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6 Monday, February 28, 2000 Harlem Renaissance Broke Cultural Color Barrier By Riss Lane Staff Writer A rush of black creativity hit main stream America following World War I. Called the Harlem Renaissance, the intellectual, political and artistic move ment drew from within and beyond the northern section of Manhattan's 9fith street. It was the first influx of black cul ture that penetrated mainstream American thought. The Renaissance gained momentum through a combination of social outrage and literary aspirations. After the “Red Summer" of 1919, in which black WWI veterans were lynched, Harlem intellec tuals combined their sense of social injustice with the yearning for art to CULTURE From Page 1 “blaxploitation” films. “There are live portrayals of African Americans in film - Toms, Coons, Mulattos, Mammies or Bucks. I think there’s been a broadening of roies, but those portrayals can’t be thrown out," Amana said, adding that even actors such as “Jerry Maguire” star Cuba Goodingjr. play roles that reinforce the stereotypes. He cited the Academy Awards as a gauge for the roles for which main stream America typecast black actors. “If Denzel Washington wins for Hurricane this year ... he will be the first actor that wins a role that is not a side kick,” Amana said. “Even Sidney Poitier won for a role that was basically a sidekick. Whoopi Goldberg was the intermediary between a white couple in ‘Ghost.’ There hasn’t been any Academy Award-winning /T f Find people \ 'B I nothing^ ©2OOO CollegeClub.com ShAre common interests. DISCOVER different air rerent views. Join cLubS. Meet fßienDs. MaKe New ones, you never knOw what you 11 Fi nD at CoiiecreCiuh 4 ZoUegeClub.com Logon! its all IT No porcupines, living, dead or otherwise, were harmed in the creation of this advertisement. reflect the black populace. In the Renaissance’s early period, this energy was harnessed and directed by National Association for the Advancement of Colored People founder W.E.B. Dußois. Believing that the “Talented Tenth” of the Negro pop ulace would bring social change, Dubois encouraged blacks to use the arts to address racial injustice with class and sophistication. Generally known for its central fig ures Langston Hughes and “Lift E’vry Voice and Sing” scribe James Weldon Johnson, the Harlem Renaissance’s focus was larger than literature. The Renaissance generated 10 volumes of poetry, five Broadway plays, three bal lets and a deluge of essays, short stories, black actor who hasn’t been a variation of the sidekick role.” Like film, television has taken an active role in combatting these arche types of black roles. Far from the projects of “Good Times” and the junkyard of “Sanford and Son,” blacks have striven, through television, to give audiences a different taste of black life. In 1984, “The Cosby Show” broke ground, changing the way audiences thought of black family life. Riding on its coattails, shows like “A Different World,” “Family Matters” and “Thejaime Foxx Show” pushed to do the same. Meanwhile, the WB and UPN net works, in addition to Black Entertainment Television, continue to showcase black talent and promote diversity. “Black people now appreciate the aspect of blackness,” Harris said. “Through the 1960s there was still a ‘pig mentocracy’ (in which the shade of Looking Back, Facing Forward verse, paintings and sculpture. Manhattan’s theater district featured black artists both on and offstage. Composers Noble Sissle and Eubie Blake served as Harlem’s equivalent to Rodgers and Hammerstein, penning “Ain’t Misbehaving,” “Porgy,” and “Shuffle Along,” which introduced singer-dancer Jospehine Baker. Outside of musicals, Langston’s Hughes’ play “Mulatto” became a Broadway success, an unprecedented feat for a play written by an black. Oscar Micheaux became the first black direc tor, making movies with and for blacks. The movement also spawned several black news journals, which drew atten tion to many of the Renaissance’s literary giants. In addition to the Urban League’s blackness was an issue). “But after the idea of ‘black is beauti ful' was introduced to people and tele vision shows like ‘The Cosby Show’ fea tured a cast that were all shades of black ness, there is less an emphasis today.” But even with such progress, a push for more diversity on the tube continues. The National Association for the Advancement of Colored People gained much attention last summer when it threatened to boycott the four major net works because of a deficit in minority television characters. The real results of the push seem somewhat ambiguous, but networks have promised to get more faces of color on the small screen. As black representation on television is still suffering from growing pains, the relatively quick rise and domination of hip hop is the most recent example of black impact on mainstream thought. More than just music, hip hop is a culture in itself, defining the manner in which people dress, speak and act. Opportunity, The Messenger and the Dußois-edited Crisis became the epicen ters of the movement The 1920s were also the golden age of jazz and blues, with New York serving as one of its meccas. As Duke Ellington and Louis Armstrong moved to New York, jazz left New Orleans speakeasies behind and found white recognition in venues like the Cotton Club. The earthy sound and risque subject matter of jazz and the blues was general ly ignored by the Talented Tenth, since its themes undermined the projected image of “high culture.” Despite receiving no endorsement by the Renaissance elite, the growing popularity of jazz slowly blurred the color lines, much to the cha grin of traditionalist America. Lost