Langston Hughes &
Zora Neale Hurston
Program Video Clip List
|
| Clip # |
Start Time
| End Time
| Description
|
| 1 |
01:35.9 |
01:59.9 |
Langston Hughes reading Harlem |
| 2 |
02:26.7 |
03:24.9 |
Harlem in the 1920's; transformation from a white community to a black community
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| 3 |
03:52.0 |
05:11.0 |
New Negro Movement; Harlem Renaissance not just a literary movement, but a political, historical, and economical movement |
| 4 |
05:19.6 |
06:42.1 |
Harlem geographically today; location of Pres. Clinton's office |
| 5 |
07:21.8 |
08:19.4 |
The Schomburg Center for Research in Black Culture, history and relevance |
| 6 |
08:24.7 |
09:32.8 |
Number of artists and writers at the height of the Harlem Renaissance; the camaraderie of the artists through the American Negro Theatre; artists as both competitors and friends |
| 7 |
10:03.1 |
11:21.0 |
Brief history of Langston Hughes; his role in the Harlem Renaissance; visuals of Langston Hughes
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| 8 |
12:23.6 |
13:49.0 |
The political and economic impact of the Harlem Renaissance; Booker T. Washington's death and Marcus Garvey's leadership role in the movement; various efforts to unify and politicize the African-American community; the self-help movement within the African-American community |
| 9 |
13:49.0 |
14:35.9 |
The influence of jazz during the Harlem Renaissance; jazz actually precedes the literary movement |
| 10 |
15:15.1 |
15:53.1 |
Claude McKay, briefly, and his role in the movement |
| 11 |
15:56.6 |
17:28.3 |
Zora Neale Hurston; was an anthropologist first and used her ethnographies to write her characters so well in her literary works; the most prominent female literary figure of the movement; her politics compared to Langston Hughes'
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| 12 |
17:33.1 |
19:31.8 |
How many of the Harlem Renaissance writers and artists were able to exclusively make a living and be self-sufficient through their work? |
| 13 |
19:36.4 |
20:39.0 |
Introduction and explanation of Langston Hughes's poem The Negro Speaks of Rivers; considered to be Hughes' signature poem and one of his earliest; talks about his relationship to peoples of African descent around the world
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| 14 |
20:48.0 |
22:24.0 |
Langston Hughes talking about and reciting his poem The Negro Speaks of Rivers |
| 15 |
22:40.6 |
24:53.4 |
The Langston Hughes Auditorium in the Schomburg Center for Research in Black Culture; the artistic significance of the cosmogram on the floor of the auditorium; Cosmogram is entitled Rivers and it is based on Hughes's signature poem; the cosmogram illustrates Hughes's poem, The Negro Speaks of Rivers, as well as traces the lifelines of Schomburg and Hughes; Hughes's ashes are buried beneath the center of the cosmogram where it says, "My soul has grown deep like the rivers." |
| 16 |
25:11.8 |
26:23.2 |
The present-day boundaries of the Harlem area. |
| 17 |
26:23.3 |
27:05.1 |
What is the origin of the word Harlem? |
| 18 |
28:04.0 |
29:00.3 |
Religion and the Harlem Renaissance; many of the writers were members of the churches in the area; churches were supportive of the artists and their work by providing them with space to develop and present their work. |
| 19 |
29:14.0 |
30:45.4 |
Langston Hughes' religious views; believed strongly in black religion but became critical of what he saw as religious hypocrisy; he became a Socialist in the 1930's and his relationship with the church suffered because of it; he used the language and rhythms of the church in his literary works however |
| 20 |
30:49.6 |
32:58.4 |
Carl Van Vecten's role as a white author of the Harlem Renaissance; he was a photographer as well as a writer and critic; the relationship between Langston Hughes and Carl Vechten; was a friend and mentor to many of the Harlem Renaissance writers. |
| 21 |
33:16.4 |
35:20.9 |
The influence of historically black colleges on Langston Hughes and Zora Neale Hurston; both had limited interest in being teachers; wanted to primarily influence people through their writings |
| 22 |
35:21.0 |
36:23.7 |
How widely are the writings of Hurston and Hughes taught today at the high school level? |
| 23 |
36:26.2 |
37:31.8 |
