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Harlem Renaissance impact on negro culture
Harlem renaissance the black people in america
Harlem renaissance the black people in america
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The Role of Female African American Sculptors in the Harlem Renaissance The Harlem Renaissance, a time of global appreciation for the black culture, was a door opening for African American women. Until then, African Americans, let alone African American women, were neither respected nor recognized in the artistic world. During this time of this New Negro Movement, women sculptors were able to connect their heritages with the present issues in America. There is an abundance of culture and history to be learned from these sculptures because the artists creatively intertwine both. Meta Warrick Fuller and Edmonia Lewis, two of the most popular sculptors of this time, were able to reflect their native heritages and the dynamics of society through their artwork. Meta Warrick Fuller and Edmonia Lewis were two of the most renowned women sculptors during this time. Fuller and Lewis’ pieces showed how they connected with the social happenings of the time as well as portraying their African roots. Often their subjects were chosen to serve as a political mission or statement as to their feelings of societal issues. Often their subjects were chosen to serve as a political mission or statement as to their feelings of societal issues. Their sculptures support the idea that these women were products of living within a contact zone. As artists began to gain recognition in the artistic world, they continually represented what it meant to be black in America. Personalities and individualism were displayed through their work while simultaneously portraying the political, social, and economic conditions of being black. This idea runs parallel with Mary Louise Pratt’s (1990) definition of a contact zone. She defines it as a "term to refer... ... middle of paper ... ...central rather than peripheral in the forging of a more liberating and intelligent visual culture in the United States" (p. 37). Works Cited Jackson, P. (1992). (in)Forming the Visual: (re)Presenting Women of African Descent. International Review of African American Art. 14 (3), 31-7. Kleeblatt, N. (1998). Master Narratives/Minority Artists. Art Journal, 57 (3), 29. Powell, R. (1998). Art of the Harlem Renaissance. American Art Review, 10 (2), 132-137. Pratt, M. (1990). Arts of the Contact Zone. Richardson, M. (1995). Edmonia Lewis’ The Death of Cleopatra Myth and Identity. African American Art. 12(2), 36-52 Savannah, G. (1998). African American Women Sculptors. American Art Review, 10, 162-5. Scwartz, B. (1997). African-Americans in the Visual Arts: A Historical Perspective. http://www.cwpost.linet.edu/cwis/library/aavaahp.htm
*Evelyn Brooks Higginbotham. "African American Women's History and the Metalanguage of Race" in Feminism and History, ed. Joan Wallach Scott (NY: Oxford University Press, 1996), 201.
The idea that art can be a service to people- most importantly a service to poor and disenfranchised people is one that may be disputed by some. However, Elizabeth Catlett and other artists at the taller de Graffica Popular have proved that art could be made to service the poor. Catlett in particular is someone who has always used her art to advocate for the poor and fight injustices. While her activism and political views were very impactful, they were also very controversial. Catlett`s art and activism influenced African American and Latin American art by changing the narratives of Black and Brown working class women. In their books titled Gumbo Ya Ya, The Art of Elizabeth Catlett, African American Art: The Long Struggle, and Elizabeth Catlett: Works on Paper authors Leslie King-Hammond, Samella S. Lewis, Crystal Britton, Elizabeth Catlett, and Jeanne Zeidler speak of the work of Catlett. In a paper titled -----, ---- also speaks of the work of Elizabeth Catlett and her legacy as an activist.
Smith, J, & Phelps, S (1992). Notable Black American Women, (1st Ed). Detroit, MI: Gale
In 1896 the case of Plessy v. Ferguson occurred and has been viewed by may people, including myself, to be very important in history. Homer Plessy, the plaintiff in this case, was a light skinned black man, who was arrested for violating the Separate Car Act when he entered a car specifically designated for white passengers on the East Louisiana Railroad in New Orleans (Hartman 99). Judge John H. Ferguson was the presiding judge of the Louisiana Criminal District Court. Why was it that states can constitutionally enact legislation to require separate accommodations in interstate commerce based off of a person’s race? This was the issue of the case. The Louisiana Statute under review in Plessy required railway companies carrying passengers in their coaches in that state to provide equal but separate accommodations for the white, and colored races and no persons were permitted to occupy seats in coaches other than the ones assigned to them based on race. If passengers failed to obey these rules...
