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Orange Is the New Black (season 5)
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Orange Is the New Black (season 5)
Promotional poster
Starring
Taylor Schilling
Natasha Lyonne
Uzo Aduba
Danielle Brooks
Jackie Cruz
Lea DeLaria
Michael Harney
Selenis Leyva
Taryn Manning
Adrienne C. Moore
Jessica Pimentel
Dascha Polanco
Elizabeth Rodriguez
Nick Sandow
Yael Stone
Kate Mulgrew
Laura Prepon
Country of origin
United States
No. of episodes
13
Release
Original network
Netflix
Original release
June 9, 2017 (2017-06-09)
Season chronology
← Previous
Season 4
List of Orange Is the New Black episodes
The fifth season of the American comedy-drama television series Orange Is the New Black premiered on Netflix on June 9, 2017, at 12:00 am PST in multiple countries. It consists of thirteen episodes, each between 51–60 minutes. The series is based on Piper Kerman's memoir, Orange Is the New Black: My Year in a Women's Prison (2010), about her experiences at FCI Danbury, a minimum-security federal prison. The series is created and adapted for television by Jenji Kohan.
Contents
[hide]
1 Episodes
2 Cast and characters
2.1 Main cast
2.2 Special guest stars
2.3 Recurring cast
2.3.1 Inmates
2.3.2 Staff
2.3.3 Others
3 Production
3.1 Cyberhack
4 Reception
4.1 Critical reception
5 References
6 External links
Episodes[edit]
See also: List of Orange Is the New Black episodes
No.
overall
No. in
season
Title
Directed by
Written by
Featured character(s)
Original release date
53
1 "Riot FOMO" Andrew McCarthy Jenji Kohan none June 9, 2017 (2017-06-09)
Litchfield Prison erupts into a riot when the inmates are not satisfied with Caputo's handling of Poussey's death. Daya shoots CO Thomas Humphrey in the thigh after he begins begging for his life in Spanish — a language she does not speak. His life is eventually saved by Sophia, who has paramedic training from her days as a firefighter. Piper and Alex try to take Linda hostage, but then feel bad for her and help her disguise herself as an inmate. Taystee, Black Cindy, Janae and Alison force Caputo to read a statement about Poussey's death, which Taystee records on an iPad. Josh, a PR representative from MCC who was visiting Caputo, helps her upload it to Twitter, since he thinks the story of a renegade CO reflects better on the company than out-of-control inmates.
54
2 "Fuck, Marry, Frieda" Constantine Makris Jordan Harrison Frieda June 9, 2017 (2017-06-09)
The prison stays under control of the inmates, who are holding several corrections officers hostage. The Hispanics force the COs to strip down to their underwear in front of a packed chapel. The video of Caputo, meant to spark outrage, instead gets mocked with memes featuring the hashtag #BlackLattesMatter because Cindy is shown drinking a latte. Humphrey, who suffered major blood loss, has a stroke in the prison infirmary, which is staffed by only a nurse. Daya, nearing an emotional breakdown worrying over her future, claims she lost the gun; while CO Artesian McCullough suspects the gun is gone. Taystee uploads a photo of all the COs, plus Caputo, in their underwear. It is revealed that Frieda has a secret "bunker" built out of an unused pool that was never filled in, also stocked with food she has hoarded.
Flashback: Frieda's life as a child during the Cuban Missile Crisis reveals her father was paranoid about the Soviet Union and a nuclear war, and had an underground bunker in the woods, also stocked with food and weapons.
55
3 "Pissters!" Phil Abraham Rebecca Angelo & Lauren Schuker Blum Linda June 9, 2017 (2017-06-09)
Worried over the public backlash — and celebrity chef Judy King —, MCC decides to give in to the inmates and meet their demands. Linda tries to fit in with the inmates, but is shocked at the substandard conditions of the prison. Piper and Alex, looking at Linda's phone, are shocked to find photos of her kissing Caputo. The inmates work together to compile a list of demands, which includes reinstating the GED program, better healthcare, amnesty for the inmates involved in the riot, the arrest of CO Bayley for Poussey's death, and Flaming Hot Cheetos. Bayley, meanwhile, goes to the police station and tries to confess murder, but the police dismiss him as a drunk veteran back from the Iraq War with PTSD and put him in the drunk tank. A frightened Judy King, a victim of a random pantsing by meth heads Angie and Leanne, attempts to escape but is attacked by the white supremacists. The COs, locked in a room, plot to regain control of the prison after Artesian's tip that the inmates do not have the gun anymore. As they prepare to attack the inmates, Caputo sees Linda among them.
Flashback: Linda's college days in a sorority in the 1990s show that while at a party, she left her drunk friend outside in the snow and she ended up freezing to death.
56
4 "Litchfield's Got Talent" Nick Sandow Josh Koenigsberg, Jenji Kohan & Tara Herrmann Alison June 9, 2017 (2017-06-09)
The COs, who are preparing to attack once they are brought food, abort the mission on Caputo's command. Meth heads Angie and Leanne try to pants Gloria, and the gun falls to the crowd, which they recover. High, they want the COs to perform a talent show for their enjoyment. The "talents" include singing from CO Dixon; a Mormon-themed magic show from CO Blake; an Italian monologue from Josh; and a strip show from CO Stratman. Leanne declares Josh the winner merely because he is the prettiest. Suzanne, who believes Poussey's spirit is still where she died, sets up a shrine on the spot of her death and organizes a séance. Blanca and Red, high on amphetamines that Blanca claimed were vitamins, raid the administrative files looking for dirt on the COs. They discover that Piscatella was transferred to Litchfield from a male prison after the death of an inmate, who was discovered in the shower with burns on 80% of his body. Judy King is tied to a board, crucifixion-style, by the white supremacists, who think she has a stash of food. She lies to them and says she is expecting a drop of supplies on the roof of the prison from a helicopter. They go up to the roof and realizing she lied, they try to throw her off, and she faints. Then, a helicopter arrives, but it is a news helicopter carrying cameramen, who take photos and record Judy tied up and unconscious.
Flashback: Alison persuades her husband to accept a polygamous lifestyle because she feels overwhelmed by the time constraints of the housework and raising their daughter, Farah. Then, another woman, Sahar, moves in, but Alison gets jealous.
57
5 "Sing It, White Effie" Phil Abraham Molly Smith Metzler Watson June 9, 2017 (2017-06-09)
Video of Judy King is widely misreported as a terrorist attack against Christians, as the white supremacists had their heads covered and are mistaken for Muslims. The governor is livid about MCC's passive stance and sends his own team to Litchfield. On the outside, Aleida struggles to find employment. Gloria calls her but is unable to tell her about Daya. Janae, Alison, Black Cindy and Taystee free Judy in order to stop the disinformation about the situation. They clean her up and have Josh give her talking points, before all four go outside to face the press. Judy begins to give her statement but Taystee interrupts her with an emotional speech about how Judy was kept separately from them because of her wealth and status. She says their fight is not with Judy but with the system that punishes poor and black people. Meanwhile, Angie and Leanne find Charlie Coates in the laundry room after he had been with Pennsatucky. They plan to take him hostage but Pennsatucky grabs the gun from Angie's waistband. She throws the gun to Charlie and it accidentally fires, shooting Leanne in the finger. Charlie uses the weapon to escape the prison and goes outside, where the CERT greets him with guns drawn; then, he faints.
Flashback: A teenaged Watson tours an elite prep school and is mesmerized by the wealth and depth of education. She witnesses a rehearsal for the school's (all-white) production of Dreamgirls and is shocked by a white girl in an Afro wig performing "And I Am Telling You I'm Not Going." Returning to her school, she is discouraged by her poor conditions and develops a negative attitude.
58
6 "Flaming Hot Cheetos, Literally" Andrew McCarthy Lauren Morelli Taystee June 9, 2017 (2017-06-09)
The inmates organize a mock trial for Pennsatucky, with Big Boo acting as her representative. Using Saved by the Bell episodes, Big Boo casts doubt on Angie's credibility, and Pennsatucky is given community service as a sentence. Aleida appears on the local news to talk about Litchfield, but it is a disaster. Morello has sex with Nicky and realizes she is pregnant. The inmates receive boxes of Flaming Hot Cheetos and tampons from the governor, who wants them to release the hostages. They refuse to do so until the rest of their demands are met. Then, they have a bonfire of Cheetos in front of the press.
