Relevant bibliographies by topics / Black chicago renaissance

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Academic literature on the topic 'Black chicago renaissance'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 January 2023

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Journal articles on the topic "Black chicago renaissance"

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Leininger-Miller, T. "The Black Chicago Renaissance." Journal of American History 100, no. 3 (November 1, 2013): 873–74. http://dx.doi.org/10.1093/jahist/jat494.

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Baldwin, D. L. "The Chicago Black Renaissance and Women's Activism." Journal of American History 93, no. 3 (December 1, 2006): 924. http://dx.doi.org/10.2307/4486528.

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Schneidhorst, Amy. "The Chicago Black Renaissance and Women's Activism by Anne Meis Knupfer." Michigan Historical Review 33, no. 1 (2007): 151–52. http://dx.doi.org/10.1353/mhr.2007.0014.

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Rutkoff, Peter M., and William B. Scott. "Before the Modern: The New York Renaissance, 1876–95." Prospects 25 (October 2000): 281–310. http://dx.doi.org/10.1017/s0361233300000673.

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On the evening of March 31, 1895, three hundred of New York City's most notable artists and patrons assembled in Madison Square Garden to honor Chicago architect Daniel H. Burnham. Led by Burnham, Chicago had bested New York in a hotly contested competition for sponsorship of the Columbian World Exposition that proudly exhibited the nation's Gilded Age accomplishments in art, architecture, and technology. Astride New York's most prestigious public square, Madison Square Garden might well have been built for the occasion. Arriving by carriages in livery, New York's fin de siècle elite, dressed in top hats, black ties, and tails, leisurely entered architect Stanford White's resplendent edifice, accompanied by their glitteringly attired female companions. Atop the Garden's Florentine tower rested a nude sculpture of Diana, Greek goddess of the hunt.
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Geduld, Victoria Phillips. "Sahdiji, an African Ballet (1931): Queer Connections and the “Myth of the Solitary Genius”." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 95–105. http://dx.doi.org/10.1017/s204912550000056x.

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In May 1931 the ballet Sahdji premiered at the Eastman Theatre in Rochester, New York: with a libretto by Harlem Renaissance's Alain Locke and Richard Bruce Nugent, music by composer William Grant Still, the ballet by Thelma Biracree, and dedicated to the Eastman School's Howard Hanson, the work was set in Africa and performed by dancers in blackface. In 1934 the work was performed with an all-black cast in Chicago and revived in Rochester through 1950. Sahdji demonstrates that the participants shared two tenets: the desire to create high art, and the belief in African forms to achieve artistic aims. Locke and Nugent had a small shared world that included Lincoln Kirstein. Locke wrote about The Rite of Spring, and Sahdji became Locke's African answer to Spring. Sahdji begs for a reinvigoration of dance history that credits philosophical underpinnings of the American ballet to the Harlem Renaissance and its queer connections.
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Rocksborough-Smith, Ian. "Roots of the Black Chicago Renaissance: New Negro Writers, Artists, and Intellectuals 1893–1930." Journal of American Ethnic History 41, no. 1 (October 1, 2021): 120–22. http://dx.doi.org/10.5406/jamerethnhist.41.1.0120.

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Joens, David. "Roots of the Black Chicago Renaissance: New Negro Writers, Artists, and Intellectuals, 1893–1930." Journal of the Illinois State Historical Society (1998-) 114, no. 2 (July 1, 2021): 96–98. http://dx.doi.org/10.5406/jillistathistsoc.114.2.0096.

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Kiuchi, Yuya. "The Black Chicago Renaissance. Darlene ClarkHine and JohnMcCluskeyJr. Champaign: University of Illinois Press, 2012." Journal of American Culture 36, no. 2 (June 2013): 139–40. http://dx.doi.org/10.1111/jacc.12020_5.

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Barrera, Juan Rodriguez. "The Disalienating Realism of William Attaway’s Blood on the Forge: Rethinking Black Chicago Renaissance Aesthetics." African American Review 55, no. 1 (March 2022): 51–67. http://dx.doi.org/10.1353/afa.2022.0003.

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Hendricks, W. A. "ANNE MEIS KNUPFER. The Chicago Black Renaissance and Women's Activism. Urbana and Chicago: University of Illinois Press. 2006. Pp. x, 244. Cloth $40.00, paper $20.00." American Historical Review 112, no. 3 (June 1, 2007): 875–76. http://dx.doi.org/10.1086/ahr.112.3.875.