The Arts of the Contact Zone by Mary Louise Pratt opened up a whole new concept for our class. The new term “contact zone” appeared and Pratt defined it as "social spaces where cultures meet, clash, and grapple with each other, often in contexts of highly asymmetrical relations of power, such as colonialism, slavery, or their aftermaths as they are lived out in many parts of the world today." The idea of the contact zone is intended in part to contrast with ideas of community that trigger much of the thinking about language, communication, and culture.
Almost thirty years later, and after the Emancipation Proclamation in1864, another enormously influential Supreme Court decision would be handed down. Plessy v. Ferguson was heard by the Supreme Court in 1896 that deemed it constitutional that those individual states could institute and enforce laws pertaining to the segregation of society using parameters of race and ethnicity. These two 19th century court cases produced a de jure means of ethnic discrimination. They paved the way for another half decade of segregation, hate, and mistreatment.
White, P. (2010, June 12). Expanding instant replay not an easy call to make for mlb. USA TODAY. Retrieved from http://www.usatoday.com/sports/baseball/2010-06-10-instant-replay_N.htm
Plessy vs Ferguson was a case decided in 1896 by the US Supreme Court involving the constitutional law on racial segregation. The plaintiff (Plessy) was arrested for violating Separate Car Act enacted in 1890 which allowed the state of Louisiana provide distinct accommodation for whites and blacks on the railroads. In 1892 the plaintiff was arrested and taken to court for violating the Act for using railways preserved for whites. The Supreme Court in a majority ruling of 7-1 upheld the state laws on racial segregation. Plessy was fined $25 for violating the law.
Levy, Peter B., The Civil RIghts Movement, Greenwood Press, Westport, Connecticut, 1998. Web. 24 June 2015.
John Oswalt, in his book The Bible Among the Myths, presents his position to the reader that the bible is different and separate from other writings of the Ancient Near East. He asserts the Bible is both historically accurate and theologically sound. He makes the defense the Bible was divinely inspired and revealed to humanity and unique from other Ancient Near East literature. There was a time when the Bible, and the Israelite religion was different from its neighboring societies. But as times have changed, many people now lump the bible with other Ancient Near East myths.
The Harlem Renaissance had a lot of influence on modern day art because many artist white and black drew inspiration from traditional African sculptures. In the 1900s, “the aesthetics of traditional African sculpture became a powerful influence among European artists who formed an avant-garde in the development of modern art.”(“African
1. Hunter, Sam and Jacobs, John. Modern Art, 3rd Edition. The Vendome Press, New York, 1992.
The outburst of creativity among African American occurred in every aspect of art. This cultural movement became The New Negro Movement and later the "Harlem Renaissance. Harlem attracted a prosperous and stylish middle class, which sprouted an artistic center. African Americans were encouraged to celebrate their heritage; The Harlem Renaissance movement was a period of cultural production dating from the end of World War I through the onset of the Great Depression. We will look at the Harlem Renaissance, the great migration, Arts of the Harlem Renaissance, and economic impact Harlem Renaissance.
In the course of human events, women have been subjected to being seen as far less superior than men. Women through most of history have never been seen as equals to men and seen as pitiful and slave like, but women have tried to change the views of society and become equal. Feminist art was a major contributor in helping women fight these societal views during the feminist movement. Many talented women artist banded together during the 1960-1970s to be able fight the societal view as a woman. Their art was sometimes not accepted by society for exploring subjects that were not accepted for that time. They fought to make their topics they talked about socially accepted. Artists such as Judy Chicago, Barbara Kruger, and guerilla girls helped spark and shaped the feminist art movement by
Nineteen-fifty five marked the debut of sex education programs in schools in the United States. Along the years, many have argued whether or not sex education should be taught in schools. Many believe that the education of sex encourages students to engage in sexual activities which lead to a higher number of pregnancies and sexual transmitted diseases (STD’s). As the number of unplanned pregnancies and sexually transmitted diseases climbs higher and higher every day in our country, one can only think that sexual education is a necessity in our school systems. Teens as young as fourteen years old have admitted to already engaging in sexual activities. No teen should be engaging in such acts at that age. Many schools give parents the choice to have their child opt out of the lesson or class. Few states are required to teach sex education to students in secondary schools unless they were withdrawn from the class by their parents.