art, and music could challenge the pervading racism and stereotypes to promote progressive or socialist politics, and racial and social integration. The creation of art and literature would serve to "uplift" the race.
There would be no uniting form singularly characterizing the art that emerged out of the Harlem Renaissance. Rather, it encompassed a wide variety of cultural elements and styles, including a Pan-Africanist perspective, "high-culture" and the "low-culture or low-life," from the traditional form of music to the blues and jazz, traditional and new experimental forms in literature such as modernism and the new form of jazz poetry. This duality meant that numerous African-American artists came into conflict with conservatives in the black intelligentsia, who took issue with certain depictions of black life.
Some common themes represented during the Harlem Renaissance were the influence of the experience of slavery and emerging African-American folk traditions on black identity, the effects of institutional racism, the dilemmas inherent in performing and writing for elite white audiences, and the question of how to convey the experience of modern black life in the urban North.
The Harlem Renaissance was one of primarily African-American involvement. It rested on a support system of black patrons, black-owned businesses and publications. However, it also depended on the patronage of white Americans, such as Carl Van Vechten and Charlotte Osgood Mason, who provided various forms of assistance, opening doors which otherwise would have remained closed to the publication of work outside the black American community. This support often took the form of patronage or publication.
There were other whites interested in so-called "primitive" cultures, as many whites viewed black American culture at that time, and wanted to see such "primitivism" in the work coming out of the Harlem Renaissance. As with most fads, some people may have been exploited in the rush for publicity.
Interest in African-American lives also generated experimental but lasting collaborative work, such as the all-black productions of George Gershwin's opera Porgy and Bess, and Virgil Thomson and Gertrude Stein's Four Saints in Three Acts. In both productions the choral conductor Eva Jessye was part of the creative team. Her choir was featured in Four Saints. The music world also found white band leaders defying racist attitudes to include the best and the brightest African-American stars of music and song in their productions.
Blacks used art to prove their humanity and demand for equality. For a number of whites, preconceived prejudices were challenged and overcome. The Harlem Renaissance led to more opportunities for blacks to be published by mainstream houses. Many authors began to publish novels, magazines and newspapers during this time. The new fiction attracted a great amount of attention from the nation at large. Some authors who became nationally known were Jean Toomer, Jessie Fauset, Claude McKay, Zora Neale Hurston, James Weldon Johnson, Alain Locke, Eric D. Walrond and Langston Hughes.
The Harlem Renaissance helped lay the foundation for the post-World War II phase of the Civil Rights Movement. Moreover, many black artists who rose to creative maturity afterward were inspired by this literary movement.
No common literary style, artistic style or political ideology defined the Harlem Renaissance. What united participants was their sense of taking part in a common endeavor and their commitment to giving artistic expression to the African-American experience. Some common themes existed, such as an interest in the roots of the 20th-century African-American experience in Africa and the American South, and a strong sense of racial pride and desire for social and political equality. But the most characteristic aspect of the Harlem Renaissance was the diversity of its expression.
The diverse literary expression of the Harlem Renaissance ranged from Langston Hughes's weaving of the rhythms of African-American music into his poems of ghetto life, as in the Weary Blues (1926), to Claude McKay's use of the sonnet form as the vehicle for his impassioned poems attacking racial violence, as in If We Must Die (1919). McKay also presented glimpses of the glamour and the grit of Harlem life in the above-mentioned Harlem Shadows. Countee Cullen used both African and European images to explore the African roots of black American life. In the poem Heritage (1925), for example, Cullen discusses being both a Christian and an African, yet not belonging fully to either tradition. Quicksand (1928), by novelist Nella Larsen, offered a powerful psychological study of a mixed-race African-American woman's loss of identity.
