This paper investigates a possible definition of a Black Aesthetic in the Harlem Renaissance with regard to literature in order to reevaluate the achievements of this literary flourishing. Close reading of two major influential works during the second phase of the "Talented Tenth" from 1924 to 1926 identify the crucial points of this Black Aesthetic. The analysis of two poems by African American writers such as Countee Cullen and Langston Hughes during this phase will show whether the theoretical ideas of the Harlem Renaissance forethinkers were actually incorparated into a daily artistic praxis.
Sixty years after the abolition of slavery in the USA African Americans established a political and artistic community in Harlem that produced one of the most productive intellectual flourishing in African American history, the Harlem Renaissance. One of its goals was to create a sense of Black cultural identity through art.
Table of Contents
1. Introduction
2. Criteria of a Black Aesthetic
2.1 Alain Locke’s The New Negro
2.2 W.E.B. DuBois’ Criteria of Negro Art
3. Manifestation in Art
3.1 Countee Cullen’s From The Dark Tower
3.2 Langston Hughes’ I, Too
4. Conclusion
5. Works Cited
Research Objectives and Themes
This work examines the definition of a "Black Aesthetic" during the second phase of the Harlem Renaissance (1924-1926). It investigates how political demands for civil rights and racial identity were translated into artistic expression through the manifestos of Alain Locke and W.E.B. DuBois, and analyzes how these theoretical criteria are reflected in the poetry of the era.
- The intersection of cultural nationalism and political civil rights movements.
- Theoretical parameters of "Black Art" defined by Alain Locke and W.E.B. DuBois.
- The role of "The Talented Tenth" in shaping African American artistic output.
- Analysis of literary works by Countee Cullen and Langston Hughes.
- Evaluation of the success and limitations of the Black Aesthetic in the 1920s.
Excerpt from the Book
3.1 Countee Cullen’s From The Dark Tower
The following analysis shows that Locke’s and DuBois’s criteria of a Black Aesthetic were not only recommendations for art used for propaganda, but were actually heeded by different artists. Firstly, Countee Cullen poem from 1924 is written from a collective perspective indicated by the personal pronoun “we” (line 1) rather than a singular personal perspective. I consider this collective to be the African American people, as the lyrical subject references the system of slavery and other indicators of a race conflict identified in the following. In line one the lyrical subject states, that it does not want to be the foundation of the society anymore, while the metaphor of “[t]he golden increment of bursting fruit” (2) indicates it cannot cherish the accomplishments of its work just as slaves could not. Regarding the time of publishing the author could also have had in mind the mostly unchanged position if African Americans after the abolition.
Summary of Chapters
1. Introduction: Provides an overview of the three phases of the Harlem Renaissance and defines the scope of the paper, focusing on the "Talented Tenth" phase.
2. Criteria of a Black Aesthetic: Explores the socio-political background of the mid-1920s and analyzes the artistic manifestos of Alain Locke and W.E.B. DuBois.
2.1 Alain Locke’s The New Negro: Examines Locke's call for a new, vibrant African American identity and his criteria for cultural contribution and high-quality artistic expression.
2.2 W.E.B. DuBois’ Criteria of Negro Art: Investigates DuBois' more radical approach, emphasizing "Truth," "Goodness," and the necessity of art serving as propaganda for racial uplift.
3. Manifestation in Art: Transitions from theory to practice by applying the established aesthetic criteria to contemporary poetry.
3.1 Countee Cullen’s From The Dark Tower: Analyzes how Cullen’s sonnet incorporates themes of racial conflict and the demand for civil rights using high-art linguistic standards.
3.2 Langston Hughes’ I, Too: Discusses how Hughes utilizes free form and metonymy to express African American resilience and the rejection of racial exclusion.
4. Conclusion: Summarizes the achievements of the second phase and reflects on the lasting impact of these aesthetic efforts on African American cultural identity.
5. Works Cited: Lists the primary and secondary sources used in the research.
Keywords
Harlem Renaissance, Black Aesthetic, Talented Tenth, Alain Locke, W.E.B. DuBois, Cultural Nationalism, Civil Rights, African American Identity, Countee Cullen, Langston Hughes, From The Dark Tower, I, Too, Racial Uplift, Literature, Manifestos.
Frequently Asked Questions
What is the primary focus of this research?
The work explores how African American intellectual leaders defined a "Black Aesthetic" during the 1924-1926 period, specifically examining the link between artistic creation and the struggle for civil rights.
What are the central themes of the Harlem Renaissance discussed here?
The core themes include cultural nationalism, the quest for a distinct Black identity, the influence of white philanthropy, and the push for full integration into the American mainstream.
What is the main objective of the analysis?
The primary goal is to reevaluate the actual achievements of the "Talented Tenth" in creating a cohesive Black Aesthetic and to determine if their goals of social change through art were realized.
Which scientific methodology is applied?
The author uses a qualitative, analytical approach, examining theoretical manifestos (Locke and DuBois) and applying these criteria to specific literary case studies (poems by Cullen and Hughes).
What content is covered in the main body?
The main body contains a detailed examination of the theoretical framework provided by Locke and DuBois, followed by an in-depth literary analysis of "From The Dark Tower" and "I, Too" to observe the criteria in practice.
Which keywords best characterize this work?
Key terms include Harlem Renaissance, Black Aesthetic, Talented Tenth, Cultural Nationalism, and Racial Uplift.
How does the author interpret Alain Locke's perspective on Black art?
The author sees Locke's perspective as a move toward "conscious contributors" who aim to eradicate stereotypes through high-quality art that reflects a new psychological spirit and cultural maturity.
What is the distinction between DuBois' view and the "Niggerati"?
While DuBois viewed art as propaganda for racial uplift and equality, the "Niggerati" (such as Zora Neale Hurston) championed "art for art's sake," emphasizing authentic representation of common life even when it depicted "rudeness" or "ugliness."
- Quote paper
- Maja-Felicia Kristan (Author), 2018, A Black Aesthetic in the Harlem Renaissance. The "Talented Tenth" Phase 1924 - 1926, Munich, GRIN Verlag, https://www.grin.com/document/499405
