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What do the Great migration and the growth of the NAACP and UNIA reveal about the African-American experience during the twenties.

What do the Great migration and the growth of the NAACP and UNIA reveal about the African-American experience during the twenties.

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What do the Great migration and the growth of the NAACP and UNIA reveal about the African-American experience during the twenties.
themselves from their homes in the South and moved north to the big cities in search of jobs. By the end of the decade, 5.2 million of the nation's 12 million African Americans-over 40 percent-lived in cities. Zora Neale Hurston docu- mented the departure of some of these African Americans. A A PERSONAL VOICE ZORA NEALE HURSTON "Some said goodbye cheerfully ... others fearfully, with terrors of unknown dan- gers in their mouths... others in their eagerness for distance said nothing. The daybreak found them gone. The wind said North." -quoted in Sorrow's Kitchen: The Life and Folklore of Zora Neale Hurston MAIN IDEA Analyzing Effects A How did the influx of African Americans change Northem cities? However, Northern cities in general had not welcomed the massive influx of African Americans. Tensions had escalated in the years prior to 1920, culminating, in the summer of 1919, in approximately 25 urban race riots. A AFRICAN-AMERICAN GOALS Founded in 1909, The KEY PLAYER National Association for the Advancement of Colored People (NAACP) urged African Americans to protest racial violence. W. E. B. Du Bois, a founding member of the NAACP, led a parade of 10,000 African-American men in New York to protest such violence. Du Bois also used the NAACP's magazine, The Crisis, as a platform for leading a struggle for civil rights. Under the leadership of James Weldon Johnson- poet, lawyer, and NAACP executive secretary-the organiza- tion fought for legislation to protect African-American rights. It made antilynching laws one of its main priorities. In 1919, three antilynching bills were introduced in Congress, although none was passed. The NAACP continued its cam- paign through antilynching organizations that had been established in 1892 by Ida B. Wells. Gradually, the number of lynchings dropped. The NAACP represented the new, more JAMES WELDON JOHNSON 1871-1938 James Weldon Johnson worked as a school principal, newspaper editor, and lawyer in Florida. In 1900, he wrote the lyrics for "Lift Every Voice and Sing." the song that became known as the black national anthem. The first stanza begins as follows: militant voice of African Americans. MARCUS GARVEY AND THE UNIA Although many African Americans found their voice in the NAACP, they still faced daily threats and discrimination. Marcus Garvey, an immigrant from Jamaica, believed that African Americans should build a separate society. His different, more radical message of black pride aroused the hopes of many. In 1914, Garvey founded the Universal Negro Improvement Association (UNIA). In 1918, he moved the UNIA to New York City and opened offices in urban ghettos in order to recruit followers. By the mid-1920s, Garvey claimed he had a million followers. He appealed to African "Lift every voice and sing Till earth and heaven ring. Ring with the harmonies of Liberty: Let our rejoicing rise High as the listening skies, Vocabulary Let it resound loud as the oratory: the art of Americans with a combination of spellbinding oratory, mass rolling sea. public speaking meetings, parades, and a message of pride. In the 1920s, Johnson strad- dled the worlds of politics and art. He served as executive sec- A PERSONAL VOICE MARCUS GARVEY "In view of the fact that the black man of Africa has con- retary of the NAACP, spear- heading the fight against lynching. In addition, he wrote well-known works, such as God's Trombones, a series of sermon-like poems, and Black Manhattan, a look at black cultural life in New York dur- ing the Roaring Twenties. tributed as much to the world as the white man of Europe, and the brown man and yellow man of Asia, we of the Universal Negro Improvement Association demand that the white, yellow, and brown races give to the black man his place in the civilization of the world. We ask for nothing more than the rights of 400 million Negroes." -speech at Liberty Hall, New York City, 1922 The Roaring Life of the 1920s 453 Garvey also lured followers with practical plans, especially his program to promote African-American businesses. Further, Garvey encouraged his followers to return to Africa, help native people there throw off white colonial oppressors, and build a mighty nation. His idea struck a chord in many African Americans, as well as in blacks in the Caribbean and Africa. Despite the appeal of Garvey's movement, support for it declined in the Summarizing mid-1920s, when he was convicted of mail fraud and jailed. Although B What the movement dwindled, Garvey left behind a powerful legacy of approach to race newly awakened black pride, economic independence, and reverence Marcus Garvey MAIN IDEA relations did for Africa. 8 promote? The Harlem Renaissance Flowers in New York Many African Americans who migrated north moved to Harlem, a neighborhood on the Upper West Side of New York's Manhattan Island. In the 1920s, Harlem became the world's largest black urban community, with res- Marcus Garvey designed this uniform of purple idents from the South, the West Indies, Cuba, Puerto Rico, and Haiti. James Weldon Johnson described Harlem as the capital of black America. and gold, complete with
