By: Katie Mulloy

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By:

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The Harlem Renaissance was not only about

the music, poetry, fashion, and art, but about

a lifestyle change for African Americans.

Jazz was more than music it was a way of life.

The “Harlem Stride Style” of piano helped bridge the gulf between the “the low life” culture as jazz musicians were perceived, and the black social elite.

The piano(for many was a symbol of affluence)

The brass band (a symbol of the south)

Jazz became popular entertainment and big business.

Duke Ellington, Jelly Roll Morton, and Willie “the Lion” Smith were the “gladiators” of jazz in the starting years.

Billie Holiday, Louis Armstrong, Josephine Baker

No two people on earth are alike, and it's got

to be that way in music or it isn't music.

Billie Holiday

“Music, is in

everyone's soul

somewhere, you

may have to dig

a little deeper.”

Unknown

Art was a great way to express the way they

felt during the years that they did not have

the advantages they have now.

Harlem Renaissance Artist-James Van Der

Zee, Sargent Claude Johnson, Laura Wheeler,

Palmer Hayden, Archibad J. Motley, Augusta

Savage, Malvin Gray Johnson, Aaron Duglas

Hale Woodruff, Richmond Barthé, James

Lescesne.

WARIN

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y:

Laura

Wheele

r

REBIR

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by:

Aaro

n D

ougla

ss

By: Palmer Hayden

Poetry- the influence of African-Americans in

politics, literature, music, culture and

society grew and became a part of the their

lives.

Claude McKay-Harlem Shadows, Langston

Hughes, Jessie Fauset, Countee Cullen,James

Weldon Johnson, Arna Bontemps

Writers: Paul Lawrence Dunbar, Carl Van

Vechten, Wallace Thurman, and Zora Neale

Hurston

I, too, sing America.

I am the darker brother.

They send me to eat in the kitchen

When company comes,

But I laugh,

And eat well,

And grow strong.

Tomorrow,

I'll be at the table

When company comes.

Nobody'll dare

Say to me,

"Eat in the kitchen,"

Then.

Besides,

They'll see how beautiful I am

And be ashamed--

I, too, am America.

Langston Hughes

THIRST:MY spirit wails for water, water now!

My tongue is aching dry, my throat is hot

For water, fresh rain shaken from a bough,

Or dawn dews heavy in some leafy spot.

My hungry body's burning for a swim

In sunlit water where the air is cool,

As in Trout Valley where upon a limb

The golden finch sings sweetly to the pool.

Oh water, water, when the night is done,

When day steals gray-white through the

windowpane,

Clear silver water when I wake, alone,

All impotent of parts, of fevered brain;

Pure water from a forest fountain first,

To wash me, cleanse me, and to quench my

thirst!

Claude McKay

Gangster style

Flapper’s- bold colors, elegant line, bias-cuts of Madeleine Vionnet’s designs, simple cloche hats

Classic suits- sharp unique contrast colors. The suits were pin striped with a slimming look.

Fashion Designer

Marita Bonner

Josephine bake

Gwendolyn Bennett

Regina Anderson

http://images.google.com/imgres?imgurl=http://www.1920s-fashion-and-music.com/images/Capone-Laughing2.jpg&imgrefurl=http://www.1920s-fashion-and-music.com/1920s-gangsters.html&usg=__difVgmPTSPDdD91vjFZYF-M3CoI=&h=289&w=200&sz=10&hl=en&start=4&um=1&tbnid=e5q02oIczYWB2M:&tbnh=115&tbnw=80&prev=/images?q=gangster+fashion+during+the+1920&hl=en&safe=vss&sa=N&um=1

Place to hang out have a good time and

dance.

Dancing was a great way to express the way

you felt and your personality.

It was a way for African Americans to keep

their part of the culture alive.

Cotton Club was the most popular club

around

Conclusion: The Harlem Renaissance was a way to express your self through whatever you did, it

could be dancing, painting, music, or poetry. Your life, your way, your moves. It’s your lifestyle.

A Black Man Talks of Reaping

I have sown beside all waters in my day.

I planted deep, within my heart the fear

that wind or fowl would take the grain away.

I planted safe against this stark, lean year.

I scattered seed enough to plant the land

in rows from Canada to Mexico

but for my reaping only what the hand

can hold at once is all that I can show.

Yet what I sowed and what the orchard yields

my brother's sons are gathering stalk and root;

small wonder then my children glean in fields

they have not sown, and feed on bitter fruit.

By: Arna Bontemps

•Dream Deferred

What happens to a dream deferred?

Does it dry up

Like a raisin in the sun?

Or fester like a sore--

And then run?

Does it stink like rotten meat?

Or crust and sugar over--

like a syrupy sweet?

Maybe it just sags

like a heavy load.

Or does it explode?

By: Langston Hughes

A new phase of Ellington's career began late in 1927 when his orchestra landed a job

at the Cotton Club, one of New York's premier nightspots, located in Harlem at

142nd Street and Lenox Avenue. Operated by the gangster Owney Madden,

patronized by wealthy whites, and staffed by blacks, the Cotton Club put on high-

powered music revues featuring sultry chorus girls, sensual choreography, exotic

production numbers, and plenty of hot jazz. Ellington's orchestra had played for

revues at the Kentucky Club in Times Square, but there the scale had been smaller

and the stakes lower. At the Cotton Club, some of New York's top black performers

joined forces with such talented white songwriters as Jimmy McHugh, Dorothy

Fields, Harold Arien, and Ted Koehler. While celebrities and socialites flocked there

to soak up African-American entertainment and Prohibition liquor, listeners around

the nation could tune into the sounds of Duke Ellington's orchestra via broadcasts on

NBC. As composer and bandleader, Ellington flourished in this environment.

The Ellington orchestra remained at the Cotton Club, with periodic interruptions,

until early February 1931. During this time it expanded to twelve pieces, three reeds,

three trumpets, two trombones, and four in the rhythm section (piano, banjo or guitar,

bass, drums). Trumpeter Arthur Whetsol, who had left the Washingtonians in 1923,

returned in 1928, joining other newcomers who would figure prominently in the

coming years: reed-players Johnny Hodges and Barney Bigard, trumpeter Freddie

Jenkins, and in 1929, trumpeter Cootie Williams and valve trombonist Juan Tizol.

Challenged by his job and stimulated by the vivid musical personalities in his band,

Ellington began to compose and record prolifically, turning out over 180 sides

between December 1927 and February 1931 (compared with the 31 his band had

make in nearly four years at the Kentucky Club). Although principally under contract

to Victor, the Ellington orchestra regularly recorded for other labels under various

pseudonyms, among them The Jungle Band, The Whoopee Makers, and Mills Ten

Blackberries.

Ellington's intense creative activity, together with the exposure afforded by the

Cotton Club, brought him important notices in a variety of national publications. And

the achievements of this period inspired the young Boston critic R.D. Darrell to write

"Black Beauty" (1932), the first serious essay on Ellington's music to be published.