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Dissertations / Theses on the topic "Black chicago renaissance"

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Gordon, Michelle Yvonne. "On the cultural front black literature of protest and revolution during the Chicago renaissance /." 2002. http://catalog.hathitrust.org/api/volumes/oclc/50853304.html.

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Thesis (M.A.)--University of Wisconsin--Madison, 2002.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 111-114).
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Books on the topic "Black chicago renaissance"

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Hine, Darlene Clark. The Black Chicago Renaissance. Urbana: University of Illinois Press, 2012.

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Writers of the Black Chicago renaissance. Urbana: University of Illinois Press, 2011.

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Knupfer, Anne Meis. The Chicago Black renaissance and women's activism. Urbana, IL: University of Illinois Press, 2006.

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The Chicago Black renaissance and women's activism. Urbana: University of Illinois Press, 2005.

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1946-, Courage Richard A., ed. The Muse in Bronzeville: African American Creative Expression in Chicago, 1932-1950. New Brunswick, N.J: Rutgers University Press, 2011.

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McCluskey, John, Darlene Clark Hine, and Marshanda A. Smith. Black Chicago Renaissance. University of Illinois Press, 2012.

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Writers of the Black Chicago Renaissance. University of Illinois Press, 2012.

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Courage, Richard A., and Christopher Robert Reed. Roots of the Black Chicago Renaissance. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043055.001.0001.

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This anthology engages questions about origins of the Black Chicago Renaissance (1930-1955) from wide-ranging disciplinary perspectives. It traces a foundational stage from the 1893 World’s Columbian Exposition to onset of the Depression. Eleven essays contribute to recovering understudied black artists and intellectuals, remapping African American cultural geography beyond and before 1920s Harlem, and reconceptualizing the paradigm of urban black renaissance. Contributors probe the public lives and achievements, class and family backgrounds, education and training, areas of residency, and institutional affiliations of such African American cultural pioneers as writers Fannie Barrier Williams, James David Corrothers, Ida B. Wells-Barnett, and Fenton Johnson; visual artists William E. Scott, Charles C. Dawson, and King Daniel Ganaway; and dance teacher Hazel Thompson Davis. Organized chronologically and deploying rich archival explorations, these essays unearth local resonances of such world-changing events as the Columbian Exposition, First World War, Great Migration, 1919 Red Summer, and Jazz Age. They identify internally-generated, transformative forces that supported emergence of creative individuals and cultural circles committed to professional work in arts and letters. These individuals were often identified with the appellation “New Negro,” whose multiple (sequential, overlapping) meanings are explored in relation to the formation and growth of a geographically compact, racially homogenous, and increasingly autonomous Black Metropolis.
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Butler, Robert, Maryemma Graham, Steven C. Tracy, and Robert H. Cataliotti. Writers of the Black Chicago Renaissance. University of Illinois Press, 2011.

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Reed, Christopher Robert. African American Cultural Expression in Chicago before the Renaissance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037023.003.0001.

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This chapter examines the local historical context of the Black Chicago Renaissance. It discusses the existence of a layered class structure within the black community, and underscores the importance and the complicated tradition of support of the arts by elite black and later members of the black entrepreneurial and professional middle class. Black patronage, for both aesthetic and exploitative reasons, served an important function in providing space for creative expression and the means for its distribution and commoditization. Furthermore, the chapter is a response to the claims made by social scientists Charles S. Johnson and E. Franklin Frazier. In 1923, Johnson declared that Chicago's intellectual life had numerous excuses for not existing. In 1929, Fraser echoed Johnson's assertion, insisting that Chicago had no intelligentsia.
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Book chapters on the topic "Black chicago renaissance"

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Lowney, John. "“Frank-ly Speaking”: Frank Marshall Davis, The Black Chicago Renaissance, and Barack Obama’s Dreams From My Father." In Barack Obama’s Literary Legacy, 55–77. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1007/978-1-137-58725-1_3.

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"White City, Black Metropolis." In Chicago Renaissance, 235–84. Yale University Press, 2017. http://dx.doi.org/10.2307/j.ctv1bvnfjs.15.

