Harlem Renaissance Art Style and History

Harlem Renaissance Art Style and History The legacy of the Harlem Renaissance is that it redefined how America and the world, viewed the African-American population. The migration of Southern Blacks to the North changed the image of the African-American from rural, undereducated peasants to one of urban, cosmopolitan sophistication. This new identity led to a greater social consciousness; African-Americans became players on the world stage, expanding intellectual and social contacts internationally. Some common themes represented during the Harlem Renaissance were the influence of the experience of slavery and emerging African-American folk traditions on black identity, the effects of institutional racism, the dilemmas inherent in performing and writing for elite white audiences, and the question of how to convey the experience of modern black life in the urban North. Characterizing the Harlem Renaissance was an overt racial pride that came to be represented in the idea of the New Negro, who through intellect and production of literature, art, and music could challenge the pervading racism and stereotypes to promote progressive or socialist politics, and racial and social integration. The creation of art and literature would serve to uplift the race. New Negro is a term popularized during the Harlem Renaissance implying a more outspoken advocacy of dignity and a refusal to submit quietly to the practices and laws of Jim Crow racial segregation. The term New Negro was made popular by Alain LeRoy Locke. It is my intent to show how Carl Van Vechten, James Van Der Zee, and James Latimer Allen interpret and display the New Negro in their work of portraitures. As white families moved from cities to suburbs, the advent of World War I created a shortage of labor in northern cities. African Americans began to migrate north from their southern rural homes. During the 1920s, 1.5 million African Americans migrated north in hope of employment and relief from tthe prejudice that oppressed them so severely in the South. Van Vechtens many portraits of African-American performers, writers, and musicians taken in New York City reflect his interest in African Americans and the arts. They also reflect the growing presence of African Americans in northern cities resulting from the mass migration of the 1920s. More than this, these portraits also document the impact of this migration in popularizing African-American artistic movements such as jazz, the blues, and the Harlem Renaissance. I am certain that my first interest in making [these] photographs was documentary and probably my latest interest in making them is documentary too . . . I wanted to show young people of all races how many distinguished Negroes there were in this world . . . he adds that the process of making photographic portraits is a magical act. Bessie Smiths notorious private life contributed to glamorizing the self-destructive behavior often associated with jazz, blues, and rock performers of the present day. Smiths excessive drinking, violent temper (and physical strength), and predatory sexual life involving both men and women were boundary breaking, even by the standards of free-living musicians of the Roaring Twenties. A number of Smiths recordings in her later career were frankly pornographic, reflected both her loss of stature as an artist and her first-hand experience in reckless and often abusive relationships. All of this is important to keep in mind while analyzing this piece. We see the subject, Smith looking up and back at a bust of an African statue. While she is physically looking in a backward motion it can also be interpreted as a metaphor for l ooking into ones own past and heritage. With Smiths dicey past and morally grey activities Van Vechten portrays her as a beautiful female specimen who is in adoration of her African roots. Van Vechten place Smith below the statue which forces her to look up in its direction which is historically pious in stance. She is in veneration of her ancestors; she has them to thank for her present success as a performer. The portraits taken by James Latimer Allen were of many men and women who created the Harlem Renaissance exhibit with a purposeful uniformity. Men dressed in a dapper manner in suits and ties, women in their Sunday best. Through this formal statement Allen was underscoring the emergence of what a local magazine, The Survey Graphic, in 1925 had called the New Negro. Harlem photographer James Allens portrait of graphic artist James Lesesne Wells shows his subject intensely engaged with a drinking cup from Central Africa. Wells gazes down on the face carved on the vessel as if communing with an ancestor. The entire notion of this photo is very contrived. It is a bit of a strain to believe that Wells has a deep connection much less a full understanding of his ancestral past. The fact is the New Negros was a group that had never known slavery. Therefore they were comfortable with the idea of succeeding in all realms of culture and in any profession. Whether Wells understands or appreciate s the artifact if it is even authentic doesnt matter. What is really important is his presence and brooding manner. He seems to be engulfed within his own thoughts. His meditative state gives the viewer the idea that this Black man is able to think on a high level proving his intelligence and all around competence within society. His is very neatly put together; though no real emphasis is put on his attire we can still tell that he is not poor. Wells is looking down at the cup, a contrast to the image of Smith who is looking upward at her African fetishe. In comparison, these two images are similar in that they both are looking to their past and pieces of African art which serve as an affirmation of their heritage and identity. In contrast, Wells is putting himself above and beyond his ties to slavery; he is asserting himself into the image of the New Negro. Wells may reject the European ideas of primitivism because he himself is an artist who is very influenced