Harlem Renaissance And The Modernism Movement

In the US during the late ninetieth and early twentieth century, World War I destroyed the faith US citizens had for their government and was a catalyst for the Modernism movement. Generally speaking, Modernism is the “reconstructed conventional images of the world and of human nature by changing the forms in which reality was usually represented” (1625). Additionally, Modernism also focused on alienation, rejection of form, and loss of faith in the traditional structure. During the movement, The Harlem Renaissance movement emerged and focused on similar issues to Modernism. However, despite both movements resembling one another The Harlem Renaissance is considered separate from Modernism. Adrienne Gosselin is an African Americanist who disagrees

with the separation of the Renaissance from Modernism and beliefs the Renaissance is an extension of Modernism. Gosselin states that the “distinction between the two movements, real or not, arises because American literary history views Modernism as largely a European movement contemporaneous with, but separate” (37). Although Modernism is viewed as a European movement The Harlem Renaissance artists are indeed Modernist. For instance, Louis Armstrong was an African musician during the time that utilized jazz and blues to express his rejection of white culture and rejection of typical music form. Jazz originated from African Americans and used a complex structure of melodies, harmony, rhythm, blues notes, and improvisation opposed to popular music which followed the typical verse-chorus format. Armstrong’s Modernist music contributed to the Modernism tradition by addressing the alienation of African Americans in the US while rejection of white culture.
Gosselin states Modernisms definition does not take cultural deviations into consideration.

African Americans demonstrate Modernism different from whites and Europeans because “the experience of one culture is not that of another” (Gosselin 43). African Modernist rejected white culture by creating and celebrating jazz and blues which acknowledged African culture; therefore, rejected white culture. As defined in Norton’s The Twentieth Century: Modernism and Modernity essay, Modernist “rejecting previous modes of thoughts” defined Modernist and Africans were indeed rejecting the thought that their culture was inferior in respects to the white culture (1621). Jazz musician Armstrong demonstrates Gosselin's argument by his implementation of African American culture in is music. For instance, his song "Go Down Moses" insinuates African Americans struggle with being "Oppressed so hard they could not stand" and that he wishes whites to "Let My People Go" which is a reference to African slavery. African Modernist William Edward Burghardt Du Bois was a civil rights activist that would agree with Gosselin; however, would disagree with the use of jazz music to display Modernism. Du Bois believed African art should always be "for propaganda for gaining the right of black folk to live and enjoy" (29). Nevertheless, Du Bois did not understand that Africans were Modernist; therefore, their art "drew attention to style instead of trying to make it transparent" for propaganda

(1625).
African American artists are not considered a part of the Modernism movement because their culture is different from Europeans.

Despite this Gosselin states “American Modernism is not an aesthetic movement affecting and affected by Anglo-Americans only, but one which crosses cultural boundaries” (37). In fact, Armstrong’s work proofs Gosselin's statement by addressing a common Modernism topic, alienation. For instance, in Armstrong’s song “Black And Blue” he heavily empathizes on the historical discrimination and separation of Africans from society. His lyrics included “My only sin is my skin” and “I’m white - Inside – but that don’t help my case Cause I can’t hide what is in my face.” To further dispute African Americans Modernism, Armstrong by definition was a Modernist according to the Norton’s The Twentieth Century: Modernism and Modernity essay which states that modernist would represent “real historical or psychological dilemmas” in their art (1625). Armstrong clearly fits into Norton’s definition as a Modernism having reflected his African cultures, historical and psychological dilemmas in his

music.