river
05-28-2005, 05:50 PM
The Harlem Renaissance was an explosion of writers and artist in Harlem that took place in the last year of WW1 and after--lasting roughly from 1917 until 1935.
If our children are educated about this wonderful part of their heritage it will be a great counter to the false notion that knowing how to write is for whites.
The Movement was organized mainly by Alain Locke and documented most notably in the workes of historian Arnold Rampersad. I used his works along with "Terrible Honesty" by Anne Douglas for my Masters thesis--a comparison/contrast of "Not Without Laughter" by Langston Hughes and "Quest of the Silver Fleece" by W.E.B. Du Bois.
The Harlem Renaissance featured such great writers as:C
Countee Cullen, Gwendolyn Bennett, Claude McKay, Ida B. Wells, Arna Bonteps, Jean Toomer, Zora Neale Hurston, Langston Hughes But most of all...
James Weldon Johnson, author of the Black National Anthm "Lift Every Voice and Sing" and God's Trombones
*******
O black and unknown bards of long ago,
How came your lips to touch the sacred fire?
How, in your darkness, did you come to know
The power and beauty of the minstrels' lyre?
Who first from midst his bonds lifted his eyes?
Who first from out the still watch, lone and long,
Feeling the ancient faith of prophets rise
Within his dark-kept soul, burst into song?
Heart of what slave poured out such melody
As "Steal away to Jesus"? On its strains
His spirit must have nightly floated free
Though still about his hands he felt his chains.
Who heard great "Jordan roll"? Whose starward eye
Saw chariot "swing low"? And who was he
That breathed that comforting, melodic sigh,
"Nobody knows de trouble I see"?
What merely living clod, what captive thing,
Could up toward God through all its darkness grope,
And find within its deadened heart to sing
These songs of sorrow, love and faith, and hope?
How did it catch that subtle undertone
That note in music heard not with the ears?
How sound the elusive reed so seldom blown,
Which stirs the soul or melts the heart to tears.
Not that great German master in his dream
Of harmonies that thundered amongst the stars
At the creation, ever heard a theme
Nobler than "Go down, Moses." Mark its bars
How like a mighty trumpet-call they stir
The blood. Such are the notes that men have sung
Going to valorous deeds; such tones there were
That helped make history when Time was young.
There is a wide, wide wonder in it all,
That from degraded rest and servile toil
The fiery spirit of the seer should call
These simple children of the sun and soil.
O black slave singers, gone, forgot, unfamed,
You--you alone, of all the long, long line
Of those who've sung untaught, unknown, unnamed,
Have stretched out upward, seeking the divine.
You sang not deeds of heroes or of kings;
No chant of bloody war, no exulting paean
No arms-won triumphs; but your humble strings
You touched in chord with music empyrean.
You sang far better than you knew; the songs
That for your listeners' hungry hearts sufficed
Still live--but more than this to you belongs:
You sang a race from wood and stone to Christ
If our children are educated about this wonderful part of their heritage it will be a great counter to the false notion that knowing how to write is for whites.
The Movement was organized mainly by Alain Locke and documented most notably in the workes of historian Arnold Rampersad. I used his works along with "Terrible Honesty" by Anne Douglas for my Masters thesis--a comparison/contrast of "Not Without Laughter" by Langston Hughes and "Quest of the Silver Fleece" by W.E.B. Du Bois.
The Harlem Renaissance featured such great writers as:C
Countee Cullen, Gwendolyn Bennett, Claude McKay, Ida B. Wells, Arna Bonteps, Jean Toomer, Zora Neale Hurston, Langston Hughes But most of all...
James Weldon Johnson, author of the Black National Anthm "Lift Every Voice and Sing" and God's Trombones
*******
O black and unknown bards of long ago,
How came your lips to touch the sacred fire?
How, in your darkness, did you come to know
The power and beauty of the minstrels' lyre?
Who first from midst his bonds lifted his eyes?
Who first from out the still watch, lone and long,
Feeling the ancient faith of prophets rise
Within his dark-kept soul, burst into song?
Heart of what slave poured out such melody
As "Steal away to Jesus"? On its strains
His spirit must have nightly floated free
Though still about his hands he felt his chains.
Who heard great "Jordan roll"? Whose starward eye
Saw chariot "swing low"? And who was he
That breathed that comforting, melodic sigh,
"Nobody knows de trouble I see"?
What merely living clod, what captive thing,
Could up toward God through all its darkness grope,
And find within its deadened heart to sing
These songs of sorrow, love and faith, and hope?
How did it catch that subtle undertone
That note in music heard not with the ears?
How sound the elusive reed so seldom blown,
Which stirs the soul or melts the heart to tears.
Not that great German master in his dream
Of harmonies that thundered amongst the stars
At the creation, ever heard a theme
Nobler than "Go down, Moses." Mark its bars
How like a mighty trumpet-call they stir
The blood. Such are the notes that men have sung
Going to valorous deeds; such tones there were
That helped make history when Time was young.
There is a wide, wide wonder in it all,
That from degraded rest and servile toil
The fiery spirit of the seer should call
These simple children of the sun and soil.
O black slave singers, gone, forgot, unfamed,
You--you alone, of all the long, long line
Of those who've sung untaught, unknown, unnamed,
Have stretched out upward, seeking the divine.
You sang not deeds of heroes or of kings;
No chant of bloody war, no exulting paean
No arms-won triumphs; but your humble strings
You touched in chord with music empyrean.
You sang far better than you knew; the songs
That for your listeners' hungry hearts sufficed
Still live--but more than this to you belongs:
You sang a race from wood and stone to Christ