City Music and Video Co-owner Eric Ose, whose merchandise is focused on hip-hop culture, said the music cre ated an industry of satellite businesses. “Hip hop is more than just the music - it’s clothing; it’s shoes; it’s a lot of stuff. The clothing labels and other business es have spawned out of the music’s widespread popularity,” Ose said. The hip-hop “industry” has invaded mainstream culture, particularly among the nation’s younger demographic. This fascination with the cultural contribu tions made by blacks is not new. “It seems to be the latest example of what has been a continuous phenome non throughout the 20th century - the availability of black pop culture as an expression of youthful rebellion, which serves as a mean of expression that (youth) can control,” said Perry Hall, associate professor of African-American studies. The impulses behind the cultural cycle are rooted in white fantasies about black living. Harris said black culture’s The racial tension that fueled the Harlem’s artist also affected political thought. Black Nationalism gathered grassroots support, epitomized by Marcus Garvey’s “Back to Africa” rhetoric. Although Garvey’s separatist theories were in direct contrast to Dußois’ concern about black assimila tion, Garvey’s movement crumbled fol lowing his imprisonment for mail fraud. Aside from its politics, the Harlem Renaissance’s lasting impact ascended the black experience into high art. Its collection of writers, actors, musicians and artists become the forerunners of black creativity. The Arts & Entertainment Editor can be reached at artsdesk@unc.edu. ability to enter the American main stream was historically based on a sense of voyeurism. Ose said this voyeurism was more prevalent in modern youth culture than ever before. “You’ve got these suburban white kids now that want to be black,” Ose said. “They fantasize about being a thug, a player, and there are a lot of hip-hop artists willing to project that image whether they live it or not.” While Hall said black culture could blur racial distinctions and promote diverse appreciation, Harris said this acceptance did not necessarily terminate racism in America. “I make a distinction between accep tance of the culture and the acceptance of the people,” Harris said. “It’s far eas ier to listen to a rap record than to invite a black person to dinner.” The Arts & Entertainment Editor can be reached at artsdesk@unc.edu. £l]p Sally (Tar Heel MARATHON From Page 1 basketball, shag lessons and taebo. Amid all the activities were the fam ilies whose lives were affected by the Marathon for more than just 24 hours. • ,* In an emotional final hour, the fami- -; lies had the chance to express their grat itude and share their personal testi-- | monies with the dancers and volunteers. “It has been very exciting to be part of this,” Rosetta Morphis said. Morphis’ daughter, Amanda, receives treatment" ’ for cystic fibrosis from the hospital.*'' “(Amanda) has had so much fun.” The Duren family has been involved” with the Dance Marathon since it began a year ago. Carlos Duren, whose son C.J. benefits from Dance Marathon ' funds, said his family was always greet- jr ed with smiling faces, and the Marathon was an overall pleasurable experience. ■'' “They’re taking their time to do this, and we appreciate it,” he said. “We’ll be back.” Several doctors from the hospital also r ' shared their feelings of appreciation with the crowd. Dr. Tim Bukowski, director of pediatric urology at the N.C. V Children’s Hospital, said the children ‘ were the special motivation behind his J ' job and the marathon. By the end of the event, the love, sup port and unity behind one goal were clearly visible. Joined in a huge circle, the dancers and volunteers swayed and sang along tojames Taylor’s “Carolina’ in My Mind.” With smiles on their faces and tears - in their eyes, the dancers and volunteers' / surrounded the children as they played with a giant bouncing ball along with - ram mascot. “It’s something you just don’t com pletely understand,” Cooley said. “You don’t realize until the end what you’re doing.” The University Editor can be reached . atudesk@unc.edu.', EDWARDS From Page 1 Billy Mitchell, UNC-CH’s fire safe ty officer, said the recent fires showed the proposal was needed on many uni versitv campuses. But he said UNC-CH was already following its own plan to install sprin klers in some of its residence halls. “(The University) is looking at putting sprinklers in Morrison (Residence Hall). It’s going to be the first high rise (with sprinklers),” Mitchell , said. “Fire safety-wise, 1 feel pretty good ; about Carolina.” Chapel Hill officials also passed an, ordinance requiring sprinklers in frater-' nity and sorority houses after the Phi, Gamma Delta tragedy. But Lautenburg said the federal gov-, ernment was also responsible for ensur-' ing the safety of student residence halls.' “It is never too late to protect young lives, especially with the sort of obvious approach contained in this legislation.”' The State & National Editor can be' reached at stntdesk@unc.edu , A Triangle Women’s Health Clinic Low cost termination to 20 weeks of pregnancy. Call for an appointment Monday - Saturday. FREE Pregnancy Testing “Dedicated to the Health Care of Women. ” 942-0011 www.womanschoice.com 101 Connor Dr., Suite 402 Chapel Hill, NC across from University M<ill ABORTION TO 20 WEEKS Yogurt is our menu! ■ ML _ \ \ | Downtown Chapel Hill • 942 PUMP j 1 06 UJ FronWin St. (Next to He's Not Here) j North Durham • 286-7868 j j NorthgateMall (NcittoCaroosei) j Mon Sot 1 1 30o' Ipm Sun 12pm l I:3opm I
Daily Tar Heel (Chapel Hill, N.C.)
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