Harlem Renaissance evinced an effervescent and zealous interest in the black history and cultural moorings amongst the African American middle class.
One of the salient objectives of the Harlem Renaissance was an honest portrayal of the African American talent and heritage through art, literature, music and thought.
She undertook a research project to learn more about the period and presented her findings, "Thurman and Cullen Were Playwrights Too: Blackness, Genre, and Form in the Harlem Renaissance," at the Celebration of Student Achievement Poster Session in April.
Dominique Joe, a graduating English major, appreciates the greats, but she knew that popular learning was only scratching the surface.
It not only gave hope to people but also inspired Asian Americans and Latinos to develop their own cultures, which means that there is no necessity to assimilate the native culture to the American one.
Besides, the literary canon received the diversity it lacked so much.
BAM, or the Black Arts Movement, represents an artistic branch of the Black Power movement. The Time magazine wrote that this movement was the most controversial in African-American literature.
BAM’s key institution was the Black Arts Repertory Theatre.
“My paper asserts that, in part, Harlem Renaissance plays are discarded in how the period is memorialized by scholars because they reveal the complexity of defining Blackness,” Joe explained.
“In particular, I focus on plays by Wallace Thurman and Countee Cullen — "Harlem: A Melodrama of Negro Life" and "The Third Fourth of July," respectively — because neither artist fits the standard lifestyle and philosophy of the period.” In her paper, Joe calls attention to the fact that, although the Harlem Renaissance was a popular artistic movement, it is often talked about in a constricted way – academics tend to only look to a few writers to sum up an entire artistic era.