Enter the “New Crowd” Journalists

Author(s):  
Fred Carroll

The militant racial politics of the alternative black press and modernist sensibilities of the Harlem Renaissance seeped into the commercial black press in the 1920s as journalists reprinted and debated editorials, covered news events, and nurtured diverse professional relationships. The radical editors of the New Negro Movement – including Cyril Briggs, Marcus Garvey, Hubert Harrison, A. Philip Randolph – denounced capitalism and imperialism and promoted Pan-Africanism. Commercial newspapers normalized literary writers' modernist perspective by serving as an arena for contesting the conservative politics of respectability, as illustrated by George Schuyler’s columns. Many publishers reinforced this change in newswriting by shifting to tabloid sensationalism, the era's defining journalistic mode.

Author(s):  
Jak Peake

The ‘Harlem Renaissance’ is now a dominant term for what is commonly used to describe a cultural movement that emerged between the First and Second World Wars. The term became the hegemonic around the early 1970s, displacing similar, yet distinct, alternatives including the New Negro, the New Negro movement and the Negro/Black Renaissance. This essay traces a genealogy of such terms, metanarratives and historiographical currents. The aim here is to demonstrate how the hegemony of the term Harlem Renaissance is linked to its institutionalization as a subject and the rise of Black studies in the United States. The weighting of Harlem as a geographical reference point both localized and nationalized the subject area which resulted in a selective historiography and diminished the transnational dimensions of the New Negro and the Negro Renaissance. The framework is trans-American and the scope transnational, while the chronology covers an inner 1890s–1940s period, and a broad outer period which begins in 1701 and spans post-WWII writing. In marking these flows, this essay problematizes the notion of distinct political or cultural channels of the ‘movement’ or ‘movements’. Recent scholarship attentive to some of the limitations of earlier Harlem Renaissance studies has illustrated the intertwined relationship of political, often radical, and artistic-aesthetic aspects of early twentieth-century black cultural activity and the key role played by Caribbeans. Drawing on these insights, this essay outlines that the transnational aspects of a black-centred cultural phenomenon have been better understood through a greater emphasis on Caribbean cross-currents.


Author(s):  
D'Weston Haywood

This chapter reinterprets the New Negro era as an intense moment of jockeying for racial leadership among certain black male leaders and black male publishers in Harlem. This chapter argues that when Marcus Garvey arrived in Harlem to build his Universal Negro Improvement Association (UNIA), he stepped into a crucible of New Negro thought, organizing, and publications with competing visions for racial advancement. The UNIA’s businesses and paper, the Negro World, helped make Garvey the premier black leader of his day. But debates about his ideas among many black leaders quickly led to a public war of words between Garvey and critics in which they strove to use their papers to destroy the leadership of the other. Garvey used the Negro World to perform a rhetorical emasculation of critics. Garvey’s critics retaliated with the “Garvey Must Go” campaign. It not only laid bare a contentious battle in print among rival black male leaders, but also the influence the black press now had to elevate and/or destroy black male leadership.


2019 ◽  
pp. 168-181
Author(s):  
Keisha N. Blain

This chapter explores the political ideas of women in Garveyism, based on their writings in several global black newspapes of the 1940s, including the African: Journal of African Affairs and the New Negro World. It shows how women in the Universal Negro Improvement Association, from diverse backgrounds and writing from various locales, promoted a global black liberationist vision and added distinctive voices to discourses surrounding pan-Africanism. Maintaining cultural and racial bonds with Africans throughout the African diaspora, these women skillfully used the black press—on local, national, and international levels—to endorse anticolonial politics, challenge global white supremacy, and counter negative images and stereotypical depictions of African history and culture. Yet, while committed to that mission, these black women also embraced imperialist, civilizationist, and patriarchal views that promoted some of the same ideals they rejected. Examining the largely overlooked writings of Garveyite women (such as Amy Jacques Garvey and her involvement in the Fifth Pan-African Congress) in the United States and other parts of the globe captures the richness and complexities of black nationalist women’s ideas and activism during the twentieth century.