Langston Hughes attacked Daddy Graves and Father Divine as part of what he saw as religious hypocrisy. |
| 24 |
37:32.0 |
38:55.1 |
Harlem life and culture during the "Roaring 20's"; Harlem became an epicenter of the "Roaring 20's" with the Cotton Club and booze, even during the era of Prohibition; still very racially segregated; black artists played for white audiences
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| 25 |
38:57.6 |
42:15.2 |
A'Lelia Walker, Nella Larson, and Wallace Thurmond's effect on the Harlem Renaissance; Alilyah Walker was the daughter of Madame C.J. Walker; Nella Larson wrote the novels Passing and Quicksand; Wallace Thurmond was considered one of the brightest of the era and influenced the likes of Langston Hughes et al. |
| 26 |
43:28.1 |
46:08.2 |
The concept of the Great Migration; starting in the 1910's, many black people migrated from the South to the North, changing the face of America; Langston Hughes reading his poem One Way Ticket, which deals with the Great Migration
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| 27 |
46:18.2 |
47:45.2 |
James Van Der Zee's part in the Renaissance; was the premier photographer of the 1920's |
| 28 |
48:56.3 |
52:39.4 |
Clip of Danny Glover talking about Langston Hughes and reciting poem, To Be Somebody, at the University of Kansas
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| 29 |
54:08.7 |
56:47.8 |
What would Hughes and Hurston think of Harlem today? The plight of Harlem and its loss of residents today |
| 30 |
56:47.9 |
58:35.3 |
The look and personality of Langston Hughes; visuals of Hughes |
| 31 |
58:35.4 |
59:10.8 |
Hughes' real first name was James; only used James when he wanted to go incognito |
| 32 |
59:10.9 |
01:00:07 |
The history of the name Langston |
| 33 |
01:01:22 |
01:02:40 |
Youth's cultural awareness and education today |
| 34 |
01:05:15 |
01:06:19 |
Hughes' relationship with Carter G. Woodson |
| 35 |
01:06:29 |
01:09:41 |
Tourism in the 1920's and preservation of those tourist attractions today; controversy always surrounds the preservation effort in terms of historic significance and economic viability |
| 36 |
01:11:31 |
1:12:56 |
The papers of Langston Hughes; housed in the James Weldon Johnson Memorial Collection founded by Carl Van Vechten at Yale University |
| 37 |
1:13:10 |
1:14:43 |
Archival material Hughes gave to the Schomberg Center, including manuscript for Montage of a Dream Deferred; comparison to musical forms of the era |
| 38 |
1:16:43 |
1:18:11 |
Discussion of Hughes' character "Simple" whom Hughes uses to comment on events and dispense humor and new directions; good way to learn all about the community of Harlem at that time |
| 39 |
1:18.50 |
1:23:53 |
Actors Ruby Dee and Ossie Davis recount their views about Zora Neale Hurston as a story collector and teller; her legacy to today's writers |
| 40 |
1:24:32 |
1:25:09 |
Why it's important to know about Hurston; she was ahead of her time in her own direction in her work as an anthropologist and in her writing |
| 41 |
1:25:09 |
1:26:01 |
Why Their Eyes Were Watching God was unique: transition from literary English to a new literary language: voices of preachers, blues singers, storytellers |
| 42 |
1:26:15 |
1:27:10 |
Hurston and Hughes' visit to an elementary school in Harlem; black history |
| 43 |
1:27:15 |
1:28:12 |
The significance of Eatonville, FL (and visuals) to Hurston; folklore, devoted Southerner; used the stories she heard there
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| 44 |
1:28:25 |
1:28:56 |
Selection from Their Eyes, Nanny speaking in Chapter 2, "mule uh de world" |
| 45 |
1:28:56 |
1:29:46 |
Views on Hurston's use of the southern vernacular; folklore's relation to art; why some preferred to elevate standard English |
| 46 |
1:29:46 |
1:31:58 |
Hughes and Hurston's secretive collaboration on a play; their falling out with each other and the play's lack of success |
| 47 |
1:32:01 |
1:34:17 |
Level of inclusion of Harlem Renaissance writers in American schools today |
| 48 |
1:34:17 |
1:36:24 |
Clip of Hurston from radio interview discussing how she went about writing and publishing the manuscript for her first book |
| 49 |
1:36:24 |
1:37:40 |
Why Hurston died in poverty; ways she sought to support herself (i.e. folklore concerts) |
| 50 |
1:38:40 |
1:39:57 |
Story of the neighborhood garden Hughes made for children with Mr. Sacred Heart |
