80 “The New Negro”
Just as cultural limits loosened across the nation, the 1920s represented a period of serious self-reflection among African Americans, most especially those in northern ghettos. New York City was a popular destination of American blacks during the Great Migration. The city’s black population grew 257%, from 91,709 in 1910 to 327,706 by 1930 (the white population grew only 20%). Moreover, by 1930, some 98,620 foreign-born blacks had migrated to the U.S. Nearly half made their home in Manhattan’s Harlem district.
Harlem originally lay between Fifth Avenue to Eighth Avenue and 130th Street to 145th Street. By 1930, the district had expanded to 155th Street and was home to 164,000 mostly African Americans. Continuous relocation to “the greatest Negro City in the world” exacerbated problems with crime, health, housing, and unemployment. Nevertheless, it importantly brought together a mass of black people energized by the population’s World War I military service, the urban environment, and for many, ideas of Pan-Africanism or Garveyism. Out of the area’s cultural ferment emerged the Harlem Renaissance, or what was then termed “New Negro Movement.” While this stirring in self-consciousness and racial pride was not confined to Harlem, this district was truly as James Weldon Johnson described: “The Culture Capital.” The Harlem Renaissance became a key component in African Americans’ long history of cultural and intellectual achievements.
Alain Locke did not coin “New Negro”, but he did much to popularize it. In the 1925 The New Negro, Locke proclaimed that the generation of subservience was no more—“we are achieving something like a spiritual emancipation.” Bringing together writings by men and women, young and old, black and white, Locke produced an anthology that was of African Americans rather than simply about them. The book joined many others. Popular Harlem Renaissance writers published some twenty-six novels, ten volumes of poetry, and countless short stories between 1922 and 1935. Alongside the well-known Langston Hughes and Claude McKay, women writers like Jessie Redmon Fauset and Zora Neale Hurston published nearly one-third of these novels. While themes varied, the literature frequently explored and countered pervading stereotypes and forms of American racial prejudice.
The Harlem Renaissance was manifested in theatre, art, and music. For the first time, Broadway presented black actors in serious roles. The 1924 production, Dixie to Broadway, was the first all-black show with mainstream showings. In art, Meta Vaux Warrick Fuller, Aaron Douglas, and Palmer Hayden showcased black cultural heritage as well as captured the population’s current experience. In music, jazz rocketed in popularity. Eager to hear “real jazz,” whites journeyed to Harlem’s Cotton Club and Smalls. Unfortunately, while headliners like Duke Ellington were hired to entertain at Harlem’s venues, the surrounding black community was usually excluded. Furtherm