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Lucille Nelson Hegamin was an American singer and entertainer and an early African-American blues recording artist.
The Cotton Club was a 20th-century nightclub in New York City. It was located on 142nd Street and Lenox Avenue from 1923 to 1936, then briefly in the midtown Theater District until 1940. The club operated during the United States' era of Prohibition and Jim Crow era racial segregation. Black people initially could not patronize the Cotton Club, but the venue featured many of the most popular black entertainers of the era, including musicians Fletcher Henderson, Duke Ellington, Jimmie Lunceford, Chick Webb, Louis Armstrong, Count Basie, Fats Waller, Willie Bryant; vocalists Adelaide Hall, Ethel Waters, Cab Calloway, Bessie Smith, Lillie Delk Christian, Aida Ward, Avon Long, the Dandridge Sisters, the Will Vodery choir, The Mills Brothers, Nina Mae McKinney, Billie Holiday, Midge Williams, Lena Horne, and dancers such as Katherine Dunham, Bill Robinson, The Nicholas Brothers, Charles 'Honi' Coles, Leonard Reed, Stepin Fetchit, the Berry Brothers, The Four Step Brothers, Jeni Le Gon and Earl Snakehips Tucker.
Samuel Coleridge-Taylor was a British composer and conductor. Of mixed-race descent, Coleridge-Taylor achieved such success that he was referred to by white musicians in New York City as the "African Mahler" when he had three tours of the United States in the early 1900s. He was particularly known for his three cantatas on the epic 1855 poem The Song of Hiawatha by American Henry Wadsworth Longfellow. Coleridge-Taylor premiered the first section in 1898, when he was 23. He married an Englishwoman, Jessie Walmisley, and both their children had musical careers. Their son, Hiawatha, adapted his father's music for a variety of performances. Their daughter, Avril Coleridge-Taylor, became a composer-conductor.
Pearl Eileen Primus was an American dancer, choreographer and anthropologist. Primus played an important role in the presentation of African dance to American audiences. Early in her career she saw the need to promote African dance as an art form worthy of study and performance. Primus' work was a reaction to myths of savagery and the lack of knowledge about African people. It was an effort to guide the Western world to view African dance as an important and dignified statement about another way of life.
Carl Van Vechten was an American writer and artistic photographer who was a patron of the Harlem Renaissance and the literary executor of Gertrude Stein. He gained fame as a writer, and notoriety as well, for his 1926 novel Nigger Heaven. In his later years, he took up photography and took many portraits of notable people. Although he was married to women for most of his adult years, Van Vechten engaged in numerous homosexual affairs over his lifetime.
Beulah Elizabeth Richardson, known professionally as Beah Richards and Bea Richards, was an American actress of stage, screen, and television. She was also a poet, playwright, author and activist.
Richard Bruce Nugent, aka Richard Bruce and Bruce Nugent, was an American gay writer and painter in the Harlem Renaissance. Despite being a part of a group of many gay Harlem artists, Nugent was among the handful who were publicly out. Recognized initially for the few short stories and published paintings, Nugent had a long productive career bringing to light the creative process of gay and black culture.
Coleridge-Taylor Perkinson was an American composer whose interests spanned the worlds of jazz, dance, pop, film, television, and classical music. Professionally he was often known as "Coleridge Perkinson".
African-American dance is a form of dance that was created by Africans in the Diaspora, specifically the United States. It has developed within various spaces throughout African-American communities in the United States, rather than studios, schools, or companies. These dances are usually centered on folk and social dance practice, though performance dance often supplies complementary aspects to this. Placing great value on improvisation, these dances are characterized by ongoing change and development. There are a number of notable African-American modern dance companies using African-American cultural dance as an inspiration, among these are the Whitey's Lindy Hoppers, Alvin Ailey American Dance Theater, Dance Theatre of Harlem, and Katherine Dunham Company. Hollywood and Broadway have also provided opportunities for African-American artists to share their work and for the public to support them.
Austin Dafora Horton, also known as Asadata Dafora, was a Sierra Leonean multidisciplinary musician. He was one of the first Africans to introduce African drumming music to the United States, beginning in the early 1930s. His artistic endeavours spanned multiple disciplines, but he is best remembered for his work in dance and music.
