"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[30]
The Harlem Renaissance was successful in that it brought the Black experience clearly within the corpus of Americancultural 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.[31] 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.[31] 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,[32] had husbands but were romantically linked to other women as well.[33] 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.[34] 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."<span>[31] </span>
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