Diversity and experimentation also flourished in the performing arts and were reflected in the blues singing of Bessie Smith and in jazz music. Jazz ranged from the marriage of blues and ragtime by pianist Jelly Roll Morton to the instrumentation of bandleader Louis Armstrong and the orchestration of composer Duke Ellington. In the visual arts, Aaron Douglas adopted a deliberately "primitive" style and incorporated African images in his paintings and illustrations
The Renaissance was more than a literary or artistic movement, it possessed a certain sociological development—particularly through a new racial consciousness—through racial integration, as seen the Back to Africa movement led by Marcus Garvey. W.E.B DuBois's notion of "twoness", introduced in The Souls of Black Folk (1903), explored a divided awareness of one's identity that was a unique critique of the social ramifications of racial consciousness.
Impact of the Harlem Renaissance
A New Black Identity
The Harlem Renaissance was successful in that it brought the Black experience clearly within the corpus of American cultural history. Not only through an explosion of culture, but on a sociological level, the legacy of the Harlem Renaissance is that it redefined how America, and the world, viewed the African-American population. The migration of southern Blacks to the north changed the image of the African-American from rural, undereducated peasants to one of urban, cosmopolitan sophistication. This new identity led to a greater social consciousness, and African-Americans became players on the world stage, expanding intellectual and social contacts internationally.
The progress—both symbolic and real—during this period, became a point of reference from which the African-American community gained a spirit of self-determination that provided a growing sense of both Black urbanity and Black militancy as well as a foundation for the community to build upon for the Civil Rights struggles in the 1950s and 1960s.
The urban setting of rapidly developing Harlem provided a venue for African-Americans of all backgrounds to appreciate the variety of Black life and culture. Through this expression, the Harlem Renaissance encouraged the new appreciation of folk roots and culture. For instance, folk materials and spirituals provided a rich source for the artistic and intellectual imagination and it freed the Blacks from the establishment of past condition. Through sharing in these cultural experiences, a consciousness sprung forth in the form of a united racial identity.
Criticism of the Movement
Many critics point out that the Harlem Renaissance could not escape its history and culture in its attempt to create a new one, or sufficiently separate itself from the foundational elements of White, European culture. Often Harlem intellectuals, while proclaiming a new racial consciousness, resorted to mimicry of their White counterparts by adopting their clothing, sophisticated manners and etiquette. This abandonment of the authentic culture of their African roots was seen as hypocritical, and intellectuals who engaged in such mimicry earned the epithet "dicky niggers" from disillusioned blacks. This could be seen as a reason by which the artistic and cultural products of the Harlem Renaissance did not overcome the presence of White-American values, and did not reject these values. In this regard, the creation of the "New Negro" as the Harlem intellectuals sought, was considered a success.
The Harlem Renaissance appealed to a mixed audience. The literature appealed to the African-American middle class and to whites. Magazines such as The Crisis, a monthly journal of the NAACP, and Opportunity, an official publication of the National Urban League, employed Harlem Renaissance writers on their editorial staffs; published poetry and short stories by black writers; and promoted African-American literature through articles, reviews, and annual literary prizes. As important as these literary outlets were, however, the Renaissance relied heavily on white publishing houses and white-owned magazines. In fact, a major accomplishment of the Renaissance was to push open the door to mainstream white periodicals and publishing houses, although the relationship between the Renaissance writers and white publishers and audiences created some controversy. W.E.B. DuBois did not oppose the relationship between black writers and white publishers, but he was critical of works such as Claude McKay's bestselling novel Home to Harlem (1928) for appealing to the "prurient demand[s]" of white readers and publishers for portrayals of black "licentiousness." Langston Hughes spoke for most of the writers and artists when he wrote in his essay The Negro Artist and the Racial Mountain (1926) that black art intend to express themselves freely, no matter what the black public or white public thought.
African American musicians and other performers also played to mixed audiences. Harlem's cabarets and clubs attracted both Harlem residents and white New Yorkers seeking out Harlem nightlife. Harlem's famous Cotton Club, where Duke Ellington performed, carried this to an extreme, by providing black entertainment for exclusively white audiences. Ultimately, the more successful black musicians and entertainers who appealed to a mainstream audience moved their performances downtown.
