The Harlem Renaissance: Restructuring, Rebirth and Reckoning – w/ Julie Buckner Armstrong
Teaching Hard History
Learning for Justice
4.2 • 588 Ratings
🗓️ 17 February 2022
⏱️ 56 minutes
🧾️ Download transcript
Summary
During the Harlem Renaissance, more Black artists than ever before were asking key questions about the role of art in society. Oftentimes the Harlem Renaissance is misconstrued as a discrete moment in American history–not as the next iteration of a thriving Black artistic tradition that it was. Literature scholar Julie Buckner Armstrong urges educators to look deeper into the texts left to us by these artists and come to a fuller understanding of this stage in a long chronology of Black artistic expression.
Be sure to visit the enhanced episode transcript for additional classroom resources for teaching about literature and the arts during the Jim Crow era.
Transcript
Click on a timestamp to play from that location
| 0:00.0 | I graduated from Morehouse College in Atlanta, Georgia, in 1994. |
| 0:14.0 | During my senior year, I took public speaking, a requirement for graduation. |
| 0:21.3 | Dr. Anne Watts was the instructor. |
| 0:24.2 | She taught oratory at Morehouse for 42 years before retiring in 2013. |
| 0:31.9 | I took the class with one of my running buddies, Lewis Bingham. |
| 0:35.8 | Lou was also from New York, Queens, not Brooklyn, and was a history |
| 0:40.2 | major too. We met during our freshman year, and over the next four years, we rolled through |
| 0:47.2 | Morehouse together. There was no better study partner than Lou. He came to every study session |
| 0:53.4 | prepared, and on those occasions when we |
| 0:56.2 | had to pull an all-nighter, he always baked the cake, one as good as anything my grandma made. |
| 1:04.6 | Public speaking with Dr. Watts was our last class together. After graduation, Lou stayed in Atlanta and attended law school at Emory, |
| 1:16.6 | while I headed to North Carolina and enrolled in graduate school at Duke. |
| 1:22.6 | Despite the distance, we remained fast friends. |
| 1:26.6 | He was in my wedding and I was in his. The other day, I sent |
| 1:31.4 | Lou a text. It read, public speaking, senior year, Dr. Anne Watts, Brawley Hall, 100. Lou Bingham's |
| 1:42.1 | favorite poem of all time is, and three minutes later, he text back, |
| 1:48.9 | If We Must Die, Claude McKay. |
| 1:52.8 | And then, he sent a picture of the poem, framed and hanging in the entryway to his home. |
| 2:01.4 | It was the same poem he recited for his final presentation for Dr. Watts, |
| 2:07.8 | Claude McKay's If We Must Die, written in 1919. |
| 2:13.8 | If We Must Die, Let it not be like hogs, hunted and penned in an inglorious spot, while round us bark the mad and hungry dogs, making their mock at our accursed lot. If we must die, oh, let us nobly die so that our precious blood may not be shed in vain |
| 2:41.7 | then even the monsters we defy shall be constrained to honor us, though dead. |
... |
Please login to see the full transcript.
Disclaimer: The podcast and artwork embedded on this page are from Learning for Justice, and are the property of its owner and not affiliated with or endorsed by Tapesearch.
Generated transcripts are the property of Learning for Justice and are distributed freely under the Fair Use doctrine. Transcripts generated by Tapesearch are not guaranteed to be accurate.
Copyright © Tapesearch 2026.

