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New Negro writers and artists often spotlighted the contrast between the liberatory potential of dynamic bodily movement and the restricted social spaces of Harlem, which were shaped by segregation. This chapter examines a variety of cultural texts – social and cultural history by Wallace Thurman and James Weldon Johnson, visual art by Winold Reiss, and short fiction by Rudolph Fisher and Langston Hughes – to argue that representations of dance and bodily movement opened the way for creative engagement with the spatial dynamics of segregation and overcrowding in Harlem, which was fascinated by the look, the sound, and the feel of dance. Fisher’s short story “High Yaller,” for instance, probes the affective or subjective dimensions of segregation, passing, and colorism through a sustained focus on dancing bodies in “jim-crowed” scenes of Harlem cabaret and the traversing of “color lines” in the cityscape of New York.
This chapter argues that previous discussions of Harlem Renaissance literature have overlooked the role of religion in shaping ideas of Black modernity. Examining the literature and art of the 1920s, Farebrother posits that religion plays a key role in shaping Black modernity, serving as the means through which Rudolph Fisher can explore anxieties about generational conflict, gender, sexuality, tradition, consumerism, and the Great Migration. Not only are there a large number of Black modernist texts that include religious scenes, but also these texts reveal the relationship between religion and entertainment, church and cabaret. Spatially, scenes of the cabaret and the church are depicted in similar ways, and the role of the spectator is significant in both church and cabaret scenes – someone who can observe the scenes and remark upon unusual elements.
The Chicago Defender began the year 1920 by presenting a startling headline to its readers: “Nine Ex-Soldiers Lynched.” The paper protested the wave of anti-Black violence that took place the preceding year and highlighted the soldiers who, after fighting for the United States during World War I, were “assassinated on [their] return to [the] land of democracy.” The editors noted that, despite the increase in violence, a sense of possibility was invading Black communities across the nation. They briefly considered a word then being readily attached to African Americans before determining that the term was inaccurate: “‘new’ is a misnomer; the better word is ‘awakened.’ 1919 has given us much for which we are thankful; we are expecting more of 1920.”
African American Literature in Transition, 1920-1930 presents original essays that map ideological, historical, and cultural shifts in the 1920s. Complicating the familiar reading of the 1920s as a decade that began with a spectacular boom and ended with disillusionment and bust, the collection explores the range and diversity of Black cultural production. Emphasizing a generative contrast between the ephemeral qualities of periodicals, clothes, and décor and the relative fixity of canonical texts, this volume captures in its dynamics a cultural movement that was fluid and expansive. Chapters by leading scholars are grouped into four sections: 'Habitus, Sound, Fashion'; 'Spaces: Chronicles of Harlem and Beyond'; 'Uplift Renewed: Religion, Protest, and Education,' and 'Serial Reading: Magazines and Periodical Culture.'