Certain aspects of the Harlem Renaissance were accepted without question, without debate, and without scrutiny. One of these was the future of the "New Negro." Artists and intellectuals of the Harlem Renaissance echoed the American progressivism in its faith in democratic reform, in its belief in art and literature as agents of change, and in its almost uncritical belief in itself and its future. This progressivist worldview rendered Black intellectuals—just as their White counterparts— totally unprepared for the rude shock of the Great Depression, and the Harlem Renaissance ended abruptly because of naive assumptions about the centrality of culture, unrelated to economic and social realities.
However, what emerges as a chief criticism of the Harlem Renaissance is that while African-American culture became absorbed into the mainstream American culture, a strange separation emerged of the Black community from American culture. As African-Americans with roots in this country dating to beginning of the North American slave trade in the early 17th century, their worldview is distinctly native. Blacks, unlike other immigrants, had no immediate past, history and culture to celebrate as they were separated by generations from their roots in Africa. But the positive implications of American nativity have never been fully appreciated by them. It seems too simple: the Afro-American's history and culture is American, more completely so than most other ethnic groups within the United States.
Influence on Culture Today
The Harlem Renaissance changed forever the dynamics of African-American arts and literature in the United States. The writers that followed in the 1930s and 1940s found that publishers and the public were more open to African-American literature than they had been at the beginning of the century. Furthermore, the existence of the body of African-American literature from the period inspired writers such as Ralph Ellison and Richard Wright to pursue literary careers in the late 1930s and the 1940s, even if they defined themselves against the various ideologies and literary practices of the Renaissance. The outpouring of African-American literature of the 1980s and 1990s by such writers as Alice Walker and Toni Morrison also had its roots in the writing of the Harlem Renaissance. The influence of the Harlem Renaissance themes and the richness of African-American culture has also been expressed through new media, as is seen in the films of director Spike Lee.
The influence of the Harlem Renaissance was not confined to the United States. Writers Claude McKay, Langston Hughes, and Countee Cullen, actor and musician Paul Robeson, dancer Josephine Baker, and others traveled to Europe and attained a popularity abroad that rivaled or surpassed what they achieved in the United States. The founders of the Négritude movement in the French Caribbean traced their ideas directly to the influence of Hughes and McKay. South African writer Peter Abrahams cited his youthful discovery of the anthology The New Negro as the event that turned him toward a career as a writer. For thousands of blacks around the world, the Harlem Renaissance was proof that whites did not hold a monopoly on literature and culture.
Notable Figures and their Works
Novels
- Jessie Redmon Fauset — There is Confusion (1924), Plum Bun (1928), The Chinaberry Tree (1931), Comedy, American Style (1933)
- Rudolph Fisher — The Walls of Jericho (1928), The Conjure Man Dies (1932)
- Langston Hughes — Not Without Laughter (1930)
- Zora Neale Hurston — Jonah's Gourd Vine (1934), Their Eyes Were Watching God (1937)
- Nella Larsen — Quicksand (1928), Passing (1929)
- Claude McKay — Home to Harlem (1927), Banjo (1929), Gingertown (1931), Banana Bottom (1933)
- George Schuyler — Black No More (1930), Slaves Today (1931)
- Wallace Thurman — The Blacker the Berry (1929), Infants of the Spring (1932), Interne (1932)
- Jean Toomer — Cane (1923)
- Carl Van Vechten — Nigger Heaven (1926)
- Eric Walrond — Tropic Death (1926)
- Walter White — The Fire in the Flint (1924), Flight (1926)
Drama
- Charles Gilpin, actor
- Paul Robeson, actor
- Langston Hughes, Mulatto, produced on Broadway. Hughes also helped to found the Harlem Suitcase Theater
- Angelina Weld Grimke, author of the drama, Rachel
- Zora Neale Hurston, author of the play Color Struck
- John Matheus, author of the play, Cruiter.
- Eulalie Spence, author of the play, Undertow.
- Joseph Seamon Cotter, Jr., author of the play, On the Fields of France.
- Richard Bruce Nugent, author of the play, Sahdji, an African Ballet.
- Georgia Douglas Johnson, author of the play, Plumes, A Tragedy.
