Initially, the Harlem Renaissance was considered a bookish organization in Harlem, developing from the settlement of the black race and the rising of Harlem as the significant city of blacks in the US. The occupants would busy themselves by composing music, poetry, and other artistic works in response to their adversities. Similarly, the work of art in the city was considered broadly with Aaron Douglas in cooperation with Langston Hughes and several emerging artists who participated in the production of Fire!! in 1926 . However, the works of the African American writers and artists were less examined rendering their women in art and other related fields more miserable. Nevertheless, the initial perception of the Harlem Renaissance by the US has been eroded. The nation considers the movement with a higher perspective and acknowledges it as a worthy organization that has linked intermediaries for cross-national advancement in the artistic and cultural field that largely stresses its traditional views.
Period of the Movement
In its classification as a literary organization, the origin of the Harlem Renaissance can be attributed to the Civic Club Dinner of March 21, 1924. Even though the occasion did not occur in Harlem, it incorporated both the white and black artists, writers, and critics who availed themselves at the occasion point, Civic Club, Manhattan. An editor of National Urban League Magazine, known as Charles S. Johnson, had proposed the occasion in favor of Jessie Fauset on publication of her novel, There is Confusion. The organizer had conceived a dinner bash of approximately 20 people, racially indiscriminate, and approached Alain Locke to be in charge of the occasion. Nonetheless, Locke refuted the presidential honor until the event acknowledged all the African American artists on top of the one novelist (Boyd, 2021) . Therefore, the Civic Club dinner motivated the Harlem Renaissance’s literary period and empowered the interaction of the black poets and writers after the bash. For instance, Locke, in an anthology, The New Negro: An Interpretation, envisioned the beauty and distinguishing features of the rising Harlem Renaissance.
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The origin of the movement regarding music and the general theatrical recreation can be dated three years before the Civic Club party occasion when Shuffle Along was premiered at the 63 rd Musical Hall. The title above refers to a musical manuscript composed by Flournoy Miller and Aubrey Lyles in cooperation with two singers, Noble Sissle and Eubie Blake (Azmi et al., 2018) . The event featured popular contemporary African American singers who sought to advance the course of popularizing black singers.
The Reason for its Existence/ Its Relevance
Although the movement primarily sought to advance the African American writers’ literary works, it greatly inspired all the other genres of black people. Free intuitions marked the artist’s style; thus, the partisans did not lay down any political disciplines, social and moral convictions, or any other artistic principle that could guide the artists’ delivery. Instead, the association advocated for racial popularity and indiscrimination. Nevertheless, the organization did not benefit from any support of the intellectual elite of either the white or black society (Meterc, 2020) . The detestation and contempt that the movement received from the nations equaled the embrace and recognition it received. The renaissance campaigns and endeavors influenced the activities of the common publishers and critiques to significantly consider the works of the African American artists, causing a fascination of these works in the eyes of many across the nation.
Notwithstanding, the popularity of the Harlem Renaissance started to wane around the 1930s. The fading process differed across the genres, and the music genre took precession in the early years of the decline. Nonetheless, the black musician endeavored to advance the course though the popularity did not reach the initial level. The music penetrated its influence in the Second World War period, with the big band style outdoing blues and jazz. Agreeably, the literature writings were transformed, and the rising class of different black writers such as Richard Wright and Ralph Ellison focused less on advancing the course of the Harlem Renaissance. Accordingly, the entire artist rising in the 1930s progressed their activities. Still, they did not embrace the unequivocal zealous of the Harlem Renaissance, and even the existing Harlem Renaissance participants waxed cold in their progression ( Honey, 2020) . What is more, the Harlem Renaissance seriously waned in 1935 after a racial upheaval, and by 1940 it could be barely recognized.
Conclusion
Although Harlem’s northern Manhattan setting was secluded for the wealthy class of the whites in the 1880s, it suddenly saw insufficient developments causing its inhabitants to vacate, leaving behind uncouth vacant settlements. At the onset of the 20th century, a middle class of black settlers moved from the surrounding suburbs such as Bohemia and occupied the desolated Harlem. They were later trailed by their fellow blacks, who resisted the endeavors of the white settlers to drive them away. The white settlers eventually gave up and left the place to allow more blacks to occupy. Here, the blacks concentrated on fighting for equality and their racial recognition leading to the rise of the Harlem renaissance. The renaissance marked the prolific period for the black writers, musicians, and poets, thus elevating their pride and empowerment to claim their rights.
References
Azmi, M., Chelihi, R., & Nouri, K. (2018). Art as a Vehicle for Social Change: The Harlem Renaissance. Kne Social Sciences , 3 (4), 575. https://doi.org/10.18502/kss.v3i4.1967
Boyd, R. (2021). The Harlem Renaissance and Blacks’ Employment in Cultural Expression Occupations. Journal of African American Studies , 25 (1), 82-101. https://doi.org/10.1007/s12111-021-09514-w
Honey, M. (2020). The Harlem Renaissance and the New Negro. A Companion to American Literature , 3 , 157-172.
Meterc, P. (2020). Life, death, and the resurrection of the Harlem Renaissance femme terrible. Maska , 35 (200), 86-93. https://doi.org/10.1386/maska_00012_1