Flashback: Taystee celebrates her 18th birthday in a group home. She meets her birth mother, who was 15 when she first got pregnant. Her mother now has a husband and a young daughter and does not want to tell them about Taystee. Then, Taystee, who mistakenly believed she was going to go live with her mother, runs away from the group home.
59
7 "Full Bush, Half Snickers" Uta Briesewitz Anthony Natoli none June 9, 2017 (2017-06-09)
Morello's husband leaves her after she announces her pregnancy. The imprisoned guards are forced to clean bunks. Poussey's friends try to think of the best way to honor her memory; Soso wants it to be something Poussey herself would have wanted, and they reinvigorate the library by putting books all over the prison. Red, with help from Blanca, tries to entice Piscatella into the prison. Linda has sex with Big Boo. Red tries to guess Humphrey's smartphone password, and cuts off his fingertip to access it using his thumbprint. Another riot breaks out, but this time it is because the inmates are out of coffee.
60
8 "Tied to the Tracks" Michael Trim Carolina Paiz Daya June 9, 2017 (2017-06-09)
Red and Blanca send text messages from Humphrey' phone to Piscatella claiming the inmates are not armed anymore and encouraging him to break into the prison via a window at night. He takes the information to the CERT, who blow him off. Aleida does a live TV interview with Meredith Vieira and Judy King, who breaks the news about Humphrey being shot. She does not remember the shooter's name but describes Daya, leaving Aleida in shock. The news reaches Piscatella, who is mocked by the CERT members. Figueroa returns to the prison, this time as a negotiator for MCC. She claims they cannot afford to meet the inmates' demands, but Taystee — who has done her research via the Internet and Caputo's files — shuts her down. However, once Figueroa receives a phone call about Humphrey, she says amnesty for all the inmates is off the table. After a discussion with Piper and others, Taystee agrees to hand over Daya, who first calls Mendez's mother to ask her to adopt her daughter out of foster care and asks her to give the child some space due to Aleida's control she received when she was younger. Gloria learns that her son is in the ICU after being severely beaten. Piscatella, after texting "Humphrey" that he was going to stand down, enters the prison after dark instead.
Flashback: A 14-year-old Daya pursues a boy based on her mother's insistence, despite her best friend's feelings for him. Daya ends up rejected by the boy and dumped by her friend.
61
9 "The Tightening" Erin Feeley Jordan Harrison Red June 9, 2017 (2017-06-09)
Red, coming down from her drug high, is nursed by Nicky, who thinks her warnings about Piscatella being in the prison are hallucinations. Piscatella, in full riot gear, attacks Blanca in a utility room, where she had gone to set a boobytrap in case he showed up anyway. Inmates begin disappearing one by one, including Nicky and Boo, but nobody believes Red. Gloria begs Caputo — locked in a Porta-Potty — to let her out on furlough to see her son, but Caputo says he cannot help her until she lets the hostages go. After Boo disappears, Linda desperately seeks out Caputo, who was let out to back up the inmates' claim of slave labor to Figueroa. Zirconia, who had turned Linda's high heels into shivs after Piper and Alex first found her, recognizes her as a hostage, but Linda runs away with one of the shoe shivs. Morello, hurt by Nicky's comments that her pregnancy is all in her head, convinces Suzanne to stop taking her psych medicine. Red finds Frieda's map to the "bunker" in her cooking book and discovers Piscatella prisoners on her way there by accident. However, while trying to free them, Piscatella arrives.
Flashback: In the late 1970s, Red is a young woman in the Soviet Union working a menial factory job. Her rebellious friend Nadezhda introduces her to the world of underground discos and black-market Levi's jeans, but Nadezhda soon vanishes. Red's ex-boyfriend, Dmitri — whom she had dumped for being too dull —, proposes they lie about being Jewish in order to escape to the United States, as Jews were being allowed to immigrate to countries other than Israel.
62
10 "The Reverse Midas Touch" Laura Prepon Rebecca Angelo & Lauren Schuker Blum Piscatella June 9, 2017 (2017-06-09)
Piscatella has Red, Piper, Alex and other inmates tied up in a room, where he uses a knife to cut off Red's hair. Piper gets the duct tape off her mouth and yells for help, which is heard by Gina, who is holed up playing cards in Frieda's basement "bunker" with Yoga Jones, Anita and other inmates. The entrance to the room they are in leads to where Piscatella is. Gloria tries to free the prison guards but is interrupted. Maureen, who has still not recovered from the beating, is found delirious in the bathroom by Suzanne, who takes her to the infirmary. Suzanne, by now in a psychotic state, finds Humphrey dead. Gina lures Piscatella into the basement, where Frieda knocks him out with a homemade poison dart.
Flashback: At his earlier job as CO in a male prison, Piscatella, then soft at heart, and inmate Driscoll are having an affair. Driscoll is supportive and loving of Piscatella, whose mother had hoped to "fix" him. Another inmate, Resado, spies on them together in the kitchen, and later, he and other inmates beat and rape Driscoll in a bathroom. Piscatella handcuffs Resado to the shower and leaves him under scalding hot water to die.
63
11 "Breaking the Fiberboard Ceiling" Wendey Stanzler Lauren Morelli none June 9, 2017 (2017-06-09)
The inmates drags the unconscious Piscatella into Frieda's "bunker", where they argue about what should be done. Once Red says she wants revenge, they end up tying her up too, which makes her despair that Piscatella will never see justice. Gina reveals she recorded a video of Piscatella brutally breaking Alex's arm, and they post it on the Internet. Gloria, desperate to see her son in the hospital, tries sneaking each of the hostage guards outside one at a time while the other inmates, including Ouija, get high on drugs. Claiming she is going to teach them a lesson, she drags them out and locks them in the Porta-Pottys. Taystee, after 12 hours of trying to get Figueroa to see the benefits of improving prison conditions, discovers she truly has a knack for advocacy. Boo continues her romance with Linda, but is crushed when she sees a photo of her with Caputo on her phone and discovers her whole story is a lie. Suzanne goes into a psychotic break, but Morello, in the dispensary, refuses to say what medicine Suzanne takes; she is overpowered by Cindy, who takes a bottle of lithium that she believes to help calm people down. Morello finds a pregnancy test and takes it, confirming her suspicion that she is pregnant. As her unconscious son is taken to have a brain surgery, Gloria confesses her plan to Maria, who gives her full support; Maria says she always thinks of her little girl and understands that parents would do anything for their children. Gloria sneaks Luschek, the final guard, outside, but discovers that her plan of delivering the guards to Caputo has been dashed when she sees that there is a hole in the fence and the guards have escaped. Gloria breaks down and tries to escape through the hole, crying about her son, which makes the other inmates realize what she had been planning.
64
12 "Tattoo You" Mark A. Burley Tara Herrmann & Carolina Paiz Piper & Alex June 9, 2017 (2017-06-09)
The guards — except Luschek — are led to the MCC management, but are led by Maria, who wants to get out to see her little girl. Maria explains the "deal" to shorten her sentence if she lets the guards go, but is told by a state employee that that is not possible. The MCC learns that it was not Taystee who sent out the guards as part of an acceptance of the negotiation, and decide to send the CERT in to end the riot. Morello shows half a dozen positive pregnancy tests to a stunned Nicky, who calls her husband and convinces him to take responsibility. Linda makes excuses to Big Boo, telling her that she now understands the inmates are not living in a decent environment, but Big Boo is unmoved and demands Linda send her US$5,000 via PayPal to keep the secret of her affair with Caputo. A distraught Bayley travels by bus to meet Poussey's father and confess that her death was his fault. Her father angrily tells him that he is not going to give Bayley the peace he seeks by forgiving him, nor punish him by beating him, and that his punishment will be having to live the rest of his life with what he has done — which is a better fate, he says, than the fate Poussey got. Pennsatucky escapes from the prison via the hole in the fence and breaks into Charlie's cabin. In Frieda's "bunker", Piper proposes to Alex, who says yes. Taystee discovers the guards escaped and tries to go to the prison doors to talk to the CERT officers, but it is too late as they immediately swarm Litchfield.
