IV
119THCONGRESS
1
STSESSION H. RES. 146
Honoring the legacy of the Harlem Renaissance, a cultural, social, and
political movement in American history.
IN THE HOUSE OF REPRESENTATIVES
FEBRUARY21, 2025
Mr. E
SPAILLAT(for himself, Ms. VELA´ZQUEZ, Ms. MENG, Ms. OCASIO-COR-
TEZ, and Ms. CLARKEof New York) submitted the following resolution;
which was referred to the Committee on Oversight and Government Re-
form
RESOLUTION
Honoring the legacy of the Harlem Renaissance, a cultural,
social, and political movement in American history.
Whereas the Harlem Renaissance radically redefined the
Black experience and continues to influence future gen-
erations of artists, writers, and intellectuals, creating in-
delible impacts on culture in the United States and the
world;
Whereas approximately 6,000,000 Black people moved from
the American South to Northern, Midwestern, and West-
ern States between the 1910s until the 1970s, a popu-
lation shift which we know today as ‘‘The Great Migra-
tion’’, one of the largest movements of people in United
States history seeking to escape the radically racist sys-
tem of Jim Crow segregation policies;
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Whereas ‘‘the Great Migration’’ of Blacks from the Southern
States and the arrival of African diasporans notably from
the Caribbean and Latin America seeking economic op-
portunities, better housing and education, and social jus-
tice and civil rights also served the World War I efforts
as patriotic Americans despite segregation and systemic
racial discrimination in the Army;
Whereas the most celebrated African-American regiment in
World War I, the 369th Infantry Regiment, the Harlem
Hellfighters (Black Rattlers), mostly New Yorkers
(Blacks and Latinos) and residents of Harlem, entered
the battlefields on October 15, 1918, fought bravely in
the Meuse-Argonne Offensive alongside the French
troops, and were awarded the highest honor by the
French Government, the Croix de Guerre;
Whereas the 369th Infantry Regiment, the Harlem
Hellfighters, fought with bravery in battle, under the
leadership of Lieutenant James Reese Europe, the 369th
Regiment military band also became known for its rag-
time music and is credited for introducing American jazz
to Europe;
Whereas its triumphant return to the United States and pa-
rade which drew thousands on February 17, 1919, is
considered the start of the Harlem Renaissance era;
Whereas Harlem in New York City was one of the most pop-
ular destinations for these families, a formerly all-White
neighborhood that by the 1920s became home to some
200,000–500,000 African Americans;
Whereas this considerable population shift fostered the birth
of an African-American cultural movement;
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Whereas leading organizations such as the National Urban
League and the National Association for the Advance-
ment of Colored People (NAACP) headed by well-known
figures such as W.E.B. Du Bois, James Weldon Johnson,
Walter White, and Jessie Fauset who provided aesthetic
guidance and financial support both for this cultural
awakening that spanned from the 1910s to the mid-
1930s, and to withstand and overcome segregated
churches, schools, housing, stores, theaters, hotels, and
restaurants which persisted even in Harlem in one form
or another as late as the 1960s;
Whereas, in 1914, Marcus Garvey, of Jamaican descent,
founded the United Negro Improvement Association and
advocated for stronger connections between African
Americans and the worldwide African diaspora, was also
a leading intellectual during the Harlem Renaissance;
Whereas educator, writer, and philosopher Alain Locke com-
piled an anthology reflecting the works of African Ameri-
cans seeking social, political, and artistic change called
the ‘‘New Negro’’ whose name came to define a move-
ment which today we know as the Harlem Renaissance;
Whereas statesman Asa Philip Randolph helped establish our
Nation’s first federally recognized labor union to protect
Black workers, the Brotherhood of Sleeping Car Porters,
in 1925, in Harlem;
Whereas bold and exciting forms of Black music evolved,
along with venues to listen and to dance to the music
such as Harlem’s Minton’s Playhouse, the Cotton Club,
Small’s Paradise, Baby Grand, Lenox Lounge, Savoy
Ballroom, Renaissance Ballroom, and Alhambra Ball-
room;
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Whereas blues, ragtime, and jazz became the key form of
form of cultural expression in Harlem, where legendary
artists such as Scott Joplin, Louis Armstrong, Duke
Ellington, Cab Calloway, Lena Horne, Bessie Smith,
Count Basie, Ethel Waters, Ella Fitzgerald, Billie Holi-
day, Ivie Anderson, Mamie Smith, Noble Sissle, Eubie
Blake, Jelly Roll Morton, and many performers com-
posers and arrangers rose to prominence;
Whereas Edward Kennedy ‘‘Duke’’ Ellington, with Billy
Strayhorn, a gay great affectionately known as, ‘‘Sweet
Pea’’, was a composer, pianist, and jazz orchestra leader
for five decades writing over 1,000 songs, and Louis
Armstrong, the ‘‘Jazz Ambassador’’, became three of the
most influential musicians in the history of jazz with a
distinctive voice and a unique style;
Whereas the era also saw the burgeoning of literary work by
and about African Americans by writers like Sterling A.