Author(s):  
Fred Carroll

Race News examines the political and professional evolution of black journalism in the twentieth century. In particular, Fred Carroll explores the commercial black press’ contentious working relationship with the alternative black press and its thorny interactions with a repressive federal government and hostile white media to explain how shifting toleration of progressive politics reconfigured how black journalists wrote and covered the news. From World War I to World War II, leading newspapers crafted a progressive newswriting template influenced by the racial militancy of the New Negro Movement, modernist sensibilities of the Harlem Renaissance, and communist critiques of the American political economy. Such newswriting established the parameters of acceptable political discourse for millions of African Americans. This style of reportage also coincided with staggering circulation increases that established newspapers of national and international significance, including the Baltimore Afro-American, Chicago Defender, and Pittsburgh Courier. However, this newswriting template unraveled during the Cold War as publishers distanced themselves from progressive influences to protect their businesses from the anticommunism movement. Commercial publishers confronted numerous competitive challenges in the postwar period. They witnessed circulation declines as the white press began to cover the Civil Rights Movement, and a revitalized alternative black press emerged to endorse the Black Power Movement. The fitful integration of white newsrooms eventually led to the U.S. media's fairer but imperfect coverage of minority concerns.


2020 ◽  
Vol 122 (3) ◽  
pp. 1-32
Author(s):  
Amato Nocera

Background/Context Spurred on by the mass migration of African Americans from the South and blacks from the Caribbean, Harlem by the 1920s was defined by its association with New Negro culture and was widely known as the “mecca” of black life. The New Negro movement, as the period was called by contemporaries, has become a focus of scholars interested in black radical politics. Still, there has yet to be a focused study of the underlying educational experiences that helped create the New Negro movement and the mass political awakening that accompanied it. Focus of Study This paper takes as its focus Hubert Harrison, an Afro-Caribbean immigrant who arrived in New York City at the dawn of the New Negro movement and became a leading public intellectual and educator of the movement. In particular, it focuses on Harrison's participation and influence in several dimensions of the network of informal education that emerged as a part of Harlem life in the first part of the 20th century: street oratory, educational forums, and the black press. After a brief overview of Harrison and his political development, I examine each educational practice, discussing both Harrison's contribution and the wider culture of radical education he helped to create. I argue that at the foundation of the New Negro movement—and the burgeoning political consciousness among inhabitants of the uptown neighborhood in New York—was a system of education unlike anything that could be found inside a classroom. It was dynamic, democratic, and for many black residents moving into Harlem, inspirational. Research Design This paper uses archival materials from Hubert Harrison's papers at Columbia University. Those include newspaper clippings, diary entries, and pamphlets for talks and courses, among other material. It also draws upon newspapers and reports from the period as well as secondary literature on the topic. Conclusions/Recommendations While education scholars have often grappled with the limits of school as a mechanism for changing society, the history of Harrison and informal education in Harlem reveals the importance of political education outside the classroom in creating and sustaining social movements. For Harrison and the Harlemites of the 1920s, street oratory, educational forums, and a radical black press served as essential mechanisms for broadening what historian Robin D. G. Kelley has called the “black radical imagination.” Yet the educative experience of blacks arriving in Harlem is not so different from the experience of others who have participated in social movements in the 20th and 21st centuries. The challenge for scholars is not to identify and study political movements that can be linked to various forms of schooling, but to identify the educative dimensions of social uprising that take place beyond the walls of the classroom.


Author(s):  
Sören Frölich

Claude McKay was a Jamaican poet, novelist, essayist, activist, and editor. He is best known for his involvement in the New Negro movement of the early twentieth century (also known as the Harlem Renaissance). He helped introduce radical politics and a sophisticated use of Primitivism into African-American literature and wrote important political poems like ‘If We Must Die’. Today McKay is best known for his 1928 novel Home to Harlem. A lifelong traveller, he provided crucial connections between US racism and international struggles. He also was an avid Marxist and associated with the Communist Party until late in life, when he converted to Catholicism. He angered and alienated writers, critics, and even friends with his aversion to the black elites and genteel literary critics. Long valued as an exponent of Primitivism in the Harlem Renaissance, in recent scholarship he has been recognized for his radical poetry, his writings in Jamaican Patois, his international efforts, and his theoretical considerations of race and gender to political struggles of black working people across and beyond the United States.


Author(s):  
Carl Paris

An early initiator of Black modern dance, Hemsley Winfield first gained recognition as an actor and director of the New Negro Art Theater in New York City. Galvanized by his success, Winfield founded the New Negro Art Theater Dance Group in 1931. Like other emerging African-American exponents of the new dance, including Edna Guy, Alison Burroughs, Ollie Burgoyne, and Charles Williams, Winfield consciously drew on the philosophy of the New Negro movement, which promoted the use of art to advance racial consciousness and heritage during the Harlem Renaissance. Despite his premature death at age 26, Winfield set a significant starting point for Black modern dance at the crossroads of the Harlem Renaissance, American modernist primitivism, and the emergent modern dance movement. In so doing, Winfield modeled new possibilities for male dance artists, along with his contemporaries Harald Kreutzberg and Ted Shawn.


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