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Seminar paper from the year 2011 in the subject English - History of Literature, Eras, grade: 2,0, Free University of Berlin, language: English, abstract: [...] When Gilda Gray performed "It's Getting Dark on Old Broadway" in the opening show of thesong-and-dance revue Ziegfeld Follies on 5 June 1922 she eternalized Broadway's latesttrend (Woll 76). Black entertainment proliferated in the Theatre District along Broadway inthe 1920s and it seemed that black shows had made it into the limelight of success. Therewas, however, a different 'dark' side to the developments of the black performance…mehr

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Seminar paper from the year 2011 in the subject English - History of Literature, Eras, grade: 2,0, Free University of Berlin, language: English, abstract: [...] When Gilda Gray performed "It's Getting Dark on Old Broadway" in the opening show of thesong-and-dance revue Ziegfeld Follies on 5 June 1922 she eternalized Broadway's latesttrend (Woll 76). Black entertainment proliferated in the Theatre District along Broadway inthe 1920s and it seemed that black shows had made it into the limelight of success. Therewas, however, a different 'dark' side to the developments of the black performance scene.To many leading intellectuals of the Harlem Renaissance, the new darkness onBroadway looked rather bleak. Important figures like W. E. B. Du Bois who campaigned for anew racial identity through cultural creation (cf. Du Bois "Criteria of Negro Art") feared thatthe new phenomenon of black productions reaching out for mainstream success wouldbetray their cause. In his speech at the NAACP'sannual conference, he famously claimedthat "all Art is propaganda and ever must be" (Du Bois par. 29). Catering to the white public'sdemands (pars. 33, 35), as the successful Black Broadway musicals did, would mean failingthe cause, according to Du Bois. While some scholars argue that theatre and performance inthe New Negro era played "a pivotal role in the evolution of Black Nationalism" (Krasner 1),those are opposed by a number of authors who look upon the Harlem Renaissance as afailure (cf. Baker xiii, Neal 39, Krasner 95f.).In the following paper, I will look into the question of whether the performers andartists of the Harlem Renaissance really failed to contribute to a change of white America'sattitude toward the African American race (Krasner 14). One point at issue will be whetherthe increasing success and commercialisation of Black theatre counteracted the objectives ofracial renewal or if on the contrary, they were a means to an end. [...]
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