by European woodcuts and their makers. Alain Locke happens to be one of his biggest supporters which may also feed into his self assured and confident nature that he is about to portray. Aesthetically the composition is lacking. Our eyes are guided diagonally to the cup so that we too may contemplate and feel the magic that lies within the cup. As contrived as the pictorial space and composition is, it certainly promotes the values of the New Negro. A lot of scholars and critics agree that James Van Der Zee documented the truth and he was very creative and realistic in doing so. They feel he used photography to document Black America by creating a vision of success and naturalness. Through his artwork he wanted to show that life for African Americans in Harlem could be better and will be better. He wanted them to have a better, wealthier image showing that they too can be successful he took pictures of them either looking strong, happy, or dominant. Van Der Zee had the ability to construct his compositions so they were visually interesting and coherent. They have an aesthetic dimension that is independent of whatever they depict. Experts explain that the best photographers do the unexpected; they do not just focus on the fantasized world but the real world also Van Der Zee did both. He provided an image for African Americans showing success and showing what they face in everyday life by creating a natural look so they fit in. Wo rks by Van Der Zee are artistic as well as technically proficient. His work was in high demand, due in part to his experimentation and skill in double exposures and in retouching negatives of children. A theme that reoccurs in his photographs is the emergent black middle class, which he captured using traditional techniques in often idealistic images. Negatives were retouched to show glamour and an aura of perfection. This affected the likeness of the person photographed, but he felt each photo should transcend the subject. His carefully posed family portraits reveal that the family unit was an important aspect of Van Der Zees life. He photographed the people of Harlem for more than six decades, depicting the life of one of the most celebrated black communities in the world. By providing elaborate costumes, props, and backdrops, in combination with creative double exposures, expert retouching, and airbrushing, Van Der Zee became renowned for the quality of his portraits. Van Der Zee actively worked to manipulate an image through careful composition, use of multiple negatives, retouching, dramatic lighting, and skillfully painted backdrops and props. It is tempting to compare his multi-layered images to photomontage created in the 1920s and 1930s. However, Van Der Zee was familiar with neither the avant-garde photographic practices in Europe nor the modernist photography by Alfred Stieglitz. Although he gained fame for his portrayal of African-American celebrities who passed through Harlem, Van Der Zee made his daily living by taking thousands of photographs of Harlems residents, including family groups, weddings, athletic teams, and social clubs. In this portrait, Wedding Day, Harlem, Van Der Zee was creating an unusual but realistic message. The most important concepts of the portrait are the facial expressions on the bride and grooms face. The bride is looking at the camera while the groom is looking at her. Her face has a serious structure, showing that she is dominant, as her body is positioned slanted position but her posture is straight. The groom is admiring her and being a gentleman. The painted backdrop of the fireplace and a superimposed image of a little girl who is playing with a newly available black baby doll all speak of the couples dream of a middle class status. The architecture of the columns and the ornate chair are visual tropes that have been used throughout history in such other wedding portraits such as the Arnolfini portrait. A domestic family life, and black pride are the ideas all fall into line with the New Negro movement these are all concepts that Van Der Zee puts into action in his portraits. These works portray the peoples of African descent in a positive light in normal, human situations. Historically and continually, peoples of African descent are often portrayed negatively in the various media, and many mainstream photographers working in areas such as Harlem, have historically highlighted squalid conditions, social problems, or exoticism. Such Western interest in tribal artifacts grew from the colonization of Africa by Europeans, whose takeover of the continent is documented through a colored map. By 1900, few major artists were untouched by the fascination with African and Oceanic primitive art. Henri Matisse, Pablo Picasso, and others were drawn to the styles and motifs from these non-Western cultures as a way to challenge traditional aesthetic ideas. They saw western styles as stagnant and irrelevant to modern society. Unfortunately, part of the expectation of African-American artists of this time period was to relate to and produce images that correlated with tri bal artifacts. While Europeans understood African objects through the lens of colonialism, Americans viewed them as representing the legacy of slavery and segregation. Racial biases resulted in the negative perception of African art which persists to this day. But since the Harlem Renaissance is remembered as a fleeting golden age; a contemporary viewer cannot help but read evanescence into these portraits. Van Der Zee, Allen, and Van Vechten did their part to promote African-Americans in a light that they deserve even if they may not have monetarily deserved the title. All humans deserve the right to dream and have the same goals despite racial barriers. It is my belief that these artists truly upheld the image of the New Negro while also continually trying to move forward with that idea and their own artwork. Carl Van Vechten, Portrait of Bessie Smith James Van Der Zee, Future Expectations (Wedding Day)1926 James Latimer Allen, Portrait of James Lesesne Wells, c. 1930.

