Harlem Renaissance

Introduction

David Levering Lewis' book, "When Harlem Was in Vogue", examines the Harlem Renaissance from a unique perspective. While prior texts merely highlighted the positive attributes of the writers in the movement and other relevant factors that were to be revered by readers, Lewis carefully dissects the movement (as well as the state of society) racially, economically, and sexually (in reference to gender discrimination as well as sexually taboo forms of art during the period) (Boone, 1998; Baker, 1987). Lewis does not focus primarily on the positive attributes of the movement, but also describes some of the cons of the movement, which included the lack of a Black audience (the audience was predominately White), the impact of patronage (derived from both Black and White patrons) upon artists, and the dismal economic conditions (the movement occurred during the Great Depression in the United States) (Lewis, 1979).

In order for one to effectively comprehend Lewis' critique of the movement within this text, one must have a general understanding of the Harlem Renaissance first. The Harlem Renaissance is deemed to be one of the most significant artistic movements in history. In terms of non-historical contributions, this movement encouraged a positive consciousness of identity for Blacks (from throughout the Diaspora) while also compelling Whites to confront the importance of Blacks, who had predominately been considered inferior within society and depicted as such in White literary works. While the Harlem Renaissance is commonly portrayed as a Black literary movement, it exceeded that area of literary work and included art, dance, and music (Watson, 1995). Appropriately enough, for a brief period, it seemed as if the entire nation looked to Harlem (deemed an artistic powerhouse during the time) in an effort to mimic their forms of artistic expression. The Harlem Renaissance produced novelists, poets, artists and musicians who are today considered some of the finest that America ever produced, regardless of race.

Summary of Book

In the opening chapter of the book, "When Harlem was in Vogue", Lewis describes the arrival of the 369th Military Regiment, who had just returned home from war. Lewis' description of the arrival of the regiment is symbolic, in opinion, of the historical movement that would later be known as the 'Harlem Renaissance'. The soldiers, according to Lewis "[the soldiers] had come, as thousands of other returning African-American soldiers came, with a music, a lifestyle, and a dignity new to the nation-and soon to pervade it" (Lewis, 1979). Each of the preceding elements was essential to the development and continuation of the Harlem Renaissance. A central figure of the movement presented by Lewis was noted scholar W.E.B. Du Bois. Du Bois, according to Lewis, believed that if properly educated and exposed to a Black artists and/or scholars, they would eventually recognize that Blacks were comparatively intellectual, and creative (Lewis, 1979).

The initial emergence of the Harlem Renaissance (better yet, what is presently known as Black Harlem) did not occur overnight, as Lewis meticulously describes. According to Lewis, Harlem was initially predominately White. When White began to leave the area, Blacks were sought due to being perceived as "cleaner and overall better tenants" (Lewis, 1979). In addition, White landlords knew that they could charge them more in rent, an unfortunate reality of the time. Blacks, as a result, slowly relocated to Harlem, which is contrary to the quick migration to the area often depicted in media and other literary sources. The initial (formal) meeting of most of the artists who comprised the Harlem Renaissance occurred at Manhattan's Civic Club. Notably, the location was the only prominent New York club without color or gender restrictions. During the movement, it became an important meeting forum for Blacks and Whites involved in the movement (Lewis, 1979). Renowned attendee of the meeting included Du Bois, James Weldon Johnson, Alain Locke, Claude McKay and Jean Toomer, but also an array of gifted, yet unknown Black writers, including Langston Hughes (Lewis, 1979). Over the years, there was an avalanche of Black art forms: novels, poetry, plays, painting, sculpture, music, the performing arts and criticism, W.E.B. Du Bois, Alain Locke, James Weldon Johnson, Jessie Fauset, Walter White (the NAACP's Assistant Executive Secretary) and a host of others. The prominent magazines of the time, "Opportunity" and "The Crisis", played central roles, publishing poetry, short stories, essays and photographs of paintings and sculptures as well as critics' pieces evaluating the literary, performing and other artistic work of Renaissance artists.

Patronage, especially from White donors, was essential for artists to continue to work during the movement. Among the many white writers who gave support to the Negro Renaissance were Sherwood Anderson, Theodore Dreiser, John Dos Passos, Malcolm Cowley, Lewis Mumford, Lincoln Steffens, Robert Benchley and Fanny Hurst (Lewis, 1979). One prominent patron (Osgood), generously subsidized artists with monthly stipends, cars and richly rewarded their artistic achievements. Unfortunately, she felt that this entitled her to give direction to their work (i.e. encouraging "primitive" forms of writing) (Lewis, 1979). From the outset leaders sought to encourage Black artists to produce work that avoided depicting Black life as primitive (attributes often associated with Blacks by society).

The book describes how the Great Depression ultimately contributes to ending the Harlem Renaissance. Over time, contests, grants and endowments stopped. Circulation of "The Crisis" and "Opportunity" declined. In addition to economic decline within society impacting the movement, tragedy called for its demise as well. On March 19, 1935, Lewis concludes that a riot involving the beating death of a young boy by White store clerks. Lewis cites a comment made by the Dunbar News that suggested that the Harlem Renaissance draw to a close in order for the nation to address is current state of affairs, which called for artists to "lay their scissors and their pens aside". (Lewis, 1979)

Key Assumptions & Theoretical Framework

The book presents several unrecognized aspects that occurred during the movement. From a theoretical perspective, it is as though Lewis seeks to confirm that that the Harlem Renaissance indeed had an effect upon writing, music, and critical thinking in society. One particular framework the author tries to engage within the reading involves the underlying theme of "civil rights by copyright"