Harlem rennaissance pdf download

Assessment , Novel Study. The Great Gatsby Powerpoint. Brief powerpoint explaining the setting of The Great Gatsby. Powerpoint includes slides on 's inventions, music, Harlem Renaissance, Fashion and description of the novel's author, F. Scott Fitzgerald. Includes links to Youtube video of dance styles and Great Gatsby computer game developed by. English Language Arts , Literature , Reading. This is a creative and rigorous unit plan for The Great Gatsby.

Students use the concept of color symbolism to do a literary analysis of The Great Gatsby by working in an adult coloring book. Activities , Novel Study. Want to be done planning your unit on The Great Gatsby for the rest of your teaching career? These resources will take care of all of your needs for a rigorous, engaging, and fun unit with over two months of no-prep, powerful, common core aligned lessons.

This complete unit includes close reading an. Looking for an innovative short story unit that will get your students sharpening their close reading skills, discussing big ideas, and exploring literary elements on a deeper level? Your students will learn about everything from the culture of escape to the culture of consumption to the Harlem Renaiss.

Activities , PowerPoint Presentations. The Great Gatsby Research Project. Fashion in the s Flappers, etc. Sports especia. Research , Rubrics , Unit Plans. It also contains an SAT style writing prompt. This resource was created to be used with a unit on The Great Gatsby, but it could also be used in a unit on The Harlem Renaissance.

Reading , U. History , Writing-Essays. Activities , Assessment. Perfect if you need to cover these time periods, but need condensed lesson units! Activities , Graphic Organizers , Projects. Check for Understanding? These 3-way matching cards are perfect for everything! Students will match a vocabulary term to its definition, and find the image that best represents the term. This strategy helps students to remember content, practice vocabulary, and make visual connec. Government , U. It ran performances on Broadway and spawned three touring companies.

It was a hit show written, performed, and produced by blacks, and it generated a demand for more. Within three years, nine other African American shows appeared on Broadway, and white writers and composers rushed to produce their versions of black musical comedies.

Music was also a prominent feature of African American culture during the Harlem Renaissance. The term "Jazz Age" was used by many who saw African American music, especially the blues and jazz, as the defining features of the Renaissance. However, both jazz and the blues were imports to Harlem.

They emerged out of the African American experience around the turn of the century in southern towns and cities, like New Orleans, Memphis, and St. From these origins these musical forms spread across the country, north to Chicago before arriving in New York a few years before World War I.

Blues and black blues performers such as musician W. Handy and vocalist Ma Rainey were popular on the Vaudeville circuit in the late nineteenth century.

The publication of W. Handy's "Memphis Blues" in and the first recordings a few years later brought this genre into the mainstream of American popular culture. Jazz reportedly originated among the musicians who played in the bars and brothels of the infamous Storyville district of New Orleans.

Jelly Roll Morton claimed to have invented jazz there in , but it is doubtful that any one person holds that honor. Johnson described the band there as "a playing-singing-dancing orchestra, making dominant use of banjos, mandolins, guitars, saxophones, and drums in combination, and [it] was called the Memphis Students—a very good name, overlooking the fact that the performers were not students and were not from Memphis.

There was also a violin, a couple of brass instruments, and a double-bass. During World War I, while serving as an officer for a machine-gun company in the famed th U. Infantry Division, James Europe, fellow officer Noble Sissel, and the regimental band introduced the sounds of ragtime, jazz, and the blues to European audiences. Following the war, black music, especially the blues and jazz, became increasingly popular with both black and white audiences.

Europe continued his career as a successful bandleader until his untimely death in Ma Rainey and other jazz artists and blues singers began to sign recording contracts, initially with African American record companies like Black Swan Records, but very quickly with Paramount, Columbia, and other mainstream recording outlets.

In Harlem, one club opened after another, each featuring jazz orchestras or blues singers. Noble Sissle, of course, was one of the team behind the production of Shuffle Along , which opened Broadway up to Chocolate Dandies and a series of other black musical comedies, featuring these new musical styles.

The visual arts, particularly painting, prints, and sculpture, emerged somewhat later in Harlem than did music, musical theater, and literature. Early the next year W. Du Bois published Douglas's first illustrations in The Crisis. Due to his personal association with Langston Hughes, Wallace Thurman, and other African American writers, his collaboration with them in the publication of their literary magazine Fire!!

And while these connections to the literary part of the Renaissance were notable, they were not typical of the experience of other African American artists of this period. More significant in launching the art phase of the Harlem Renaissance were the exhibits of African American art in Harlem and the funding and exhibits that the Harmon Foundation provided. Even more important to the nurturing and promotion of African American art were the activities of the Harmon Foundation.