Transcribed Image Text:themselves from their homes in the South and moved north to the big cities in search of jobs. By the end of the decade, 5.2 million of the nation's 12 million African Americans-over 40 percent-lived in cities. Zora Neale Hurston docu- mented the departure of some of these African Americans. A A PERSONAL VOICE ZORA NEALE HURSTON "Some said goodbye cheerfully ... others fearfully, with terrors of unknown dan- gers in their mouths... others in their eagerness for distance said nothing. The daybreak found them gone. The wind said North." -quoted in Sorrow's Kitchen: The Life and Folklore of Zora Neale Hurston MAIN IDEA Analyzing Effects A How did the influx of African Americans change Northem cities? However, Northern cities in general had not welcomed the massive influx of African Americans. Tensions had escalated in the years prior to 1920, culminating, in the summer of 1919, in approximately 25 urban race riots. A AFRICAN-AMERICAN GOALS Founded in 1909, The KEY PLAYER National Association for the Advancement of Colored People (NAACP) urged African Americans to protest racial violence. W. E. B. Du Bois, a founding member of the NAACP, led a parade of 10,000 African-American men in New York to protest such violence. Du Bois also used the NAACP's magazine, The Crisis, as a platform for leading a struggle for civil rights. Under the leadership of James Weldon Johnson- poet, lawyer, and NAACP executive secretary-the organiza- tion fought for legislation to protect African-American rights. It made antilynching laws one of its main priorities. In 1919, three antilynching bills were introduced in Congress, although none was passed. The NAACP continued its cam- paign through antilynching organizations that had been established in 1892 by Ida B. Wells. Gradually, the number of lynchings dropped. The NAACP represented the new, more JAMES WELDON JOHNSON 1871-1938 James Weldon Johnson worked as a school principal, newspaper editor, and lawyer in Florida. In 1900, he wrote the lyrics for "Lift Every Voice and Sing." the song that became known as the black national anthem. The first stanza begins as follows: militant voice of African Americans. MARCUS GARVEY AND THE UNIA Although many African Americans found their voice in the NAACP, they still faced daily threats and discrimination. Marcus Garvey, an immigrant from Jamaica, believed that African Americans should build a separate society. His different, more radical message of black pride aroused the hopes of many. In 1914, Garvey founded the Universal Negro Improvement Association (UNIA). In 1918, he moved the UNIA to New York City and opened offices in urban ghettos in order to recruit followers. By the mid-1920s, Garvey claimed he had a million followers. He appealed to African "Lift every voice and sing Till earth and heaven ring. Ring with the harmonies of Liberty: Let our rejoicing rise High as the listening skies, Vocabulary Let it resound loud as the oratory: the art of Americans with a combination of spellbinding oratory, mass rolling sea. public speaking meetings, parades, and a message of pride. In the 1920s, Johnson strad- dled the worlds of politics and art. He served as executive sec- A PERSONAL VOICE MARCUS GARVEY "In view of the fact that the black man of Africa has con- retary of the NAACP, spear- heading the fight against lynching. In addition, he wrote well-known works, such as God's Trombones, a series of sermon-like poems, and Black Manhattan, a look at black cultural life in New York dur- ing the Roaring Twenties. tributed as much to the world as the white man of Europe, and the brown man and yellow man of Asia, we of the Universal Negro Improvement Association demand that the white, yellow, and brown races give to the black man his place in the civilization of the world. We ask for nothing more than the rights of 400 million Negroes." -speech at Liberty Hall, New York City, 1922 The Roaring Life of the 1920s 453 Garvey also lured followers with practical plans, especially his program to promote African-American businesses. Further, Garvey encouraged his followers to return to Africa, help native people there throw off white colonial oppressors, and build a mighty nation. His idea struck a chord in many African Americans, as well as in blacks in the Caribbean and Africa. Despite the appeal of Garvey's movement, support for it declined in the Summarizing mid-1920s, when he was convicted of mail fraud and jailed. Although B What the movement dwindled, Garvey left behind a powerful legacy of approach to race newly awakened black pride, economic independence, and reverence Marcus Garvey MAIN IDEA relations did for Africa. 8 promote? The Harlem Renaissance Flowers in New York Many African Americans who migrated north moved to Harlem, a neighborhood on the Upper West Side of New York's Manhattan Island. In the 1920s, Harlem became the world's largest black urban community, with res- Marcus Garvey designed this uniform of purple idents from the South, the West Indies, Cuba, Puerto Rico, and Haiti. James Weldon Johnson described Harlem as the capital of black America. and gold, complete with