Flashback: Piper and her then-boyfriend, Larry Bloom, get tattoos. She later drunk dials Alex, saying that she is still on her mind and misses her.
65
13 "Storm-y Weather" Jesse Peretz Lauren Morelli none June 9, 2017 (2017-06-09)
Dozens of CERT members in riot gear break down the prison doors, with smoke bombs, stun guns and batons in hand, causing pandemonium as they handcuff all the inmates. The CERT members discover the dead Humphrey, and escalate their tactics to "by any means necessary." Black Cindy and Taystee panic as Suzanne is unconscious from the lithium. They eventually get help from Nicky, who takes them down to Frieda's hiding place, where they inject her with the only thing they can find, an epi-pen, which finally revives Suzanne. Angie and Leanne burn all the prison records to erase their history of infractions. Deciding not to go down without a fight, Ouija, Pidge and the white supremacists barricade themselves inside a dorm and manage to injure some of the CERT members with booby traps before being restrained. The inmates are led outside in handcuffs in front of a crowd of families and the press. Maritza and Flaca are thrilled to see rabid fans of their beauty tutorials on the Internet cheering for them. Linda tries to tell an officer she is from MCC, but she is ignored after Big Boo and other inmates mock her by also claiming the same thing. The count of the inmates leaves them 10 short, and Caputo tells them about the old pool that Figueroa never got filled. The CERT chief assumes the fact that the remaining inmates are hiding "strategically" means they are planning an offensive against the officers, and says that the governor has already approved any casualties necessary. Pennsatucky and Charlie watch TV together inside his cabin. Nicky brings Taystee, Black Cindy and Suzanne to Frieda's "bunker", where Taystee is shocked to see Piscatella tied up. She takes Frieda's gun and points it at him, telling him he is to blame for Poussey's death. Instead of killing him, she breaks down crying. Red, surprisingly, releases Piscatella and tells him to leave without touching anyone. Piscatella slowly walks out into one of the prison halls, only to be shot and killed by an inexperienced CERT officer, who did not recognize him through the smokebombs. As night falls, the inmates outside are loaded onto buses and figure they are headed to new prisons; Flaca and Maritza are separated. In the "bunker", the remaining inmates — Alex, Piper, Taystee, Nicky, Red, Black Cindy, Frieda, Suzanne, Blanca, and Gloria — link arms as the CERT blows the doors off.
Cast and characters[edit]
Main article: List of Orange Is the New Black characters
Main cast[edit]
Taylor Schilling as Piper Chapman, inmate
Natasha Lyonne as Nicky Nichols, inmate
Uzo Aduba as Suzanne "Crazy Eyes" Warren, inmate
Danielle Brooks as Tasha "Taystee" Jefferson, inmate
Jackie Cruz as Marisol "Flaca" Gonzales, inmate
Lea DeLaria as Carrie "Big Boo" Black, inmate
Michael Harney as Sam Healy, correctional officer[a]
Selenis Leyva as Gloria Mendoza, inmate
Taryn Manning as Tiffany "Pennsatucky" Doggett, inmate
Adrienne C. Moore as Cindy "Black Cindy" Hayes, inmate
Jessica Pimentel as Maria Ruiz, inmate
Dascha Polanco as Dayanara "Daya" Diaz, inmate
Elizabeth Rodriguez as Aleida Diaz, former inmate
Nick Sandow as Joe Caputo, warden
Yael Stone as Lorna Morello, inmate
Kate Mulgrew as Galina "Red" Reznikov, inmate
Laura Prepon as Alex Vause, inmate
Jump up ^ Michael J. Harney was credited as main cast for season 5 but did not make a single appearance.
Special guest stars[edit]
Jason Biggs as Larry Bloom
Samira Wiley as Poussey Washington
Recurring cast[edit]
Main article: List of recurring Orange Is the New Black characters
Inmates[edit]
Laverne Cox as Sophia Burset
Annie Golden as Norma Romano
Laura Gómez as Blanca Flores
Diane Guerrero as Maritza Ramos
Vicky Jeudy as Janae Watson
Julie Lake as Angie Rice
Emma Myles as Leanne Taylor
Abigail Savage as Gina Murphy
Constance Shulman as Erica "Yoga" Jones
Lori Tan Chinn as Mei Chang
Tamara Torres as Gerrman "Weeping Woman"
Lin Tucci as Anita DeMarco
Kimiko Glenn as Brook Soso
Dale Soules as Frieda Berlin
Lori Petty as Lolly Whitehill
Emily Althaus as Maureen Kukudio
Blair Brown as Judy King
Rosal Colon as Carmen "Ouija" Aziza
Francesca Curran as Helen Van Maele
Daniella De Jesus as "Zirconia" Cabrera
Asia Kate Dillon as Brandy Epps
Shannon Esper as Alana Dwight
Arianda Fernandez as Michelle Carreras
Kelly Karbacz as Kasey Sankey
Miriam Morales as Ramona "Pidge" Contreras
Jolene Purdy as Stephanie Hapakuka
Amanda Stephen as Alison Abdullah
Staff
Catherine Curtin as Wanda Bell
Joel Marsh Garland as Scott O'Neill
Matt Peters as Joel Luschek
Alysia Reiner as Natalie "Fig" Figueroa
Pablo Schreiber as George "Pornstache" Mendez (guest)
Alan Aisenberg as Baxter "Gerber" Bayley
Beth Dover as Linda Ferguson / "Amelia Von Barlow"
Jimmy Gary Jr. as Felix Rikerson
James McMenamin as Charlie "Donuts" Coates
Nick Dillenburg as Ryder Blake
Evan Arthur Hall as Stratman
Mike Houston as Lee Dixon
Brad William Henke as Desi Piscatella
John Palladino as Josh
Emily Tarver as Artesian McCullough
Michael Torpey as Thomas "Humps" Humphrey
Others
Berto Colon as Cesar
Deborah Rush as Carol Chapman
Ian Paola as Yadriel
John Magaro as Vince Muccio
Mary Steenburgen as Delia Powell-Mendez (guest)
Production[edit]
In February 2016, the series was renewed for a fifth, sixth, and seventh season.[1] The fifth season was released on June 9, 2017.[2]
Cyberhack[edit]
In April 2017, it was reported that a cybercriminal had stolen the first ten episodes of the fifth season in a security breach of a post-production company. Netflix failed to respond to ransom demands, and the cybercriminal leaked the episodes online. Netflix confirmed the security breach and an ongoing investigation by federal law enforcement.[3][4] Multichannel News reported that demand for the series significantly increased over the seven-day period following the leak of the episodes. It was also said that the leak would likely cause a decrease in demand for the fifth season when Netflix releases it in June.[5]
Reception[edit]
Critical reception[edit]
The fifth season has received "generally favorable reviews".[6] On Metacritic, it has a score of 67 out of 100 based on 20 reviews.[6] On Rotten Tomatoes, it has a 76% rating with an average score of 7.47 out of 10 based on 33 reviews.[7]
References[edit]
Jump up ^ Littleton, Cynthia (February 5, 2016). "‘Orange Is the New Black’ Renewed For 3 Seasons By Netflix". Variety. Retrieved February 5, 2016.
Jump up ^ Schwartz, Ryan (February 8, 2017). "Orange Is the New Black Season 5 Set for June Release at Netflix". TVLine. Retrieved February 8, 2017.
Jump up ^ "Hacker Releases New Episodes of 'Orange Is the New Black". The Hollywood Reporter. Associated Press. April 28, 2017. Retrieved April 30, 2017.
Jump up ^ Perlroth, Nicole; Haag, Matthew (April 29, 2017). "Hacker Leaks Episodes From Netflix Show and Threatens Other Networks". The New York Times. Retrieved April 30, 2017.
Jump up ^ Baumgartner, Jeff (May 10, 2017). "Demand for ‘Orange Is the New Black’ Spiked Following Hack". Multichannel News. Retrieved May 11, 2017.
^ Jump up to: a b "Orange Is the New Black: Season 5". Metacritic. 2017. Retrieved June 10, 2017.