| 51 |
1:39:57 |
1:40:52 |
Writer Alice Walker's role in revitlizing interest in Hurston; went to Eatonville and in 1974 wrote Looking for Zoraand Walker's difficulty in finding the truth about Hurston |
| 52 |
1:42:07 |
1:43:59 |
Use of the word "Negro" and "black" by Hughes and use of those and other terms today |
| 53 |
1:43:59 |
1:45:39 |
How Hurston was like and unlike her peers: she participated in the black migration (from the south to the north); maintained strong link to the south; she finished her education |
| 54 |
1:46:04 |
1:47:15 |
Sterling Brown, poet, teacher |
| 55 |
1:47:15 |
1:48:13 |
Are any figures from the Renaissance still alive? How the Harlem Renaissance became a major subject of study, since 1970 and the publication of The Harlem Renaissance |
| 56 |
1:48:23 |
1:50:52 |
Relationship of white patron, Mrs. Osgood Mason, to both Hurston and Hughes, starting in 1926-27; dropped her support to Langston Hughes suddenly after a falling out-led to his radical socialism; paradox of white patronage |
| 57 |
1:50:52 |
1:52:39 |
The connection to Cleveland, OH; his experience in school there, as class poet, etc. |
| 58 |
1:52:39 |
1:54:02 |
Lucy Anne Hurston's view of her aunt; she liked to be the center of attention; liked hats |
| 59 |
1:54:02 |
1:54:56 |
Hurston as "bodacious," brought songs, games stories into quiet spaces; made some people uncomfortable |
| 60 |
1:55:22 |
1:57:44 |
Hurston's descendents control her estate; Hughes estate goes to the beneficiaries of his will, by and large his wishes are being carried out; the Hughes collection |
| 61 |
1:57:44 |
1:59:21 |
Lucy Hurston's memories of stories about her aunt; her relationship to Hurston; her admiration for description of Janie in Their Eyes
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| 62 |
2:01:58 |
2:02:44 |
Status of a "Harlem Renaissance" today? |
| 63 |
2:03:44 |
2:04:18 |
Placing the Renaissance into the context of changes for black Americans across the country |
| 64 |
2:04:30 |
2:06:15 |
Hurston's anthropological field studies; film clip of Hurston in the field documenting practices |
| 65 |
2:07:38 |
2:08:36 |
Hurston's archives and a forthcoming publication from the Hurston family |
| 66 |
2:08:58 |
2:10:17 |
Quote about sharpening her oyster knife from essay How it Feels to be Colored Me (1928). "That I am not tragically colored…." Hurston's views on being black in America-it was a triumph of the human spirit, cultural and historical influences |
| 67 |
2:10:17 |
2:11:06 |
Turned to conservative politics as she got older, a republican; letter to Orlando Sentinel questioning Brown v. Board |
| 68 |
2:11:52 |
2:14:06 |
Mixed relationship to black power movement and Stokely Carmichael. Poem, The Panther and the Lash questions Carmichael's role within the black community. |
| 69 |
2:14:06 |
2:15:25 |
The end of Hurston's life and her death; visuals of gravesite in Florida |
| 70 |
2:15:31 |
2:16:23 |
Hurston's legacy of writing and work according to Lucy Anne Hurston |
| 71 |
2:17:34 |
2:18:34 |
More on writer Alice Walker's role in revitlizing interest in Hurston; discovered Hurston in a footnote then read Mules and Men |
| 72 |
2:18:38 |
2:19:48 |
How Hughes came to be interested in socialism, first in high school; became radical in the 1930's; by 1940 went to the center but with interest in social progress and civil rights |
| 73 |
2:20:23 |
2:21:29 |
Hurston and Hughes' connection to Booker T. Washington, W.E.B. DuBois |
| 74 |
2:21:29 |
2:22:30 |
Drug and alcohol use |
| 75 |
2:22:31 |
2:23:35 |
Their impact on the civil rights movement; Hughes connection to MLK's "I Have a Dream" speech |
| 76 |
2:23:35 |
2:26:10 |
One Harlem caller's reminiscences about growing up there during the 20's; Countee Cullen was his teacher; Ralph Ellison |
| 77 |
2:26:10 |
1:27:14 |
Audio of Hurston talking about herself and her self-image |
| 78 |
2:27:57 |
2:28:43 |
Why wasn't Hurston successful during her time? Published during times when literature and art weren't high priorities |
| 79 |
2:28:50 |
1:54:56 |
Conflict between Hurston and Richard Wright; James Baldwin and Langston Hughes |
| 80 |
2:31:25 |
2:32:21 |
Length of the Harlem Renaissance and significance in history |
| 81 |
2:32:55 |
2:33:45 |
Hughes reading his poem Democracy |
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