The Harlem Renaissance was an intellectual and cultural revival of African-American music, dance, art, fashion, literature, theater, politics and scholarship centered in Harlem, Manhattan, New York City, spanning the 1920s and 1930s. At the time, it was known as the "New Negro Movement", named after The New Negro, a 1925 anthology edited 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 a renewed militancy in the general struggle for civil rights, combined with the Great Migration of African-American workers fleeing the racist conditions of the Jim Crow Deep South, as Harlem was the final destination of the largest number of those who migrated north.
DanceAfrica is a heritage and community celebration equable on the manifold dance forms of the African Diaspora held annually in New York City, Washington, DC, and Chicago. Included are indoor and outdoor performance including live music, a film series, master classes, education programs, and an outdoor bazaar. Its current artistic director is Abdel R. Salaam.
Edna Guy (1907–1982) was an African-American modern dance pioneer. Born in 1907 in Summit, New Jersey, Guy lived at a time when blacks and whites did not appear on stage together. At the age of fifteen she begged her mother to take her to a dance concert in Greenwich Village where she watched Modern Dance pioneer Ruth St. Denis perform the Incense Dance. From that point onwards Guy developed a lifelong relationship with modern dance world, especially in the African- American context.
Nana Kimati Dinizulu was an American virtuoso percussionist, who was widely acclaimed for his artistry with African percussion. He wrote works in the areas of jazz, folk, classical, popular, ballet, and musical theater.
Fanga is a dance "interpretation of a traditional Liberian invocation to the earth and sky". The dance originated in Liberia or Sierra Leone. The first performance of a version of Fanga in the United States may have been by Asadata Dafora in 1943; Marcia Ethel Heard believes that Pearl Primus hid Dafora's influence on her work. The dance was written by Primus in 1959 in conjunction with the National Dance Company of Liberia. Fanga was one of the dances through which Primus sought to stylize and perpetuate African dance traditions by framing dance as a symbolic act, an everyday practice, and a ceremony. It was then further popularized by Primus' students, sisters Merle Afida Derby and Joan Akwasiba Derby. Babatunde Olatunji described Fanga as a dance of welcome from Liberia and he, and many others, used a song created by LaRocque Bey to go with the rhythm and dance, assisted by some of the students in his Harlem studio, during the early 1960s. Bey used words from the Yoruba and Vai languages and an African American folk melody popularized by American minstrels.
Dick Campbell, born Cornelius Coleridge Campbell, was a key figure in black theater during the Harlem Renaissance. While a successful performer in his own right, Campbell is best known as a tireless advocate for black actors in general. As a theater producer and director, he helped launch the careers of several black theater artists, including Ossie Davis, Frederick O'Neal, Loften Mitchell, Helen Martin, and Abram Hill.
Constance Cummings-John was a Sierra Leonean educationist and politician. She was the first woman in Africa to join a municipal council and in 1966 became the first woman to serve as mayor of Freetown, Sierra Leone. She was based in London, England, for the latter part of her life.
Charles Moore was an African-American dancer, choreographer, teacher and founder of The Charles Moore Dance Theatre in Brooklyn, New York.
Freedom was a monthly newspaper focused on African-American issues published from 1950 to 1955. The publication was associated primarily with the internationally renowned singer, actor and then officially disfavored activist Paul Robeson, whose column, with his photograph, ran on most of its front pages. Freedom's motto was: "Where one is enslaved, all are in chains!" The newspaper has been described as "the most visible African American Left cultural institution during the early 1950s." In another characterization, "Freedom paper was basically an attempt by a small group of black activists, most of them Communists, to provide Robeson with a base in Harlem and a means of reaching his public... The paper offered more coverage of the labor movement than nearly any other publication, particularly of the left-led unions that were expelled from the CIO in the late 1940s... [It] encouraged its African American readership to identify its struggles with anti-colonial movements in Africa, Asia, and the Caribbean. Freedom gave extensive publicity to... the struggle against apartheid."
Carole Yvonne Johnson is an African American contemporary dancer and choreographer, known for her role in the establishment of the National Aboriginal Islander Skills Development Association (NAISDA), and as co-founder of Bangarra Dance Theatre in Australia. Early in her career she became a lead dancer in the Eleo Pomare Dance Company, and Pomare had a profound influence on her dancing style.
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