Poetry
- Langston Hughes, poet, fiction-writer, essayist, dramatist, autobiographer, editor
- Jessie Redmon Fauset, editor, poet, essayist and novelist
- Countee Cullen, poet — The Black Christ and Other Poems (1929)
- Claude McKay, poet and novelist
- James Weldon Johnson, poet, God's Trombones
- Arna Bontemps, poet
- May Miller, poet and playwright
- Richard Bruce Nugent, poet
- Alice Dunbar-Nelson, poet and fiction writer
- Angelina Weld Grimke, poet and dramatist
- Anne Spencer, poet
- Effie Lee Newsome, poet
- Jean Toomer, poet and novelist
- Joseph Seamon Cotter, Jr., poet
- Sterling A. Brown, poet
- Gwendolyn Bennett, poet
- Waring Cuney, poet
- Lewis Alexander, poet
- Helene Johnson, poet
- Mae V. Cowdery, poet.
Leading Intellectuals
Visual artists
Popular entertainment
Musicians/Composers
See also
Bibliography
- Amos, Shawn, compiler. Rhapsodies in Black: Words and Music of the Harlem Renaissance. Los Angeles: Rhino Records, 2000. 4 Compact Discs.
- Andrews, William L.; Foster, Frances S.; Harris, Trudier eds. The Concise Oxford Companion To African American Literature. New York: Oxford Press, 2001. ISBN 1-4028-9296-9
- Bean, Annemarie. A Sourcebook on African-American Performance: Plays, People, Movements. London: Routledge, 1999; pp. vii + 360.
- Greaves, William' documentary From These Roots.
- Hicklin, Fannie Ella Frazier. 'The American Negro Playwright, 1920-1964.' Ph.D. Dissertation, Department of Speech, University of Wisconsin, 1965. Ann Arbor: University Microfilms 65-6217.
- Huggins, Nathan. Harlem Renaissance. New York: Oxford University Press, 1973. ISBN 0-19-501665-3
- Hughes, Langston. The Big Sea. New York: Knopf, 1940.
- Hutchinson, George. The Harlem Renaissance in Black and White. New York: Belknap Press, 1997. ISBN 0-674-37263-8
- Lewis, David Levering, ed. The Portable Harlem Renaissance Reader. New York: Viking Penguin, 1995. ISBN 0-14-017036-7
- Lewis, David Levering. When Harlem Was in Vogue. New York: Penguin, 1997. ISBN 0-14-026334-9
- Ostrom, Hans. A Langston Hughes Encyclopedia. Westport: Greenwood Press, 2002.
- Ostrom, Hans and J. David Macey, eds. The Greenwood Encylclopedia of African American Literature. 5 volumes. Westport: Greenwood Press, 2005.
- Patton, Venetria K. and Maureen Honey, eds. Double-Take: A Revisionist Harlem Renaissance Anthology. New Jersey: Rutgers University Press, 2006.
- Perry, Jeffrey B. A Hubert Harrison Reader. Middletown, CT: Wesleyan University Press, 2001.
- Perry, Jeffrey B. Hubert Harrison: The Voice of Harlem Radicalism, 1883-1918. New York: Columbia University Press, 2008.
- Powell, Richard and David A. Bailey, editors. Rhapsodies in Black: Art of the Harlem Renaissance. Berkeley: U. of California Press, 1997.
- Rampersad, Arnold. The Life of Langston Hughes. 2 volumes. New York: Oxford University Press, 1986 and 1988.
- Soto, Michael, ed. Teaching The Harlem Renaissance. New York: Peter Lang, 2008.
- Tracy, Steven C. Langston Hughes and the Blues. Urbana: University of Illinois Press, 1988.
- Watson, Steven. The Harlem Renaissance: Hub of African-American Culture, 1920-1930. New York: Pantheon Books, 1995. ISBN 0-679-75889-5
- Wintz, Cary D. Black Culture and the Harlem Renaissance. Houston: Rice University Press, 1988.
- Wintz, Cary D. Harlem Speaks: A Living History of the Harlem Renaissance. Naperville, Illinois: Sourcebooks, Inc., 2007
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