SECTION 4 The Harlem Renaissance MAIN IDEA WHY IT MATTERS NOW Terms & Names Zora Neale Hurston The Harlem Renaissance provided African-American ideas, politics, art, literature, and music flourished in Harlem and elsewhere in the United •Claude McKay •Langston Hughes a foundation of African-American intellectualism to which African- James Weldon •Paul Robeson American writers, artists, and musicians contribute today. Johnson Marcus Garvey Harlem •Louis Armstrong Duke Ellington •Bessie Smith States. Renaissance One American's Story When the spirited Zora Neale Hurston was a girl in Eatonville, Florida, in the early 1900s, she loved to read adventure stories and myths. The powerful tales struck a chord with the young, talent- ed Hurston and made her yearn for a wider world. A PERSONAL VOICE ZORA NEALE HURSTON *My soul was with the gods and my body in the village. People just would not act like gods.... Raking back yards and carrying out chamber-pots, were not the tasks of Thor. I wanted to be away from drabness and to stretch my limbs in some mighty struggle. -quoted in The African American Encyclopedia After spending time with a traveling theater company and attending Howard University, Hurston ended up in New York where she struggled to the top of African-American literary society by hard work, flamboyance, and, above all, grit. "I have seen that the world is to the strong regardless of a little pigmentation more or less," Hurston wrote later. "I do not weep at (being Negro)-I am too busy sharpening my oyster knife." Hurston was on the move, like millions of others. And, like them, she went after the pearl in the oyster-the good life in America. VIDEO AMERICAN JUMP AT THE SUN: Zora Neale Hurston and the Harlem Renaissance African-American Voices in the 1920s During the 1920s, African Americans set new goals for themselves as they moved north to the nation's cities. Their migration was an expression of their changing attitude toward themselves-an attitude perhaps best captured in a phrase first used around this time, "Black is beautiful." THE MOVE NORTH Between 1910 and 1920, in a movement known as the Great Migration, hundreds of thousands of African Americans had uprooted 452 CHAPTER 13 themselves from their homes in the South and moved north to the big cities in search of jobs. By the end of the decade, 5.2 million of the nation's 12 million African Americans-over 40 percent-lived in cities. Zora Neale Hurston docu- mented the departure of some of these African Americans. A PERSONAL VOICE ZORA NEALE HURSTON "Some said goodbye cheerfully ... others fearfully, with terrors of unknown dan- gers in their mouths ... others in their eagerness for distance said nothing. The daybreak found them gone. The wind said North." -quoted in Sorrow's Kitchen: The Life and Folklore of Zora Neale Hurston MAIN IDEA
Transcribed Image Text:SECTION 4 The Harlem Renaissance MAIN IDEA WHY IT MATTERS NOW Terms & Names Zora Neale Hurston The Harlem Renaissance provided African-American ideas, politics, art, literature, and music flourished in Harlem and elsewhere in the United •Claude McKay •Langston Hughes a foundation of African-American intellectualism to which African- James Weldon •Paul Robeson American writers, artists, and musicians contribute today. Johnson Marcus Garvey Harlem •Louis Armstrong Duke Ellington •Bessie Smith States. Renaissance One American's Story When the spirited Zora Neale Hurston was a girl in Eatonville, Florida, in the early 1900s, she loved to read adventure stories and myths. The powerful tales struck a chord with the young, talent- ed Hurston and made her yearn for a wider world. A PERSONAL VOICE ZORA NEALE HURSTON *My soul was with the gods and my body in the village. People just would not act like gods.... Raking back yards and carrying out chamber-pots, were not the tasks of Thor. I wanted to be away from drabness and to stretch my limbs in some mighty struggle. -quoted in The African American Encyclopedia After spending time with a traveling theater company and attending Howard University, Hurston ended up in New York where she struggled to the top of African-American literary society by hard work, flamboyance, and, above all, grit. "I have seen that the world is to the strong regardless of a little pigmentation more or less," Hurston wrote later. "I do not weep at (being Negro)-I am too busy sharpening my oyster knife." Hurston was on the move, like millions of others. And, like them, she went after the pearl in the oyster-the good life in America. VIDEO AMERICAN JUMP AT THE SUN: Zora Neale Hurston and the Harlem Renaissance African-American Voices in the 1920s During the 1920s, African Americans set new goals for themselves as they moved north to the nation's cities. Their migration was an expression of their changing attitude toward themselves-an attitude perhaps best captured in a phrase first used around this time, "Black is beautiful." THE MOVE NORTH Between 1910 and 1920, in a movement known as the Great Migration, hundreds of thousands of African Americans had uprooted 452 CHAPTER 13 themselves from their homes in the South and moved north to the big cities in search of jobs. By the end of the decade, 5.2 million of the nation's 12 million African Americans-over 40 percent-lived in cities. Zora Neale Hurston docu- mented the departure of some of these African Americans. A PERSONAL VOICE ZORA NEALE HURSTON "Some said goodbye cheerfully ... others fearfully, with terrors of unknown dan- gers in their mouths ... others in their eagerness for distance said nothing. The daybreak found them gone. The wind said North." -quoted in Sorrow's Kitchen: The Life and Folklore of Zora Neale Hurston MAIN IDEA
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The 1920s is also known as the “Jazz Age” because of its cultural and artistic advancements. America witnessed a major shift with the advent of Industrialization.

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