Jump up ^ "Orange Is the New Black: Season 5". Rotten Tomatoes. 2017. Retrieved June 10, 2017.
External links[edit]
Official website
Orange Is the New Black on IMDb
[hide]
v
t
e
Orange Is the New Black
Characters
Piper Chapman
Alex Vause
Crazy Eyes
Nicky Nichols
Tiffany Doggett
Lorna Morello
Miss Rosa
Seasons
1
"Lesbian Request Denied"
2
3
4
5
Related
Piper Kerman
Orange Is the New Black: My Year in a Women's Prison
"You've Got Time"
Retrieved from "https://en.wikipedia.org/w/index.php?title=Orange_Is_the_New_Black_(season_5)&oldid=804861583"
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Harlem Renaissance
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For the eponymous basketball team, see New York Renaissance.
The Harlem Renaissance was an intellectual, social, and artistic explosion that took place in Harlem, New York, spanning the 1920s. During the time, it was known as the "New Negro Movement", named after the 1925 anthology by Alain Locke. The Movement also included the new African-American cultural expressions across the urban areas in the Northeast and Midwest United States affected by the African-American Great Migration,[1] of which Harlem was the largest. The Harlem Renaissance was considered to be a rebirth of African-American arts.[2] Though it was centered in the Harlem neighborhood of the borough of Manhattan in New York City, many francophone black writers from African and Caribbean colonies who lived in Paris were also influenced by the Harlem Renaissance.[3][4][5][6]
The Harlem Renaissance is generally considered to have spanned from about 1918 until the mid-1930s.[7] Many of its ideas lived on much longer. The zenith of this "flowering of Negro literature", as James Weldon Johnson preferred to call the Harlem Renaissance, took place between 1924 (when Opportunity: A Journal of Negro Life hosted a party for black writers where many white publishers were in attendance) and 1929 (the year of the stock market crash and the beginning of the Great Depression).
Contents
[hide]
1 Background
2 Development
2.1 Mainstream recognition of Harlem culture
2.2 Religion
2.2.1 Discourse
2.2.2 Criticism
2.3 Music
2.4 Fashion
3 Characteristics and themes
4 Influence
4.1 A New Black Identity
4.2 Criticism of the movement
5 See also
6 Notes and references
6.1 Notes
6.2 References
6.3 Further reading
7 External links
Background
Harlem in Upper Manhattan.
Until the end of the Civil War, the majority of African Americans had been enslaved and lived in the South. During the Reconstruction Era, the emancipated African Americans, freedmen, began to strive for civic participation, political equality and economic and cultural self-determination. Soon after the end of the Civil War the Ku Klux Klan Act of 1871 gave rise to speeches by African-American Congressmen addressing this Bill.[8] By 1875 sixteen African Americans had been elected and served in Congress and gave numerous speeches with their newfound civil empowerment.[9] The Ku Klux Klan Act of 1871 was denounced by black Congressmen[why?][dubious – discuss] and resulted in the passage of the Civil Rights Act of 1875, part of Reconstruction legislation by Republicans. By the late 1870s, Democratic whites managed to regain power in the South. From 1890 to 1908 they proceeded to pass legislation that disenfranchised most African Americans and many poor whites, trapping them without representation. They established white supremacist regimes of Jim Crow segregation in the South and one-party block voting behind southern Democrats. The Democratic whites denied African Americans their exercise of civil and political rights by terrorizing black communities with lynch mobs and other forms of vigilante violence[10] as well as by instituting a convict labor system that forced many thousands of African Americans back into unpaid labor in mines, on plantations, and on public works projects such as roads and levees. Convict laborers were typically subject to brutal forms of corporal punishment, overwork, and disease from unsanitary conditions. Death rates were extraordinarily high.[11] While a small number of African Americans were able to acquire land shortly after the Civil War, most were exploited as sharecroppers.[12] As life in the South became increasingly difficult, African Americans began to migrate north in great numbers.
Most of the African-American literary movement arose from a generation that had memories of the gains and losses of Reconstruction after the Civil War. Sometimes their parents or grandparents had been slaves. Their ancestors had sometimes benefited by paternal investment in cultural capital, including better-than-average education. Many in the Harlem Renaissance were part of the early 20th century Great Migration out of the South into the African American neighborhoods of the North and Midwest. African Americans sought a better standard of living and relief from the institutionalized racism in the South. Others were people of African descent from racially stratified communities in the Caribbean who came to the United States hoping for a better life. Uniting most of them was their convergence in Harlem.
Development
Play media
Contemporary silent short documentary on the Negro Artist. Richmond Barthé working on Kalombwan, (1934).
During the early portion of the 20th century, Harlem was the destination for migrants from around the country, attracting both people seeking work from the South, and an educated class who made the area a center of culture, as well as a growing "Negro" middle class. The district had originally been developed in the 19th century as an exclusive suburb for the white middle and upper middle classes; its affluent beginnings led to the development of stately houses, grand avenues, and world-class amenities such as the Polo Grounds and the Harlem Opera House. During the enormous influx of European immigrants in the late 19th century, the once exclusive district was abandoned by the white middle class, who moved farther north.
Harlem became an African-American neighborhood in the early 1900s. In 1910, a large block along 135th Street and Fifth Avenue was bought by various African-American realtors and a church group.[13][citation needed] Many more African Americans arrived during the First World War. Due to the war, the migration of laborers from Europe virtually ceased, while the war effort resulted in a massive demand for unskilled industrial labor. The Great Migration brought hundreds of thousands of African Americans to cities such as Chicago, Philadelphia, Detroit, and New York.
Despite the increasing popularity of Negro culture, virulent white racism, often by more recent ethnic immigrants, continued to affect African-American communities, even in the North.[14] After the end of World War I, many African-American soldiers—who fought in segregated units such as the Harlem Hellfighters—came home to a nation whose citizens often did not respect their accomplishments.[15] Race riots and other civil uprisings occurred throughout the US during the Red Summer of 1919, reflecting economic competition over jobs and housing in many cities, as well as tensions over social territories.
Mainstream recognition of Harlem culture
The first stage of the Harlem Renaissance started in the late 1910s. In 1917, the premiere of Three Plays for a Negro Theatre took place. These plays, written by white playwright Ridgely Torrence, featured African-American actors conveying complex human emotions and yearnings. They rejected the stereotypes of the blackface and minstrel show traditions. James Weldon Johnson in 1917 called the premieres of these plays "the most important single event in the entire history of the Negro in the American Theater".[16] Another landmark came in 1919, when the poet Claude McKay published his militant sonnet, "If We Must Die", which introduced a dramatically political dimension to the themes of African cultural inheritance and modern urban experience featured in his 1917 poems "Invocation" and "Harlem Dancer" (published under the pseudonym Eli Edwards, these were his first appearance in print in the United States after immigrating from Jamaica).[17] Although "If We Must Die" never alluded to race, African-American readers heard its note of defiance in the face of racism and the nationwide race riots and lynchings then taking place. By the end of the First World War, the fiction of James Weldon Johnson and the poetry of Claude McKay were describing the reality of contemporary African-American life in America.
In 1917 Hubert Harrison, "The Father of Harlem Radicalism," founded the Liberty League and The Voice, the first organization and the first newspaper, respectively, of the "New Negro Movement." Harrison's organization and newspaper were political, but also emphasized the arts (his newspaper had "Poetry for the People" and book review sections). In 1927, in the Pittsburgh Courier, Harrison challenged the notion of the renaissance. He argued that the "Negro Literary Renaissance" notion overlooked "the stream of literary and artistic products which had flowed uninterruptedly from Negro writers from 1850 to the present," and said the so-called "renaissance" was largely a white invention.
The Harlem Renaissance grew out of the changes that had taken place in the African-American community since the abolition of slavery, as the expansion of communities in the North. These accelerated as a consequence of World War I and the great social and cultural changes in early 20th-century United States. Industrialization was attracting people to cities from rural areas and gave rise to a new mass culture. Contributing factors leading to the Harlem Renaissance were the Great Migration of African Americans to northern cities, which concentrated ambitious people in places where they could encourage each other, and the First World War, which had created new industrial work opportunities for tens of thousands of people. Factors leading to the decline of this era include the Great Depression.