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"Five. White City, Black Metropolis." In Chicago Renaissance, 235–84. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300231137-013.

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Davis, J. M. Frank Marshall. "“Entering Chicago”." In Roots of the Black Chicago Renaissance, 257–58. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043055.003.0016.

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Editors’ Note: This prose poem appears as part of the introductory material in the first (1927) volume of Frederick H. H. Robb’s remarkable compilation, The Intercollegian Wonder Book or the Negro in Chicago 1779–1927. “Entering Chicago” is attributed there to “J. M. Davis,” but internal and external evidence convince us that this was in fact contributed by journalist and poet Frank Marshall Davis shortly after his arrival in Chicago from his native Kansas. As such, the piece marks the ongoing “migration of the talented tenth” to the Black Metropolis, highlights the ubiquity of the railroad train as icon of Chicago’s modern moment, evidences Davis’s early efforts in free verse influenced by Carl Sandburg and Fenton Johnson, and prefigures the documentary spirit that would animate the most memorable works by writers of the Black Chicago Renaissance....
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DAVIS, J. M. "“Entering Chicago”." In Roots of the Black Chicago Renaissance, 257–58. University of Illinois Press, 2020. http://dx.doi.org/10.5406/j.ctv11cwb42.19.

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Courage, Richard A. "Chicago Gets the Blues: Migration, Depression, and the Black Renaissance." In Chicago, 253–68. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108763738.019.

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Courage, Richard A. "Chicago’s Letters Group and the Emergence of the Black Chicago Renaissance." In Roots of the Black Chicago Renaissance, 222–44. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043055.003.0012.

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This chapter unearths the history of a literary circle formed in 1927 to publish a journal called Letters and foster appreciation of black literature. Its leader was Chicago Defender city editor Dewey Roscoe Jones, whose reviews in his weekly “Bookshelf” column established him as black Chicago’s premier literary critic and commentator on the Harlem Renaissance. Most participants in Letters were university students, but they were joined by several older writers, including poets Fenton Johnson and W. H. A. Moore. Future Black Chicago Renaissance luminaries Richard Wright and Frank Marshall Davis visited occasionally but felt unwelcome. Recovering this missing link in cultural history deepens scholarly understanding of the New Negro movement beyond 1920s Harlem and of early evolution of an African American literary tradition in Chicago.
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Semmes, Clovis E. "Black Chicago Pioneers in the Training of Dancers." In Roots of the Black Chicago Renaissance, 166–82. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043055.003.0009.

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This chapter examines the life of pioneer dance instructor Hazel Thompson Davis in early twentieth-century Black Chicago. Contextually, diverse venues for live entertainment in the broad spectrum of American society created significant demand for a trained theatrical workforce, of which varieties of dancers were major components. By 1916, Chicago’s Hazel Thompson Davis began to meet this demand through the school she created and the performing artists she trained. A pioneer and innovator in her field, the Chicago tradition in dance instruction and performance initiated by Davis would make Chicago a powerful force in the instruction of an African American theatrical workforce nationally and internationally, in the broader cultural renaissance taking place in Black communities across the country, and in the evolution of American popular culture.
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Halliday, Aria S. "Centering Black Women in the Black Chicago Renaissance:." In Against a Sharp White Background, 240–58. University of Wisconsin Press, 2019. http://dx.doi.org/10.2307/j.ctvgs08p1.15.

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Harrison, Bonnie Claudia. "The Black Creole Vision of Archibald J. Motley Jr." In Roots of the Black Chicago Renaissance, 142–65. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043055.003.0008.

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This essay explores how Archibald J. Motley Jr. developed into the successful, notably iconoclastic, artist he became. In 1918, Motley announced his aesthetic independence, his embrace of “art for art’s sake,” in a manifesto in the Chicago Defender -- a significant precursor to later debates associated with an artistically-inclined New Negro movement dominated rhetorically by W. E. B. Du Bois and Alain Locke. Unlike such Chicago peers as William Farrow and Charles C. Dawson, Motley pursued his exceptionalist path without artistic, social, or financial support from Chicago's Black elite. Motley also described himself as a black Creole, or "French Negro." This unique ethnic heritage, his racially-exclusive associations within the art world, and his residence in the overwhelmingly white Englewood neighborhood amplified his sense of uniqueness.
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