Transnational Aesthetics in “Harlem: Mecca of the New Negro”
Abstract: This paper examines the transnational dimensions of the March 1925 issue of Survey Graphic, the “Harlem: Mecca of the New Negro” issue that eventually led to the publication of Alain Locke’s New Negro Anthology. The paper examines this text by looking at the work of German artist Winold Re...
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| Pubblicato in: | URI:https://journals.openedition.org/siecles, |
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| Autore principale: | |
| Natura: | Article ou chapitre numérique |
| Lingua: | Anglais |
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Siècles
2022
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| Accesso online: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:siecles_8957 |
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openedition |
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openedition-oai:revues.org:siecles_8957 https://doi.org/10.4000/siecles.8957 urn:doi:10.4000/siecles.8957 en https://journals.openedition.org/siecles/8957 2022-01-17T01:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/kpd5 https://creativecommons.org/licenses/by/4.0/ Transnational Aesthetics in “Harlem: Mecca of the New Negro” Siècles Centre d'Histoire "Espaces et Cultures" info:eu-repo/semantics/reference/issn/2275-2129 info:eu-repo/semantics/reference/issn/1266-6726 URI:https://journals.openedition.org/siecles Peterson, Whit Frazier Allemagne Antilles Germany 1920s Harlem Renaissance Survey Graphic magazine Transnationalism Harlem (USA) West Indies 1924 transnationalisme Renaissance de Harlem Survey Graphic (magazine) Abstract: This paper examines the transnational dimensions of the March 1925 issue of Survey Graphic, the “Harlem: Mecca of the New Negro” issue that eventually led to the publication of Alain Locke’s New Negro Anthology. The paper examines this text by looking at the work of German artist Winold Reiss, who largely influenced artist Aaron Douglas; Jamaican author W.A. Domingo; Jamaican poet Claude McKay; and Puerto Rican-German author Arthur A. Schomburg. This paper contends that as transnational actors, Black artists were just as responsible for contributing to the purportedly all-white European culture that they inherited in the United States as they were for creating the hybrid African American forms that are inherent elements in all American culture. Résumé : Cet article se penche sur les différentes dimensions transnationales qui se manifestent dans le numéro spécial du Survey Graphic daté de mars 1925, titré "Harlem: Mecca of the New Negro" – un numéro qui inspirera l'ouvrage New Negro Anthology d'Alain Locke. L'analyse porte sur les contributions du plasticien allemand Winold Reiss (dont l'influence sur l'artiste Aaron Douglas est manifeste), de l'auteur jamaïcain W. A. Domingo, du poète jamaïcain Claude McKay et de l'auteur germano-portoricain Arthur A. Schomburg. L’article entend montrer que les artistes noirs, acteurs d'une esthétique transnationale, ont tout aussi bien contribué à la culture occidentale (pourtant supposée blanche, au cœur de laquelle leur héritage américain les place), que créé une culture spécifiquement africaine-américaine qui participe pleinement à la culture américaine au sens large. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
Germany 1920s Harlem Renaissance Survey Graphic magazine Transnationalism Harlem (USA) West Indies 1924 transnationalisme Renaissance de Harlem Survey Graphic (magazine) |
| spellingShingle |
Germany 1920s Harlem Renaissance Survey Graphic magazine Transnationalism Harlem (USA) West Indies 1924 transnationalisme Renaissance de Harlem Survey Graphic (magazine) Peterson, Whit Frazier Transnational Aesthetics in “Harlem: Mecca of the New Negro” |
| description |
Abstract: This paper examines the transnational dimensions of the March 1925 issue of Survey Graphic, the “Harlem: Mecca of the New Negro” issue that eventually led to the publication of Alain Locke’s New Negro Anthology. The paper examines this text by looking at the work of German artist Winold Reiss, who largely influenced artist Aaron Douglas; Jamaican author W.A. Domingo; Jamaican poet Claude McKay; and Puerto Rican-German author Arthur A. Schomburg. This paper contends that as transnational actors, Black artists were just as responsible for contributing to the purportedly all-white European culture that they inherited in the United States as they were for creating the hybrid African American forms that are inherent elements in all American culture. |
| author |
Peterson, Whit Frazier |
| author_facet |
Peterson, Whit Frazier |
| author_sort |
Peterson, Whit Frazier |
| title |
Transnational Aesthetics in “Harlem: Mecca of the New Negro” |
| title_short |
Transnational Aesthetics in “Harlem: Mecca of the New Negro” |
| title_full |
Transnational Aesthetics in “Harlem: Mecca of the New Negro” |
| title_fullStr |
Transnational Aesthetics in “Harlem: Mecca of the New Negro” |
| title_full_unstemmed |
Transnational Aesthetics in “Harlem: Mecca of the New Negro” |
| title_sort |
transnational aesthetics in “harlem: mecca of the new negro” |
| publisher |
Siècles |
| publishDate |
2022 |
| container_title |
URI:https://journals.openedition.org/siecles |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/siecles.8957 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/siecles/8957 |
| _version_ |
1877293331337183232 |