Religion
Christianity played a major role in the Harlem Renaissance. Many of the writers and social critics discussed the role of Christianity in African-American lives. For example, a famous poem by Langston Hughes, "Madam and the Minister", reflects the temperature and mood towards religion in the Harlem Renaissance.[18] The cover story for The Crisis magazine′s publication in May 1936 explains how important Christianity was regarding the proposed union of the three largest Methodist churches of 1936. This article shows the controversial question about the formation of a Union for these churches.[19] The article "The Catholic Church and the Negro Priest", also published in The Crisis, January 1920, demonstrates the obstacles African-American priests faced in the Catholic Church. The article confronts what it saw as policies based on race that excluded African Americans from higher positions in the church.[20]
Discourse
Religion and Evolution Ad
Various forms of religious worship existed during this time of African-American intellectual reawakening. Although there were racist attitudes within the current Abrahamic religious arenas many African Americans continued to push towards the practice of a more inclusive doctrine. For example, George Joseph MacWilliam presents various experiences, during his pursuit towards priesthood, of rejection on the basis of his color and race yet he shares his frustration in attempts to incite action on the part of The Crisis magazine community.[20]
There were other forms of spiritualism practiced among African Americans during the Harlem Renaissance. Some of these religions and philosophies were inherited from African ancestry.
For example, the religion of Islam was present in Africa as early as the 8th century through the Trans-Saharan trade. Islam came to Harlem likely through the migration of members of the Moorish Science Temple of America, which was established in 1913 in New Jersey.
Various forms of Judaism were practiced, including Orthodox, Conservative, and Reform Judaism, but it was Black Hebrew Israelites that founded their religious belief system during the early 20th century in the Harlem Renaissance.
Traditional forms of religion acquired from various parts of Africa were inherited and practiced during this era. Some common examples were Voodoo and Santeria.[citation needed]
Criticism
"An' the stars began to fall." by Aaron Douglas
Religious critique during this era was found in literature, art, and poetry. The Harlem Renaissance encouraged analytic dialogue that included the open critique and the adjustment of current religious ideas.
One of the major contributors to the discussion of African-American renaissance culture was Aaron Douglas who, with his artwork, also reflected the revisions African Americans were making to the Christian dogma. Douglas uses biblical imagery as inspiration to various pieces of art work but with the rebellious twist of an African influence.[21]
Countee Cullen's poem "Heritage" expresses the inner struggle of an African American between his past African heritage and the new Christian culture.[22] A more severe criticism of the Christian religion can be found in Langston Hughes' poem "Merry Christmas", where he exposes the irony of religion as a symbol for good and yet a force for oppression and injustice.[23]
Music
A new way of playing the piano called the Harlem Stride style was created during the Harlem Renaissance, and helped blur the lines between the poor African Americans and socially elite African Americans. The traditional jazz band was composed primarily of brass instruments and was considered a symbol of the south, but the piano was considered an instrument of the wealthy. With this instrumental modification to the existing genre, the wealthy African Americans now had more access to jazz music. Its popularity soon spread throughout the country and was consequently at an all-time high. Innovation and liveliness were important characteristics of performers in the beginnings of jazz. Jazz musicians at the time such as Eubie Blake, Jelly Roll Morton, Luckey Roberts, James P. Johnson, Willie "The Lion" Smith, Fats Waller and Duke Ellington were very talented, skillful, competitive and inspirational, and are still being considered to have laid great parts of the foundations for future musicians of their genre.[24][25][26] Duke Ellington gained popularity during the Harlem Renaissance. According to Charles Garrett, "The resulting portrait of Ellington reveals him to be not only the gifted composer, bandleader, and musician we have come to know, but also an earthly person with basic desires, weaknesses, and eccentricities."[2] Ellington did not let his popularity get to him. He remained calm and focused on his music.
During this period, the musical style of blacks was becoming more and more attractive to whites. White novelists, dramatists and composers started to exploit the musical tendencies and themes of African Americans in their works. Composers used poems written by African-American poets in their songs, and would implement the rhythms, harmonies and melodies of African-American music—such as blues, spirituals, and jazz—into their concert pieces. African American began to merge with Whites into the classical world of musical composition. The first African American male to gain wide recognition as a concert artist in both his region and internationally was Roland Hayes. He trained with Arthur Calhoun in Chattanooga, and at Fisk University in Nashville. Later, he studied with Arthur Hubbard in Boston and with George Henschel and Amanda Ira Aldridge in London, England. He began singing in public as a student, and toured with the Fisk Jubilee Singers in 1911.[27]
Fashion
During the Harlem Renaissance, Black America's clothing scene took a dramatic turn from the prim and proper. Many young women preferred extreme versions of current white fashions - from short skirts and silk stockings to drop-waisted dresses and cloche hats.[28] The extraordinarily successful black dancer Josephine Baker, though performing in Paris during the height of the Renaissance, was a major fashion trendsetter for black and white women alike. Her gowns from the couturier Jean Patou were much copied, especially her stage costumes, which Vogue magazine called "startling."[29] Popular by the 1930s was a trendy, egret-trimmed beret. Men wore loose suits that led to the later style known as the "Zoot," which consisted of wide-legged, high-waisted, peg-top trousers, and a long coat with padded shoulders and wide lapels. Men also wore wide-brimmed hats, colored socks,[30] white gloves, and velvet-collared Chesterfield coats. During this period, African Americans expressed respect for their heritage through a fad for leopard-skin coats, indicating the power of the African animal.
Characteristics and themes
Trumpeter Dizzy Gillespie is emblematic of the mixture of high class society, popular art, and virtuosity of jazz.
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.
There would be no uniting form singularly characterizing the art that emerged from the Harlem Renaissance. Rather, it encompassed a wide variety of cultural elements and styles, including a Pan-African perspective, "high-culture" and "low-culture" or "low-life," from the traditional form of music to the blues and jazz, traditional and new experimental forms in literature such as modernism and the new form of jazz poetry. This duality meant that numerous African-American artists came into conflict with conservatives in the black intelligentsia, who took issue with certain depictions of black life.
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.
The Harlem Renaissance was one of primarily African-American involvement. It rested on a support system of black patrons, black-owned businesses and publications. However, it also depended on the patronage of white Americans, such as Carl Van Vechten and Charlotte Osgood Mason, who provided various forms of assistance, opening doors which otherwise might have remained closed to the publication of work outside the black American community. This support often took the form of patronage or publication. Carl Van Vechten was one of the most noteworthy white Americans involved with the Harlem Renaissance. He allowed for assistance to the black American community because he wanted racial sameness.
There were other whites interested in so-called "primitive" cultures, as many whites viewed black American culture at that time, and wanted to see such "primitivism" in the work coming out of the Harlem Renaissance. As with most fads, some people may have been exploited in the rush for publicity.
Interest in African-American lives also generated experimental but lasting collaborative work, such as the all-black productions of George Gershwin's opera Porgy and Bess, and Virgil Thomson and Gertrude Stein's Four Saints in Three Acts. In both productions the choral conductor Eva Jessye was part of the creative team. Her choir was featured in Four Saints.[31] The music world also found white band leaders defying racist attitudes to include the best and the brightest African-American stars of music and song in their productions.
The African Americans used art to prove their humanity and demand for equality. The Harlem Renaissance led to more opportunities for blacks to be published by mainstream houses. Many authors began to publish novels, magazines and newspapers during this time. The new fiction attracted a great amount of attention from the nation at large. Among authors who became nationally known were Jean Toomer, Jessie Fauset, Claude McKay, Zora Neale Hurston, James Weldon Johnson, Alain Locke, Omar Al Amiri, Eric D. Walrond and Langston Hughes.
The Harlem Renaissance helped lay the foundation for the post-World War II protest movement of the Civil Rights Movement. Moreover, many black artists who rose to creative maturity afterward were inspired by this literary movement.