Beginning in the Foundation awarded cash prizes for outstanding achievement by African Americans in eight fields, including fine arts. Additionally, from through , the Harmon Foundation organized an annual exhibit of African American art. Situating the Harlem Renaissance in space is almost as complex as defining its origins and time span. Certainly Harlem is central to the Harlem Renaissance, but it serves more as an anchor for the movement than as its sole location.

In reality, the Harlem Renaissance both drew from and spread its influence across the United States, the Caribbean, and the world. Only a handful of the writers, artists, musicians, and other figures of the Harlem Renaissance were native to Harlem or New York, and only a relatively small number lived in Harlem throughout the Renaissance period.

And yet, Harlem impacted the art, music, and writing of virtually all of the participants in the Harlem Renaissance. Nicholas Avenue. Originally established in the seventeenth century as a Dutch village, it evolved over time. Following its annexation by the city in , urban growth commenced.

The resulting Harlem real estate boom lasted about twenty years during which developers erected most of the physical structures that defined Harlem as late as the mid-twentieth century. They designed this new, urban Harlem primarily for the wealthy and the upper middle class; it contained broad avenues, a rail connection to the city on Eighth Avenue, and consisted of expensive homes and luxurious apartment buildings accompanied by commercial and retail structures, along with stately churches and synagogues, clubs, social organizations, and even the Harlem Philharmonic Orchestra.

By , Harlem's boom turned into a bust. Desperate white developers began to sell or rent to African Americans, often at greatly discounted prices, while black real estate firms provided the customers.

At this time, approximately sixty thousand blacks lived in New York, scattered through the five boroughs, including a small community in Harlem. The largest concentration inhabited the overcrowded and congested Tenderloin and San Juan Hill sections of the west side of Manhattan. When New York's black population swelled in the twentieth century as newcomers from the South moved north and as redevelopment destroyed existing black neighborhoods, pressure for additional and hopefully better housing pushed blacks northward up the west side of Manhattan into Harlem.

Harlem's transition, once it began, followed fairly traditional patterns. As soon as blacks started moving onto a block, property values dropped further as whites began to leave. This process was especially evident in the early s. Both black and white realtors took advantage of declining property values in Harlem—the panic selling that resulted when blacks moved in.

Addressing the demand for housing generated by the city's rapidly growing black population, they acquired, subdivided, and leased Harlem property to black tenants. Year by year, the boundaries of black Harlem expanded, as blacks streamed into Harlem as quickly as they could find affordable housing.

By , they had become the majority group on the west side of Harlem north of th Street; by , the population of black Harlem was estimated to be fifty thousand. By black Harlem had expanded north ten blocks to th Street and south to th Street; it spread from the Harlem River to Amsterdam Avenue, and housed approximately , blacks. The core of this community—bounded roughly by th Street on the south, th Street on the north, the Harlem River and Park Avenue on the east, and Eighth Avenue on the west—was more than 95 percent black.

By , Harlem, by virtue of the sheer size of its black population, had emerged as the virtual capital of black America; its name evoked a magic that lured all classes of blacks from all sections of the country to its streets.

Impoverished southern farmers and sharecroppers made their way northward, where they were joined in Harlem by black intellectuals such as W. Du Bois and James Weldon Johnson. Although the old black social elites of Washington, DC, and Philadelphia were disdainful of Harlem's vulgar splendor, and while it housed no significant black university as did Washington, Philadelphia, Atlanta, and Nashville, Harlem still became the race's cultural center and a Mecca for its aspiring young.

It housed the National Urban League, A. Marcus Garvey launched his ill-fated black nationalist movement among its masses, and Harlem became the geographical focal point of African American literature, art, music, and theater. Its night clubs, music halls, and jazz joints became the center of New York nightlife in the mids.

Harlem, in short, was where the action was in black America during the decade following World War I. Harlem and New York City also contained the infrastructure to support and sustain the arts. In the early twentieth century, New York had replaced Boston as the center of the book publishing industry. Furthermore, new publishing houses in the city, such as Alfred A. Knopf, Harper Brothers, and Harcourt Brace, were open to adding greater diversity to their book lists by including works by African American writers.

In the s, when recordings and broadcasting emerged, New York was again in the forefront. Broadway was the epicenter of American theater, and New York was the center of the American art world.

In short, in the early twentieth century no other American city possessed the businesses and institutions to support literature and the arts that New York did. Act Two opens in a courtroom with Carl as defendant, Elsie as plaintiff, and Wilson as prosecuting attorney. The plaintiff narrates her story, and two white men who were among the mob that had attempted to lynch Carl give supporting evidence.

Act Three takes place back in the hotel lobby. The play ends by recalling its prologue, as Carl announces the completion of the play as both the enactment and fulfillment of a dream.

