The creation of music during the Harlem Renaissance was a crucial step in giving African Americans a voice in their movement towards equality in the United States.
Alan Locke: Enter the New Negro Alain Locke’s Enter the New Negro sets the tone for the plight of African Americans entering the twentieth century. His work showcases the struggles of an entire race and served as an influence for many aspiring artists throughout the Harlem Renaissance. Locke believes that the black population in America has been viewed as “a something to be argued about, condemned or defended, to be “‘kept down,’ or ‘in his place,’ or ‘helped up,’ to be worried with or worried over, harassed or patronized, a social bogey or a social burden” (1). Although African Americans were subject to scrutiny by their white counterparts, they were still able to find their identity through the arts. African Americans felt obligated to find their voice again after the oppression and emotional turmoil of slavery. In order to find their new identity and leave behind the devastation of slavery, African Americans migrated to the north. This desire to change to their own perception has led to the black community into a full rebirth or renaissance. Locke states that for equality in the north to be achieved, both race groups must be integrated with one another. He believes “mutual understanding is basic for any subsequent cooperation and adjustment” (2). The issue of race in America is no longer just the responsibility of African Americans, but it requires cooperation and understanding from white northerners as well. The efforts of white Americans are needed to gain justice and equality for minority groups. Furthermore, once the intellectuals and leaders of the black community are recognized, the race as a whole can be viewed in a different and more complex way. Since the migration to the north, Locke notices that the “new negro” has been able to “rise from social disillusionment to race pride” (3). African Americans do not hope for others to empathize with them for their misfortunes but rather they are embracing who they are. The “new negro” does not wish to be seen as “a chronic patient for the sociological clinic, the sick man of American Democracy” (4). The “new negro” does not seek pity from those around him but finds strength in his shortcomings and struggles. William Grant Still & Duke Ellington A few musicians who were specifically influenced by Locke’s Enter the New Negro were William Grant Still and Duke Ellington. Still’s Afro American Symphony outlines the values and goals during the Harlem Renaissance. The symphony showcases the emotional and psychological toll of African Americans during migration and slavery. Still himself belonged to the middle class and was educated and formally trained in music. Still incorporates elements of blues "to prove that the Negro musical idiom is an important part of the world's musical culture" (5). He wanted to add elements that were characteristic of African American music in order to prove that his music could be on par with the highest arts at the time. The symphony follows the black struggle starting from the “history of slavery and sorrow to a position of self-empowerment and triumph” (6). Another famous composer and jazz artists from the Harlem Renaissance, Duke Ellington, introduced “jungle music” to the American people. His jungle music took to the stage of the famous Cotton Club in Harlem and was heavily influenced by the exotic music of Africa. Unlike Still, he had no formal education or training in music. He was a self taught composer and songwriter. Ellington also composed his piece Black, Brown, and Beige which follows the history of African Americans “beginning in Africa, progressing through Southern slavery, and finally to Harlem” (7). Much like the ideas presented in Locke’s Enter the New Negro, Ellington’s piece is meant to celebrate black culture. Bessie Smith Bessie Smith, a prominent jazz songwriter during the Harlem renaissance, is able to use her writing skills as an outlet for self expression during these times of inequality (8). In her song “Down Hearted Blues”, she laments her heartbreak from her previous lover. She also exploits the abuse in their relationship by saying “He mistreated me all the time the next man I get has got to promise to be mine” (9). During an era when women’s voices were silenced, music was able to give them the voice they needed. However, being a woman did not disadvantage her from being one of the “highest paid black performers of her time” (10). Bessie goes on to say “trouble, trouble, I've had it all my days It seems that trouble's going to follow me to my grave” (11). Being part of a minority group, Bessie feels that she cannot overcome her misfortunes and is destined to a life of hardship. Finally at the end of the song Bessie says “I got the world in a jug, the stopper's in my hand” (12). The song then switches to a more optimistic tone. In the beginning of the song, she dwells on her shortcomings and believes that she is destined to a life of struggle. Now she says “I got the world in a jug, the stopper's in my hand” meaning that she feels that she ultimately decide what happens in life now. Smith ends the song with a feeling of empowerment for not only African Americans, but also women at the time.
9. Bessie Smith, "Down Hearted Blues Lyrics," Www,metrolyrics.com, , accessed November 1, 2016, http://www.metrolyrics.com/down-hearted-blues-lyrics-bessie-smith.html 10. Biography.com Editors, "Bessie Smith Biography," The Biography.com, August 16, 2016, , accessed November 1, 2016, http://www.biography.com/people/bessie-smith-9486520#related-video-gallery. 11. Bessie Smith, "Down Hearted Blues Lyrics," Www,metrolyrics.com, , accessed November 1, 2016, http://www.metrolyrics.com/down-hearted-blues-lyrics-bessie-smith.html 12. Bessie Smith, "Down Hearted Blues Lyrics," Www,metrolyrics.com, , accessed November 1, 2016, http://www.metrolyrics.com/down-hearted-blues-lyrics-bessie-smith.html |