Marian Anderson fit into the period of Harlem Renaissance because she lived through it. She broke the racial prejudice and stereotypes towards people of color by being the first African American to perform at the Metropolitan Opera in New York City. Life in the South was much connected as opposed to the Northern urban life that was so disconnected due to high racial discrimination. Marian demonstrated love for her identity, resilience by rising above racism and patriotic by helping a lot through the Harlem renaissance period. Marian would be received today warmly and as a hero for fighting against racism, which is still a problem in the United States against people of color (Tracy, 2015).
Zora Neale Hurston fits into the Harlem Renaissance period by being a leader during this time. She was a revolutionary leader who helped in protecting the rights of African Americans. She demonstrated the views of unity and forming once society, freedom of expression, and promoted the need for humanity among African Americans. Zora is an influential author of African American literature, is recognized for her intelligence and folk writing style, and revolutionary leader who fought for the freedom of the people of color. Therefore, she would be welcomed with open arms because she will help in continue the fight against inhuman acts carried against African Americans in the current American society (Tracy, 2015).
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Death Sentences in Scottsboro, Alabama fits into the period of Harlem Renaissance because similarly, the convicts were subjected to brutal forms of corporal punishment that resulted in high death rates among inmates. The views demonstrated by this punishment was that the convicts deserved to die or were to face cruel forms of punishment. Death penalty or the brutal forms of punishment cannot be received in the contemporary society because they are considered inhumane and goes against the human rights of an individual (Wang, 2018).
References
Tracy, S. (2015). The New Negro Renaissance. The Cambridge Companion to American Poets , 271.
Wang, S. (2016). We Are Scottsboro Boys: Hideo Noda’s Visual Rhetoric of Transracial Solidarity. American Art , 30 (1), 16-20.