Although it is often concluded that Anderson had little real impact on the development of African American drama,33 Appearances is remarkable for its reflexiveness, that is, its consciousness of its own status as a dramatic construct produced by a socially- disadvantaged individual. More than that, perhaps, is the fact that the play makes very courageous statements concerning African American dignity, especially given the times.

As James V. How did he dare present a white woman whose virtue was inferior to that of a black man? Anderson himself makes very limited claims for his play: I was not seeking to write a wonderful play, a technically perfect lay, but merely a play that would be sufficiently interesting and entertaining … plus, an inspiration to many.

The playwright retains the courage of his convictions, but he is unable to pursue them to a logical conclusion. It is her desperate confession that exonerates Carl. It is a one-act historical survey of African American life in the United States. Written and produced in , the play appears at the very end of the Harlem Renaissance, and its elements reveal an agglomeration of those features which simultaneously show the progress recorded by African American drama, as well as the new directions it was to take in the post-renaissance future.

The play opened in February and ran for more than performances establishing, in Darwin T. The play then proceeds to trace the various acts of dispossession and injustice suffered by African Americans, as well as their resistance to such oppression.

These acts include the traumatic removal from Africa, humiliating slave auctions, the anti-slavery movement, the Civil War; reconstruction, northern migration; Harlem; the Civil Rights Movement. The climax is a riot in Harlem in which all the strands of racial discrimination, exploitation and oppression are woven together. In addition to this, however, the play contains some of the distinctive characteristics of later Renaissance drama.

By , African American playwrights like Hughes had become confident enough in their own skills to dispense with the elaborate trappings, ostentatious setting and non-ideological posture of commercial theatre, choosing instead to write and produce plays for their own communities. It was as if Hughes was determined to ensure that the sociology of the theatre did not negatively affect his play. The plays briefly enumerated above offer an insight into the tremendous vitality and sense of purpose of the plays of the Harlem Renaissance era.

Along with the other dramatic pieces of the period, they provided a viable alternative to the minstrel tradition and begin the struggle for racial equality on stage, backstage and in the audience. The brilliance of contemporary African American theatre is a fitting legacy to the consistency and courage of the actors, playwrights and stage personnel of the Harlem Renaissance. White and Company, Hill 7.

Abrams, Inc. Kramer ed. Hatch ed. New York: the Free Press, Turner ed. Blues for Mr. New York: Dial Press, Brasmer, William and Dominick Consolo, eds. Black Drama: An Anthology. Columbus, OH: Merill, Brown-Guillory, Elizabeth. Westport, Conn. Brown, Sterling A. The Negro Caravan.

New York: The Dryden Press, Negro, Poetry and Drama. Washington, D. Associates in Negro Folk Education Bullins, Ed. New York: Bantam, Chapman, Abraham, et. New Black Voices. Childress, Alice, ed. Black Scenes. New York: Doubleday, Couch, William, ed. New Black Playwrights: An Anthology.

Davis, Ossie. Purlie Victorious. New York: Samuel French, Edmonds, Randolph, ed. Shades and Shadows. Boston: Meador, Elam, Harry J. Flynn, Joyce and Occomy Stricklin. Boston: Beacon Press, Gordone, Charles. Gregory, Montgomery and Alain Locke. Plays of Negro Life. New York: Harper, Hansberry, Lorraine. A Raisin in the Sun. New York: Random House, Harrison, Paul Carter.

The Drama of Nommo. New York: Grove Press, Hatch, James, V. Black Theatre, U. New York: The Free Press, Hughes, Langston. The Political Plays of Langston Hughes. Sign Me Up. Editing resources is available exclusively for KidsKonnect Premium members. To edit this worksheet, click the button below to signup it only takes a minute and you'll be brought right back to this page to start editing!

Sign Up. This worksheet can be edited by Premium members using the free Google Slides online software. Click the Edit button above to get started. This sample is exclusively for KidsKonnect members! To download this worksheet, click the button below to signup for free it only takes a minute and you'll be brought right back to this page to start the download! The movement coincided with the Jazz Age, which revolutionized African-American music.

See the fact file below for more information on the Harlem Renaissance or alternatively, you can download our page Harlem Renaissance worksheet pack to utilise within the classroom or home environment. This is a fantastic bundle which includes everything you need to know about Harlem Renaissance across 24 in-depth pages. These are ready-to-use Harlem Renaissance worksheets that are perfect for teaching students about the Harlem Renaissance which was the Golden Age of African-American culture in the United States, which occurred in the s until the early s.

It was a period when the African-American came of age, with the clearest expression of this transformation visible in the remarkable outpouring of literature, art, and music. By restoring his place in history and making his work widely available for scrutiny, this book performs an invaluable service.