Media slamKC
Explore the performances of young slam poets. Musical, lyrical, and provocative, these original spoken word pieces are supported by Hip Hop giants Questlove and Black Thought.
Alain Locke Critic, Philosopher, Educator
-
Born
September 13, 1895
-
Died
June 9, 1954
-
Country
United States of America
Alain Locke, the first African American to win a Rhodes scholarship, became a philosophy professor at Howard University in Washington, D.C. Without his backing, many Black artists of the 1920s and 1930s might never have achieved the degree of success they did.
Black art and literature, Locke believed, should not conform to the standards dictated by white culture; instead, both forms of expression should portray African American life realistically and without sentiment.
After speaking at Opportunity magazine’s first awards dinner in November 1924, Locke was invited by Paul Kellogg, editor of Survey Graphic magazine, to compile a special issue that would capture the creative ferment of the African American renaissance then under way in New York City. Entitled “Harlem: Mecca of the New Negro,” the special issue’s publication in March 1925—and its expansion later that year into a book, The New Negro: An Interpretation—helped to launch the careers of writers Countee Cullen, Zora Neale Hurston, Claude McKay, and Langston Hughes, as well as artist Aaron Douglas.
Works included in The New Negro reflected Locke’s belief that Black dramatists, artists, and writers should look to their African heritage—specifically folklore, spirituals, jazz, and African sculpture—for sources of inspiration. In Hurston, Locke found an artist whose roots reached deep into the folk heritage of her native Florida. Locke published Hurston’s first short story, “John Redding Goes to Sea,” in The Stylus, Howard University’s student literary magazine. He also lauded her talents to Charles S. Johnson, who urged Hurston to come to New York.
Locke continued to serve as, what he termed, a “philosophical midwife” to Black artists throughout his life. Not only did he put struggling Black talents in touch with one another, he also introduced Hurston, Hughes, Douglas, and many others to wealthy patron Charlotte Mason, who provided generous financial support of the African American arts. And as an adviser to the Harmon Foundation, Locke coaxed that organization to subsidize African American artists.
 I n t e r s e c t i o n s |
|
 |
He supported poet Countee Cullen. |
 |
Zora Neale Hurston published her first story in Locke’s literary magazine, The Stylus. |
 |
He supported Langston Hughes and introduced him to patron Charlotte Mason. |
 |
Aaron Douglas illustrated Locke’s The New Negro. |
 |
He asked William Grant Still to compose ballet music. |
 |
|
Related Resources
Media Poetry Out Loud
How does poetry change when it transforms from written to spoken word? Listen as well-known voices express the work of celebrated poets.
Media Meet Author Jason Reynolds
Jason Reynolds was born in Washington, D.C., and grew up in Oxon Hill, Maryland. He wasn’t into reading or writing as a boy, but that changed when he discovered his love for the lyrics and flow of Hip Hop.
Lesson The Poetics of Hip Hop
In this 9-12 lesson, students will analyze the rhythm, form, diction, and sound of hip hop and Shakespearean sonnets. Students will compare characteristics between Shakespeare’s work and the work of hip hop artists to create an original poem or lyrics.
Kennedy Center Education Digital Learning
Eric Friedman
Director, Digital Learning
Kenny Neal
Manager, Digital Education Resources
Tiffany A. Bryant
Manager, Operations and Audience Engagement
JoDee Scissors
Content Specialist, Digital Learning
Connect with us!
Generous support for educational programs at the Kennedy Center is provided by the U.S. Department of Education. The content of these programs may have been developed under a grant from the U.S. Department of Education but does not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the federal government.
Gifts and grants to educational programs at the Kennedy Center are provided by A. James & Alice B. Clark Foundation; Annenberg Foundation; the Andrew W. Mellon Foundation; Bank of America; Bender Foundation, Inc.; Capital One; Carter and Melissa Cafritz Trust; Carnegie Corporation of New York; DC Commission on the Arts and Humanities; Estée Lauder; Exelon; Flocabulary; Harman Family Foundation; The Hearst Foundations; the Herb Alpert Foundation; the Howard and Geraldine Polinger Family Foundation; William R. Kenan, Jr. Charitable Trust; the Kimsey Endowment; The King-White Family Foundation and Dr. J. Douglas White; Laird Norton Family Foundation; Little Kids Rock; Lois and Richard England Family Foundation; Dr. Gary Mather and Ms. Christina Co Mather; Dr. Gerald and Paula McNichols Foundation; The Morningstar Foundation;
The Morris and Gwendolyn Cafritz Foundation; Music Theatre International; Myra and Leura Younker Endowment Fund; the National Endowment for the Arts; Newman’s Own Foundation; Nordstrom; Park Foundation, Inc.; Paul M. Angell Family Foundation; The Irene Pollin Audience Development and Community Engagement Initiatives; Prince Charitable Trusts; Soundtrap; The Harold and Mimi Steinberg Charitable Trust; Rosemary Kennedy Education Fund; The Embassy of the United Arab Emirates; UnitedHealth Group; The Victory Foundation; The Volgenau Foundation; Volkswagen Group of America; Dennis & Phyllis Washington; and Wells Fargo. Additional support is provided by the National Committee for the Performing Arts.
Social perspectives and language used to describe diverse cultures, identities, experiences, and historical context or significance may have changed since this resource was produced. Kennedy Center Education is committed to reviewing and updating our content to address these changes. If you have specific feedback, recommendations, or concerns, please contact us at [email protected].