The Renaissance was more than a literary or artistic movement, as it possessed a certain sociological development—particularly through a new racial consciousness—through ethnic pride, as seen in the Back to Africa movement led by Marcus Garvey. At the same time, a different expression of ethnic pride, promoted by W. E. B. Du Bois, introduced the notion of the "talented tenth": the African Americans who were fortunate enough to inherit money or property or obtain a college degree during the transition from Reconstruction to the Jim Crow period of the early twentieth century. These "talented tenth" were considered the finest examples of the worth of black Americans as a response to the rampant racism of the period. (No particular leadership was assigned to the talented tenth, but they were to be emulated.) In both literature and popular discussion, complex ideas such as Du Bois's concept of "twoness" (dualism) were introduced (see The Souls of Black Folk; 1903).[32] Du Bois explored a divided awareness of one's identity that was a unique critique of the social ramifications of racial consciousness. This exploration was later revived during the Black Pride movement of the early 1970s.
Influence
A New Black Identity
Langston Hughes, novelist and poet, photographed by Carl Van Vechten, 1936
"Sometimes I feel discriminated against, but it does not make me angry. It merely astonishes me. How can anyone deny themselves the pleasure of my company? It's beyond me." - Zora Neale Hurston[33]
The Harlem Renaissance was successful in that it brought the Black experience clearly within the corpus of American cultural history. Not only through an explosion of culture, but on a sociological level, the legacy of the Harlem Renaissance redefined how America, and the world, viewed African Americans. 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, and African Americans became players on the world stage, expanding intellectual and social contacts internationally.
The progress—both symbolic and real—during this period became a point of reference from which the African-American community gained a spirit of self-determination that provided a growing sense of both Black urbanity and Black militancy, as well as a foundation for the community to build upon for the Civil Rights struggles in the 1950s and 1960s.
The urban setting of rapidly developing Harlem provided a venue for African Americans of all backgrounds to appreciate the variety of Black life and culture. Through this expression, the Harlem Renaissance encouraged the new appreciation of folk roots and culture. For instance, folk materials and spirituals provided a rich source for the artistic and intellectual imagination, which freed Blacks from the establishment of past condition. Through sharing in these cultural experiences, a consciousness sprung forth in the form of a united racial identity.
However, there was some pressure within certain groups of the Harlem Renaissance to adopt sentiments of conservative white America in order to be taken seriously by the mainstream. The result being that queer culture, while far-more accepted in Harlem than most places in the country at the time, was most fully lived out in the smoky dark lights of bars, nightclubs, and cabarets in the city.[34] It was within these venues that the blues music scene boomed, and since it had not yet gained recognition within popular culture, queer artists used it as a way to express themselves honestly.[34] Even though there were factions within the Renaissance that were accepting of queer culture/lifestyles, one could still be arrested for engaging in homosexual acts. Many people, including author Alice Dunbar-Nelson and "The Mother of Blues" Gertrude "Ma" Rainey,[35] had husbands but were romantically linked to other women as well.[36] Ma Rainey was known to dress in traditionally male clothing and her blues lyrics often reflected her sexual proclivities for women, which was extremely radical at the time. Ma Rainey was also the first person to introduce blues music into vaudeville.[37] Rainey's protégé, Bessie Smith was another artist who used the blues as a way to express herself with such lines as "When you see two women walking hand in hand, just look em' over and try to understand: They'll go to those parties – have the lights down low – only those parties where women can go."[34]
Blues singer Gladys Bentley
Another prominent blues singer was Gladys Bentley, who was known to cross-dress. Bentley was the club owner of Clam House on 133rd Street in Harlem, which was a hub for queer patrons. The Hamilton Lodge in Harlem hosted an annual drag ball that attracted thousands to watch as a couple hundred young men came to dance the night away in drag. Though there were safe havens within Harlem, there were prominent voices such as that of Abyssinian Baptist Church's minister Adam Clayton who actively campaigned against homosexuality.[36]
The Harlem Renaissance gave birth to the idea of The New Negro. The New Negro movement was an effort to define what it meant to be African-American by African Americans rather than let the degrading stereotypes and caricatures found in black face minstrelsy practices to do so. There was also The Neo-New Negro movement, which not only challenged racial definitions and stereotypes, but also sought to challenge gender roles, normative sexuality, and sexism in America in general. In this respect, the Harlem Renaissance was far ahead of the rest of America in terms of embracing feminism and queer culture.[38] These ideals received some push back as freedom of sexuality, particularly pertaining to women (which during the time in Harlem was known as women-loving women),[35] was seen as confirming the stereotype that black women were loose and lacked sexual discernment. The black bourgeoisie saw this as hampering the cause of black people in America and giving fuel to the fire of racist sentiments around the country. Yet for all of the efforts by both sectors of white and conservative black America, queer culture and artists defined major portions of not only the Harlem Renaissance, but also defined so much of our culture today. Author of "The Black Man's Burden", Henry Louis Gates Jr. wrote on this very subject matter, the Harlem Renaissance "was surely as gay as it was black".[38]
Three African American women in Harlem during the Harlem Renaissance, ca. 1925
Criticism of the movement
Many critics point out that the Harlem Renaissance could not escape its history and culture in its attempt to create a new one, or sufficiently separate from the foundational elements of White, European culture. Often Harlem intellectuals, while proclaiming a new racial consciousness, resorted to mimicry of their white counterparts by adopting their clothing, sophisticated manners and etiquette. This "mimicry" may also be called assimilation, as that is typically what minority members of any social construct must do in order to fit social norms created by that construct's majority.[39] This could be seen as a reason that the artistic and cultural products of the Harlem Renaissance did not overcome the presence of White-American values, and did not reject these values. In this regard, the creation of the "New Negro" as the Harlem intellectuals sought, was considered a success.
The Harlem Renaissance appealed to a mixed audience. The literature appealed to the African-American middle class and to whites. Magazines such as The Crisis, a monthly journal of the NAACP, and Opportunity, an official publication of the National Urban League, employed Harlem Renaissance writers on their editorial staffs; published poetry and short stories by black writers; and promoted African-American literature through articles, reviews, and annual literary prizes. As important as these literary outlets were, however, the Renaissance relied heavily on white publishing houses and white-owned magazines. A major accomplishment of the Renaissance was to open the door to mainstream white periodicals and publishing houses, although the relationship between the Renaissance writers and white publishers and audiences created some controversy. W. E. B. Du Bois did not oppose the relationship between black writers and white publishers, but he was critical of works such as Claude McKay's bestselling novel Home to Harlem (1928) for appealing to the "prurient demand[s]" of white readers and publishers for portrayals of black "licentiousness".[40] Langston Hughes spoke for most of the writers and artists when he wrote in his essay "The Negro Artist and the Racial Mountain" (1926) that black artists intended to express themselves freely, no matter what the black public or white public thought.[41] Hughes in his writings also returned to the theme of racial passing, but during the Harlem Renaissance, he began to explore the topic of homosexuality and homophobia. He began to use disruptive language in his writings. He explored this topic because it was a theme that during this time period was not discussed.[42]
African-American musicians and other performers also played to mixed audiences. Harlem's cabarets and clubs attracted both Harlem residents and white New Yorkers seeking out Harlem nightlife. Harlem's famous Cotton Club, where Duke Ellington performed, carried this to an extreme, by providing black entertainment for exclusively white audiences. Ultimately, the more successful black musicians and entertainers who appealed to a mainstream audience moved their performances downtown.
Certain aspects of the Harlem Renaissance were accepted without debate, and without scrutiny. One of these was the future of the "New Negro". Artists and intellectuals of the Harlem Renaissance echoed American progressivism in its faith in democratic reform, in its belief in art and literature as agents of change, and in its almost uncritical belief in itself and its future. This progressivist worldview rendered Black intellectuals—just like their White counterparts—unprepared for the rude shock of the Great Depression, and the Harlem Renaissance ended abruptly because of naive assumptions about the centrality of culture, unrelated to economic and social realities.[citation needed]
See also
New York City portal
African American portal
1920s portal
1930s portal
Jazz portal
African-American art
Blackbirds of 1928
African-American culture
African-American literature
Chicago Black Renaissance
Encyclopedia of the Harlem Renaissance (book)
List of African-American visual artists
List of female entertainers of the Harlem Renaissance
List of notable figures from the Harlem Renaissance
New Negro
Niggerati
Roaring Twenties
Shuffle Along
William E. Harmon Foundation award
Notes and references
Notes
Jump up ^ "NAACP: A Century in the Fight for Freedom" Archived 1 August 2013 at the Wayback Machine., Library of Congress.