Implication for the Retail Industry Essay example -- essays research p

Thomas, Ryan, â€Å"The Right Mix: Brands versus Private Labels,† Apparel, Feb’04, p. 30-33 Overview of Article   Ã‚  Ã‚  Ã‚  Ã‚  Department stores that may want to develop or expand private labels to replace lagging national brands should be aware of the downfalls as well as the benefits.   Ã‚  Ã‚  Ã‚  Ã‚  Private labels increase margins from 6-10% higher than national brands. They also allow for fashion garments to be reproduced the following season if they are still in demand. However, department stores risk opposition from national brands if such private labels create too much competition.   Ã‚  Ã‚  Ã‚  Ã‚  If private labels are to be expanded, they should be of higher quality than the norm. They should also be offered in a wide range of categories, to decrease advertising costs. Article Summary   Ã‚  Ã‚  Ã‚  Ã‚  Department stores have traditionally used private labels on the selling floor as a way to provide a low-cost alternative to consumers. However, they may be expanding and developing more private labels to replace those national brands that have been falling behind.   Ã‚  Ã‚  Ã‚  Ã‚  Private labels are helpful to department stores because they increase margins. On average, private label margins are 6-10% higher than national brands.   Ã‚  Ã‚  Ã‚  Ã‚  Another benefit of private labels is one not offered by brand manufacturers. If a fashionable garment sells out fast in any particular season, ...

Dressing for Success

Robert Johnson Eng. 099 Fran Bradshaw Feb. 5, 2010 Dressing for Success Have you ever thought that dressing for success could bring about success to your everyday life? A lot of people these days as far as young men and women usually dress in a very urban style dealing with clothes that may be nice but are often worn incorrectly. For example somebody could have on a nice pair of Levi jeans but wear them to where they sag all the way off of their butt which is improper and just doesn’t look good.People also try to wear clothes that tend to be too big yet they still wear it which is funny to me, but not funny in the eyes of a business man or somebody important who may be watching. You never know who could be watching that’s why I feel young men and women should show themselves to be presentable, as well as professional, because first impressions are everything in society. How you come off to people and show yourself matters so much in society. As your first impression you should want to come off as a well dressed individual.Before people even meet you if they see that you’re well dressed that’s like a bonus for you because they’ll appreciate you more. People will know that you carry yourself in a professional manner, and won’t treat you as just who doesn’t matter, but a man or women of importance. Also dressing nicely shows that you have a good respect for yourself and if people see that just off of how you dress they will have way more respect for you. This can also help in any business venture you take, because what boss doesn’t like to see a potential or future employee who shows himself to look good and be professional.Which leads me to why looking professional is also a benefit of dressing well. As young men and women we strive to seek a well paying job whether in school or out of school. With well paying jobs comes an interview which looking professional is one of the keys to being viewed amongst the r est of the people who may be going for the same job you are. Not even in just a job setting, but in school as well with any teacher treating you better just for the simple fact that you come to class looking ready to learn.Also if you ever thought while you were in school that you may have wanted to pledge a fraternity or sorority, then looking professional might get you looked at as a potential choice for either one. Along with dressing for success being presentable is key. You must show that you’re not the same as everybody else but different in your own way. Everybody these days can put on a suit, but it takes the person inside the suit to really present there selves in a unique way from everybody else.You should present yourself to where it really shows who you are as an individual. Don’t set yourself up for failure and dress to where you present yourself as someone who is just like everybody else. In conclusion dressing for success deals with three things looking professional, being presentable, and your first impression. Even then it’s on you to strive to stand out amongst other people as person who dresses not simply to look good but for respect and admiration. That in its self is worth dressing for success every day.

