The Harlem Renaissance of African Americans
This concentration of African Americans, many from a growing black middle- and upper-class, led to unprecedented artistic output known as the Harlem Renaissance. Robinson argues African Americans were "ready to set an example of what black people could really achieve" (14). This achievement occurred in all fields but was especially pronounced in the arts, from music to painting.

Singers like Ella Fitzgerald, Billie Holiday and others helped usher in the jazz and blues age, a period of "flappers" and ostentatious displays of wealth and debauchery often chronicled by F. Scott Fitzgerald in works like The Great Gatsby (Shaw 3). Musicians like Louis Armstrong, Duke Ellington, Jelly Roll Morton and Dizzie Gillespie helped define jazz and the blues, making the musical form closely associated with black creativity and artistic talent. As Harlem Renaissance historian Maureen Ryan argues, "Jazz and blues composers like Jelly Roll Martin and Duke Ellington created lyrics and beats that reflected the excitement of the time. Jazz greats performed at the famous Apollo Theatre" (14). This energy in music and jazz had a profound effect on many artists that followed those of the Harlem Renaissance.

Showing the enormous influence of jazz and blues music during the Harlem Renaissance on today

 

In Jazz, Toni Morrison also demonstrates the significant connection between jazz music and ideas, concepts and expressions by African Americans during the Harlem Renaissance. In this novel, Morrison illustrates the love, violence and racism that were part and parcel of the Jazz Age in Harlem. Joe and Violet struggle to deal with racism, but they also struggle to communicate with each other. In the novel Morrison uses jazz to capture the dualism inherent in the Jazz Age, both a dark kind of foreboding and a reckless profligacy. In the novel she uses jazz music as a symbol of both liberation like many artists of the Harlem Renaissance but also as a symbol of the impulses that can destroy one. We see this in the depiction of Violet's bird: "So if neither food nor company nor its own shelter was important to it...nothing was left to love or need but music. They took the cage to the roof...where the wind blew and so did the musicians...From then on the bird was a pleasure to itself and to them" (224). This is akin to the dualism within Sonny in Baldwin's "Sonny's Blues." Morrison's novel captures the spirit and dualism of this new kind of music that burst onto the scene in the 1920s. In many ways it was a liberating force but also a reminder that reckless and wild abandon could exact a heavy price.

In literature, Langston Hughes' poems often express a jazz-like rhythm in their short, staccato like rhyming couplets. Reciting them aloud is like singing the words to a song. However, these works also convey deep feelings about oppression and the struggle of African Americans to achieve their dreams in a prejudiced and racist mainstream culture. We see both the musicality and deep feeling in one of Hughes' most celebrated poems, "A Dream Deferred":

After a drive down Fifth Avenue in the 1920s, F. Scott Fitzgerald cried because he recognized "I had everything I wanted and knew I would never be so happy again" (Shaw 3). It is this comb

 
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    Some topics in this essay  
 
    Harlem Renaissance | African Americans | Jazz Age | Dream Deferred | Sonny Baldwin | African American | Sonny's Blues | Blues Morrison's | harlem renaissance | Langston Hughes' | Americans Harlem | jazz music | african americans | jazz age | african americans harlem | african american | jazz blues | americans harlem | mood atmosphere | social atmosphere | dream deferred | americans harlem renaissance | atmosphere jazz music | mood atmosphere jazz | music harlem renaissance |  
   
 
 
 
   
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