^ Jump up to: a b Project MUSE - Modernism, Mass Culture, and the Harlem Renaissance: The Case of Countee Cullen." Project MUSE - Modernism, Mass Culture, and the Harlem Renaissance: The Case of Countee Cullen. N.p., n.d. Web. April 4, 2015.
Jump up ^ "Harlem in the Jazz Age", New York Times, February 8, 1987.
Jump up ^ Holland Cotter, "ART; A 1920's Flowering That Didn't Disappear", New York Times, May 24, 1998.
Jump up ^ Danica Kirka, Jcu.edu Archived 10 June 2011 at the Wayback Machine.
Jump up ^ "Los Angeles Times Interview : Dorothy West : A Voice of Harlem Renaissance Talks of Past--But Values the Now". Los Angeles Times. 1 January 1995.
Jump up ^ George Hutchinson, "Harlem Renaissance", Encyclopædia Britannica.
Jump up ^ "Speeches of African-American Representatives Addressing the Ku Klux Klan Bill of 1871" (PDF). NYU Law.
Jump up ^ Cooper Davis, Peggy. "Neglected Voices". NYU Law.
Jump up ^ Woods, Clyde (1998). Development Arrested. New York and London: Verso.
Jump up ^ Blackmon, Douglas A. (2009). Slavery By Another Name: The Re-Enslavement of Black Americans from the Civil War to World War II. Anchor.
Jump up ^ Foner, Eric (1988). Reconstruction: America's Unfinished Revolution, 1863-1877. Harper Collins.
Jump up ^ Boundless (2016-12-05). "The Harlem Renaissance". Boundless.
Jump up ^ Muhammad, Khalil Gibran (2010). The Condemnation of Blackness: Race, Crime, and the Making of Modern Urban America. Cambridge, Mass.: Harvard University Press. pp. 1–14. ISBN 978-0-674-03597-3.
Jump up ^ "Harlem Hellfighters: Black Soldiers in World War I". America Comes Alive. 2015-02-05. Retrieved 2017-06-16.
Jump up ^ The Norton Anthology of African American Literature, New York: Norton, 1997, p. 931.
Jump up ^ McKay, Claude. "Invocation" and "Harlem Dancer," in The Seven Arts 2.6 (October 1917): 741-742. Original page scan available in public domain through The Modernist Journals Project.
Jump up ^ Hughes, Langston (1994). The Collected Poems of Langston Hughes. Vintage Classics. p. 307.
Jump up ^ Williams, Robert M.; Carrington, Charles (May 1936). "Methodist Union and The Negro". The Crisis. 43 (5): 134–135.
^ Jump up to: a b MacWilliam, George Joseph (January 1920). "The Catholic Church and the Negro Priest". The Crisis. 19 (3): 122–123. Retrieved December 21, 2013.
Jump up ^ Rampersad, Arnold (Introduction) (1997). Alain Locke, ed. The New Negro: Voices of the Harlem Renaissance (1st Touchstone ed.). New York, NY: Simon & Schuster. ISBN 0684838311.
Jump up ^ Cullen, Countee. "Heritage". Poetry Foundation. Archived from the original on 21 December 2013. Retrieved 19 December 2013.
Jump up ^ Hughes, Langston. "Merry Christmas". Humanities and Social Sciences Net. New Masses. Retrieved December 19, 2013.
Jump up ^ Boland, Jesse. "Harlem Renaissance Music." 1920s Fashion and Music. Web. November 23, 2009.
Jump up ^ 1920s-fashion-and-music.com
Jump up ^ Leonard Feather, "The Book Of Jazz" (1957/59), p. 59 ff., Western Book Dist, 1988, ISBN 0818012021, 9780818012020
Jump up ^ Southern, Eileen, Music of Negro Americans: a history. New York: Norton, 1997. Print, pp. 404, 405 and 409.
Jump up ^ West, Aberjhani and Sandra L. (2003). Encyclopedia of the Harlem Renaissance, pp. 105-106; Vogue, February 15, 1926, p. 76.
Jump up ^ Etherington-Smith, Meredith (1983), Patou, p. 83; Vogue, June 1, 1927, p. 51.
Jump up ^ White, Shane and Graham (1998). Stylin': African American Expressive Culture from Its Beginnings to the Zoot Suit, pp. 248-251.
Jump up ^ "Eva Jessye", University of Michigan, accessed December 4, 2008.
Jump up ^ It was possible for blacks to have intellectual discussions on whether black people had a future in America, and the Harlem Renaissance reflected such sociopolitical concerns.
Jump up ^ Irving, Shae (2008), Nolo's Encyclopedia of Everyday Law: answers to your most frequently asked legal questions (7 ed.), Nolo, p. 68, ISBN 978-1-4133-0560-9
^ Jump up to: a b c Hix, Lisa (July 9, 2013). "Singing the Lesbian Blues in 1920s Harlem". Collectors Weekly.
^ Jump up to: a b Tenoria, Samantha (2006). "Women-Loving Women: Queering Black Urban Space during the Harlem Renaissance" (PDF). The University of California, Irvine (UCI) Undergraduate Research Journal.
^ Jump up to: a b Villarosa, Linda (23 July 2011). "The Gay Harlem Renaissance". The Root. Archived from the original on 22 March 2016.
Jump up ^ Garber, Eric. "A Spectacle in Color: The Lesbian and Gay Subculture of Jazz Age Harlem". American Studies at the University of Virginia. University of Virginia.
^ Jump up to: a b Rabaka, Reiland (2011). Hip Hop's Inheritance From the Harlem Renaissance to the Hip Hop Feminist Movement. Lexington Books. ISBN 9780739164822.
Jump up ^ Yayla, Ayşegül. "Harlem Renaissance and its Discontents". Academia. Academia. Retrieved 22 April 2016.
Jump up ^ Aptheker, H. ed. (1997), The Correspondence of WEB Dubois: Selections, 1877–1934, Vol. 1, pp. 374–375.
Jump up ^ Books.google.com
Jump up ^ "Project MUSE - Multiple Passings and the Double Death of Langston Hughes." Project MUSE - Multiple Passings and the Double Death of Langston Hughes. N.p., n.d. Web. April 4, 2015.
References
Amos, Shawn, compiler. Rhapsodies in Black: Words and Music of the Harlem Renaissance. Los Angeles: Rhino Records, 2000. 4 Compact Discs.
Andrews, William L.; Frances S. Foster; Trudier Harris, eds. The Concise Oxford Companion To African American Literature. New York: Oxford Press, 2001. ISBN 1-4028-9296-9
Bean, Annemarie. A Sourcebook on African-American Performance: Plays, People, Movements. London: Routledge, 1999; pp. vii + 360.
Greaves, William documentary From These Roots.
Hicklin, Fannie Ella Frazier. 'The American Negro Playwright, 1920–1964.' Ph.D. Dissertation, Department of Speech, University of Wisconsin, 1965. Ann Arbor: University Microfilms 65-6217.
Huggins, Nathan. Harlem Renaissance. New York: Oxford University Press, 1973. ISBN 0-19-501665-3
Hughes, Langston. The Big Sea. New York: Knopf, 1940.
Hutchinson, George. The Harlem Renaissance in Black and White. New York: Belknap Press, 1997. ISBN 0-674-37263-8
Lewis, David Levering, ed. The Portable Harlem Renaissance Reader. New York: Viking Penguin, 1995. ISBN 0-14-017036-7
Lewis, David Levering. When Harlem Was in Vogue. New York: Penguin, 1997. ISBN 0-14-026334-9
Ostrom, Hans. A Langston Hughes Encyclopedia. Westport: Greenwood Press, 2002.
Ostrom, Hans and J. David Macey, eds. The Greenwood Encylclopedia of African American Literature. 5 volumes. Westport: Greenwood Press, 2005.
Patton, Venetria K. and Maureen Honey, eds. Double-Take: A Revisionist Harlem Renaissance Anthology. New Jersey: Rutgers University Press, 2006.