Teaching English Through Role Play - Free Essay Example

Sample details Pages: 4 Words: 1175 Downloads: 5 Date added: 2017/09/25 Category Advertising Essay Type Argumentative essay Level High school Topics: Student Essay Did you like this example? TEACHING ENGLISH THROUGH ROLE PLAY (PREDAREA LIMBII ENGLEZE UTILIZAND JOCUL DE ROL) Role-play is a classroom activity in which learners take on a ‘role’, they play the part of someone else, from a simple discussion between a tourist when asking for directions in a new city or at the airport, to more elaborate conversation about the American Dream or Genetics. Role-play is a useful tool not only for developing language skills, but also for increasing sociocultural knowledge and intercultural awareness. Depending on how a role-play is designed and set up, it can be used for a wide variety of purposes. Frequently, role plays are used to offer a chance to practice the language of particular situations, but they can also be used to practice particular areas of grammar, sets of vocabulary, functional language and even features of pronunciation. They may not even have a specific language focus and can be used to provide opportunities for students to practice their sp eaking and listening skills. Role-plays are simple but important way of extending the range of useful practice. There are many good reasons for using role-plays in class: role-plays help students cope with real-life situations, commonly used expressions, forcing them to think â€Å"on their feet†; role-plays help students work together as a team or group, and communicate in order to understand each other, because role-plays are not simple acts of reading or reproduction the information from a piece of paper; role-plays can be adapted to the needs of the students, they may use specific vocabulary for specific situations, as learning English is sometimes done for a specific purpose; role-plays give learners more responsibility in their learning, encouraging interaction; role-plays offer students the chance to evaluate their learning progress and their level of English. Role-plays in general tend to have some common characteristics: they are usually spoken, but they c an be conducted in written form, they usually involve role cards (role cards are very useful but not always necessary); in role plays learners are pretending to be someone else, there are also contexts when learners can play themselves; role plays, most of the time, involve some preparation, this does not mean that role-plays are always planned in advance. When using role-play as a teaching tool there are some stages to be followed: 1. Preparation time: it is very important to give students time to prepare themselves in order to understand the task and role card, to think some ideas and appropriate language. 2. Students ought to be watched and actively helped, but the teacher should avoid interrupting or interfering too much in the role-play because a role-play is usually a chance to practice using language to communicate. It is often more important being fluent and getting one’s message across than getting it 100% correct. Afterwards the teacher must give his/her feedback and correct the mistakes students have made. 3. All students should be involved as they may feel watched and judged. It is very easy to turn many activities into role-plays besides those from textbooks. Many teachers like to support role-plays with some kind of prop or realia. Using props can help make a role-play feel more real and more fun. Props and realia also give students something to ‘hold on to’ while doing a role-play, providing another level of security and confidence. Props that are easily used, being present in the classroom can be: mobile phones, a hat, sunglasses, newspapers and magazines. All these can help students feel less nervous. Each student has his/her own level of English; it is the teacher’s role to adapt the material from beginner, elementary to intermediate or advanced classes. Here are some examples of role-play activities from Macmillan official page. Celebrity party Level: beginner – elementary Preparation: complete the inv itation cards with a date and place and make a copy for every student in the class. Procedure: 1. Draw two stick people on the board. Explain that they are at a party. Ask ‘What do they say? ’. Elicit the following dialogue line by line and write it on the board: Hello. /Hi. /My name is XX. What’s your name? /I’m YY. /Nice to meet you. /Nice to meet you too. 2. Drill the dialogue chorally, line by line. Focus on the pronunciation and intonation of the dialogue. 3. Ask students to practice the dialogue in pairs, using their own names. 4. Set the scene. Explain that the students are all at a celebrity party. They are all going to play the roles of famous celebrities. Give them a minute to choose who they are. Distribute the invitation cards with useful language. 5. Ask everyone to stand up. Tell them to talk to at least six or seven people. They should use the dialogue as a starting point, but can talk more if they like. 6. After the activity finishes, as k students to sit down again. Can they remember who was who at the party? Money talks Level: intermediate Preparation: prepare copies of the material so that every student in the class has a card. Procedure: 1. Write the word Money Problems on the board and ask students to brainstorm in pairs as many different money problems as they can think of. Set a time limit of 2 minutes. Give the first example, e. g. you owe money to a friend and can’t pay it back. 2. Elicit suggestions and put them on the board. Use this time to pre-teach/review the following words: owe, borrow, lend, spend, inherit, pay. 3. Explain that today the students are going to role play some money problems. You are going to give them cards to half of the students. Explain that they have the problem listed on the card and they must talk to three different people and ask for advice. 4. Distribute the role cards and tell students with the cards to talk to a partner about the problem. After three or four min utes, tell the students with the card to talk to a different partner. Note: for this activity, only the students with role cards need to move around. The other students remain where they are. 5. Repeat stage 4 two more times. 6. At the end of the role-plays, ask the students to tell their problem to the class and explain what was the best solution offered. Also, corrections can be done on mistakes or to underline the good examples of language use. Cards: 1. You inherited a very large sum of money and you don’t know what to do with it. Ask other people for advice. 2. You need to borrow some money, but the bank won’t give it to you. Ask other people for advice. 3. You think your wife/husband is too careful with his/her money. He/she never buys anything nice! You are always arguing about money. Ask other people for advice. You can do this ‘giving advice’ role-play activity with any other typical problems: work problems, love problems, school problems etc. Bibliography: 1. Lindsay Clandfield, Philip Kerr, Ceri Jones, Jim Scrivener, Straightforward, Guide to Roleplays, Macmillan, 2004. 2. Adriana Vizental, Metodica predarii limbii engleze, ed. Polirom, Iasi, 2007. Don’t waste time! Our writers will create an original "Teaching English Through Role Play" essay for you Create order