Brown, Alice Dunbar Nelson, Langston Hughes, Zora
Neale Hurston, Nella Larson, Wallace Thurman, and
Countee Cullen, to name just a few;
Whereas two of the first works that had a significant impact
on the culture of the Harlem Renaissance were the po-
etry anthologies known as ‘‘Harlem Shadows’’ by Claude
McKay and ‘‘Cane’’ by Jean Toomer;
Whereas artist Aaron Douglas, a figure of the Harlem Ren-
aissance, ‘‘defined a modern visual language that rep-
resented Black Americans in a new light’’ and later be-
came known as the ‘‘father of African-American art’’,
along with noted sculptor Richard Barthe and several
leading women artists, including Augusta Savage and
Elizabeth Catlett;
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Whereas acclaimed Black architects including Vertner Wood-
son Tandy, George Washington Foster, John Lewis Wil-
son, and Norma Merrick Sklarek all helped to transform
the Harlem landscape;
Whereas acclaimed photographers James Van Der Zee, Mor-
gan and Marvin Smith, Austen Hansen, and Gordon
Parks were known as the ‘‘unofficial chroniclers of Afri-
can-American life in Harlem’’ and their vast portfolios of
formal and informal photographs help to provide a re-
sounding visual legacy of this moment in history;
Whereas the Harlem Renaissance is remembered for the lit-
erature that came from the movement, including ‘‘Home
to Harlem’’ by Claude McKay, ‘‘Not Without Laughter’’
by Langston Hughes, ‘‘The Infants of the Spring’’ by
Wallace Thurman, ‘‘Smoke Lillies and Jade’’ by Richard
Bruce Nugent, ‘‘Black No More’’ by George Schuyler,
and ‘‘Their Eyes Were Watching God’’ by Zora Neale
Hurston, and publisher and writer Dorothy West’s ‘‘The
Living is Easy’’;
Whereas the development of Harlem as a Black cultural
mecca in the early 20th century and the subsequent so-
cial and artistic movements that produced a golden era
in African-American culture manifested in dance, design,
architecture, poetry, literature, politics, fashion, scholar-
ship, music and stage performance, and art;
Whereas Harlem attracted a remarkable concentration of in-
tellect and talent and served as the symbolic capital of
this cultural awakening, while other New York City
neighborhoods, as well as communities in Chicago, Cleve-
land, and Los Angeles, also nurtured social and creative
movements;
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Whereas the Harlem Renaissance embraced literary, musical,
theatrical, and visual arts, its participants also sought to
foster a new image of ‘‘the Negro’’ that challenged the
racist and derogatory stereotypes with which Whites had
characterized Black people and instead sought to engen-
der pride in Black culture and heritage;
Whereas crucial to the movement were magazines such as
The Crisis, published by the NAACP, Opportunity, pub-
lished by the National Urban League, and The Mes-
senger, a socialist journal eventually connected with the
Brotherhood of Sleeping Car Porters; and
Whereas the Harlem Renaissance was not dominated by a
particular school of thought but rather characterized by
intense debate, the movement laid a foundation for later
African-American literature and consciousness worldwide:
Now, therefore, be it
Resolved, That the House of Representatives— 1
(1) recognizes that the Harlem Renaissance 2
represented a pivotal moment in America history for 3
African Americans and the African diaspora commu-4
nity of intellectuals, artists, performers, writers, 5
poets, and musicians whose works of political dis-6
course and creative expression set a path for self-de-7
termination and self-empowerment which is still evi-8
dent today; 9
(2) recognizes that the Harlem Renaissance 10
gave Black people pride in and control over how the 11
Black experience was represented in American cul-12
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ture and set the stage for the civil rights movement 1
and continues to inform the activities of today for 2
social justice and equal rights; 3
(3) supports efforts to recognize, promote, pre-4
serve, and celebrate the rich history of the Harlem 5
Renaissance and its continuum through contem-6
porary interpretive programs; 7
(4) protects Harlem’s historic assets, its cul-8
tural legacy, the rich history of its people against en-9
croachments resulting in the displacement and up-10
rooting of low- and moderate-income residents, and 11
undermine its world-renowned cultural identity and 12
unique neighborhood character, which are economic 13
tools not only for Harlem, but New York City, in 14
general; and 15
(5) celebrates the lasting impact of the Harlem 16
Renaissance on the art, literature, music, discourse, 17
and culture of the United States. 18
Æ
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