Perry, Jeffrey B. A Hubert Harrison Reader. Middletown, CT: Wesleyan University Press, 2001.
Perry, Jeffrey B. Hubert Harrison: The Voice of Harlem Radicalism, 1883–1918. New York: Columbia University Press, 2008.
Powell, Richard, and David A. Bailey, eds. Rhapsodies in Black: Art of the Harlem Renaissance. Berkeley: University of California Press, 1997.
Rampersad, Arnold. The Life of Langston Hughes. 2 volumes. New York: Oxford University Press, 1986 and 1988.
Robertson, Stephen, et al., "Disorderly Houses: Residences, Privacy, and the Surveillance of Sexuality in 1920s Harlem," Journal of the History of Sexuality, 21 (September 2012), 443–66.
Soto, Michael, ed. Teaching The Harlem Renaissance. New York: Peter Lang, 2008.
Tracy, Steven C. Langston Hughes and the Blues. Urbana: University of Illinois Press, 1988.
Watson, Steven. The Harlem Renaissance: Hub of African-American Culture, 1920–1930. New York: Pantheon Books, 1995. ISBN 0-679-75889-5
Williams, Iain Cameron. "Underneath a Harlem Moon ... The Harlem to Paris Years of Adelaide Hall". Continuum Int. Publishing, 2003. ISBN 0826458939
Wintz, Cary D. Black Culture and the Harlem Renaissance. Houston: Rice University Press, 1988.
Wintz, Cary D. Harlem Speaks: A Living History of the Harlem Renaissance. Naperville, Illinois: Sourcebooks, Inc., 2007
Further reading
King, Shannon. Whose Harlem Is This, Anyway? Community Politics and Grassroots Activism during the New Negro Era. New York: New York University Press, 2015.
Padva, Gilad. "Black Nostalgia: Poetry, Ethnicity, and Homoeroticism in Looking for Langston and Brother to Brother". In Padva, Gilad, Queer Nostalgia in Cinema and Pop Culture, pp. 199–226. Basingstock, UK, and New York: Palgrave Macmillan, 2014.
External links
Find more aboutHarlem Renaissanceat Wikipedia's sister projects
Media from Wikimedia Commons
Textbooks from Wikibooks
Data from Wikidata
"A Guide to Harlem Renaissance Materials", from the Library of Congress
Bryan Carter (ed.). "Virtual Harlem". University of Illinois at Chicago, Electronic Visualization Laboratory.
"The Approaching 100th Anniversary of the Harlem Renaissance", by HR historian Aberjhani
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Pemberley
From Wikipedia, the free encyclopedia
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2010) (Learn how and when to remove this template message)
Pemberley is the fictional country estate owned by Fitzwilliam Darcy, the male protagonist in Jane Austen's novel Pride and Prejudice. It is located near the fictional town of Lambton, and believed by some to be based on Chatsworth House,[1] near Bakewell in Derbyshire.
In describing the estate, Austen uses uncharacteristically explicit symbolism to represent the geographical home of the man at the centre of the novel. On first visiting the estate, Elizabeth Bennet is charmed by the beauty of the surrounding countryside, as indeed she is by Mr. Darcy himself. Elizabeth had already rejected Mr. Darcy's first proposal by the time she visits Pemberley—it is his letter, the praise of his housekeeper, and his own courteous behaviour at Pemberley that bring about a change in her opinion of Mr. Darcy.
In Pride and Prejudice[edit]
They gradually ascended for half a mile, and then found themselves at the top of a considerable eminence, where the wood ceased, and the eye was instantly caught by Pemberley House, situated on the opposite side of a valley, into which the road with some abruptness wound. It was a large, handsome, stone building, standing well on rising ground, and backed by a ridge of high woody hills;—and in front, a stream of some natural importance was swelled into greater, but without any artificial appearance. Its banks were neither formal, nor falsely adorned. Elizabeth was delighted. She had never seen a place where nature had done more, or where natural beauty had been so little counteracted by an awkward taste. They were all of them warm in their admiration; and at that moment she felt that to be mistress of Pemberley might be something![2] Jane Austen (1813).
In other media[edit]
Renishaw Hall, Derbyshire, England, UK was the setting for Pemberley in the 1980 BBC adaptation of Pride and Prejudice starring Elizabeth Garvie and David Rintoul, adapted from the novel by Fay Weldon.
Lyme Park, near Stockport, was the setting for Pemberley for the 1995 television series of Pride and Prejudice starring Jennifer Ehle and Colin Firth.
Chatsworth House, the original inspiration for Pemberley, was used for the exterior scenes for Joe Wright's 2005 film version of Pride and Prejudice starring Keira Knightley and Matthew Macfadyen. However, Wilton House was used for many of the interior scenes, such as those featuring Georgiana Darcy. Jane Austen mentions Chatsworth in the novel as one of the great houses Elizabeth and her aunt and uncle visited before Pemberley during their visit north. The Duchess of Devonshire believes that the author was thinking of Chatsworth House when describing Pemberley due to the great number of similarities between Chatsworth and Pemberley.[citation needed] Chatsworth was again used for exterior, and some interior, scenes for the BBC adaptation of Death Comes to Pemberley.[3]
Harewood House, near Leeds in West Yorkshire, was the setting for Pemberley in the ITV fantasy series Lost in Austen. This series was not a direct adaptation of the novel, but the novel provided the majority of the plots, characters and inspiration. Some interior scenes in the BBC adaptation of Death Comes to Pemberley were filmed at Harewood.
Pemberley Press is the name of the publishing house that Bridget Jones works at in the 2001 film Bridget Jones's Diary, in homage to Pride and Prejudice.
In The Lizzie Bennet Diaries, a vlog-style modern adaptation of Pride and Prejudice, Pemberley Digital is the name of Darcy's company. Darcy says Pemberley is the name of the place that his father's family comes from in England.
Renishaw Hall as Pemberley in the 1980 TV serial
Lyme Park as Pemberley in the 1995 TV serial
Chatsworth House as Pemberley in the 2005 film
Harewood House as Pemberley in Lost in Austen
References[edit]
Jump up ^ The selected essays of Donald Greene, "The Original of Pemberley", Bucknell University Press, 2004,
See also Donald Greene "Pemberley Revisited" [1] on JASNA
Jump up ^ Austen, Jane (28 January 1813). Pride and Prejudice. United Kingdom: Egerton, Whitehal.
Jump up ^ "Death comes to Pemberley; behind the scenes". The Telegraph. Retrieved 27 December 2013.
[hide]
v
t
e
Jane Austen's Pride and Prejudice
Characters
Bennet family
Elizabeth Bennet
Fitzwilliam Darcy
William Collins
Lady Catherine de Bourgh
Mr. Wickham
Films
Pride and Prejudice (1940)
Bridget Jones's Diary (2001)
Pride & Prejudice: A Latter-Day Comedy (2003)
Bride and Prejudice (2004 film)
Pride & Prejudice (2005)
Pride and Prejudice and Zombies (2016)
Television
Pride and Prejudice (1958)
Pride and Prejudice (1967)
Pride and Prejudice (1980)
Trishna (1985)
Pride and Prejudice (1995)
Will be Somewhere (2004)
Lost in Austen (2008)
Death Comes to Pemberley (2013)
Novels
Darcy's Story (1995)
Bridget Jones's Diary (1996)
Mr. Darcy's Daughters (2003)
Fitzwilliam Darcy, Gentleman
An Assembly Such as This (2003)
Duty and Desire (2004)
These Three Remain (2005)
Austenland (2007)
Love, Lies and Lizzie (2009)
Pride and Prejudice and Zombies (2009 parody)
Pride and Prejudice and Zombies: Dawn of the Dreadfuls (2010 parody)
Death Comes to Pemberley (2011)
Other
First Impressions (1959 musical)
Pride and Prejudice (1993 musical)
Beyond a Joke (1997)
Stolthet och fördom (2011 opera)
The Lizzie Bennet Diaries (2012 web series)
Austenland (2013 film)
See also
Pride & Prejudice (soundtrack)
Pemberley
List of literary adaptations
Retrieved from "https://en.wikipedia.org/w/index.php?title=Pemberley&oldid=834053526"
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