Gwendolyn Bennett was a notable figure during the Harlem Renaissance, a time of flourishing Black artistry in the 1920s. She was highly regarded by fellow artist Theodore Ward, who hailed her as one of the most promising poets of her time. Bennett was known for her poetry, short stories, and graphic art. She was also an educator, editor, and columnist, using her platform to celebrate Black culture and empower women.
Bennett was born in Texas in 1902 and spent her formative years on the Paiute Indian Reservation in Nevada, where her parents were Bureau of Indian Affairs teachers. After her parents' separation, she relocated with her mother to Washington D.C. Unfortunately, her father abducted her, and she later settled with him and her stepmother in Brooklyn, New York. Despite facing such challenges, Bennett excelled academically and became the first African American student to join the drama and literary societies at Girls' High in Brooklyn.
After graduating in 1921, Bennett studied at Columbia University and Pratt Institute, pursuing a degree in fine arts. It was during this time that she discovered her passion for writing poetry.
In 1923, Bennett's debut poem, "Nocturne," was published in The Crisis, the NAACP's journal. She then published "Heritage" in Opportunity magazine, published by the National Urban League. After graduating in 1924, she became a teacher in Howard University's art department and later received a scholarship to study in Paris.
While in Paris, Bennett honed her graphic art skills at the Académie Julian and the École du Panthéon. Upon her return to New York City, she began working as an assistant editor at Opportunity. She also launched her literary column, "The Ebony Flute," which provided a platform for Black writers and artists during the Harlem Renaissance, amplifying their voices and promoting their work.
In 1927, Bennett married Dr. Albert Joseph Jackson and moved to Florida, where the couple faced financial struggles during the Great Depression. They eventually settled in New York's Long Island but lost their home due to financial hardships. Bennett's husband passed away in 1936, and she returned to New York City in the late 1930s.
Despite facing personal hardships, Bennett continued to work as an artist in Harlem. In 1940, she married Richard Crosscup; however, their interracial marriage was not accepted at the time. Additionally, Bennett faced suspicion from the FBI for alleged Communist connections. She retired in 1968 and passed away on May 30, 1981, from cardiovascular complications.
Bennett's impact on the Harlem Renaissance and the literary world cannot be overlooked. Through her work, she fought against the exclusion of Black culture in mainstream media and provided a space for diverse communities to come together and discuss crucial issues.
Although Gwendolyn Bennett is often overlooked in history books, her contributions during the Harlem Renaissance and her support for Black voices were significant. Her poetry, short stories, and art continue to inspire and empower Black artists and writers, cementing her legacy as an essential figure in African American literature.
Gwendolyn Bennett was not only a supporter and promoter, but also a contributor to the Harlem Renaissance, a cultural movement that celebrated African American heritage and empowered Black voices. Through her poetry and prose, Bennett showcased her pride in her Black identity and the strength that came with being a Black woman.
A frequent mover, Bennett always held Harlem close to her heart and became a member of the Harlem Artists Guild in 1935. She worked to promote education and understanding within the African American artistic community, and also served as the director of the Harlem Community Art Center from 1939 to 1944.
The Harlem Renaissance, from the late 1910s to the mid-1930s, was a time when Harlem in New York City became the hub of Black culture. Originally developed for upper-class white residents, Harlem saw a population shift as Black families moved in due to overdevelopment and the Great Migration from the South. This led to a Black Pride movement, where African Americans finally received recognition for their cultural contributions. The Harlem Renaissance is considered a precursor to the civil rights movement, as it paved the way for the empowerment of Black voices.
Prominent figures such as W. E. B. Du Bois and Alain Leroy Locke were influential thinkers during the Harlem Renaissance, advocating for the recognition of Black culture and contributions. The founding of Opportunity magazine in 1923 by sociologist Charles S. Johnson was a significant milestone for the movement, providing a platform for renowned writers like Langston Hughes and Gwendolyn Bennett herself. However, the stock market crash of 1929, the end of Prohibition, and the Great Depression marked the decline of the Harlem Renaissance. Many artists, writers, and musicians left the city in search of employment, and by 1940, the movement had come to an end.
"Fantasy," one of Bennett's most famous poems, portrays the speaker's dreams of a mystical world where women and nature hold positions of power and respect. This contrasts with the discrimination Bennett faced as an African American woman in the 1920s. Her other works, such as "To a Dark Girl," also celebrate Black perspectives and empower African American women.
The title of this poem hints at the fantastical world the speaker takes readers on, full of color and whimsy. In this world, women and nature are treated with dignity and hold positions of power. The poem is sensual, with the speaker conversing with the queen, possibly her friend or lover. In this fantasy world, there is no violence, only peace, beauty, and love. Bennett's powerful imagination and portrayal of a world where Black voices are heard and respected further highlight her contribution to the Harlem Renaissance.
Gwendolyn Bennett's powerful poem, "To a Dark Girl," was first published in 1922 in The Book of American Negro Poetry. In this poem, Bennett addresses a young Black girl who carries within her the legacy and struggles of her ancestors. Through her words, the speaker urges the girl to embrace her regal ancestry and let go of the pain inflicted by white oppressors. "To a Dark Girl" celebrates the strength and power of African American women and their history, rather than focusing on their suffering.
Bennett's poetry proudly embraces both femininity and Blackness, as seen through her most famous quotes:
This quote emphasizes the immense honor and strength of being Black. Despite the historical oppression and slavery faced by Black women, the speaker urges the girl to hold onto her regal identity and rise above the pain of the past. The themes of femininity, racial pride, and fate versus freedom are prominent in this quote, showcasing Bennett's powerful message of empowerment through her poetry.
Gwendolyn Bennett's poem "Heritage" delves into the concept of racial pride, demonstrated through powerful lines that read:
"I want to feel the surging
Of my sad people's soul
Hidden by a minstrel-smile"
- Gwendolyn Bennett, "Heritage"
The speaker in the poem yearns to reconnect with their African roots and embrace their cultural heritage. Bennett also critiques the way Black people are often portrayed in American culture through minstrel shows, which were racist performances that mocked African Americans. She highlights the emptiness and inaccuracy of these depictions, emphasizing the importance of celebrating true Black history and culture.
Although Bennett's work is often overshadowed, she was a central figure in the Harlem Renaissance movement. In addition to being a renowned poet and short story writer, she was also an educator, graphic artist, editor, and columnist. Through her column "The Ebony Flute," she championed the work of other Black artists, writers, and intellectuals, solidifying her impact on the Harlem Renaissance.
In her lifetime, Bennett published approximately 30 poems in various publications and anthologies. She passed away in 1981 due to complications from cardiovascular disease. However, her legacy lives on through her powerful words and contribution to the celebration of Black creativity and identity during the Harlem Renaissance. As we reflect on her life and work, let us remember these words from "To a Dark Girl" and honor the strength, beauty, and resilience of Black women:
"Keep all you have of queenliness,
Forgetting that you once were slave,
And let your full lips laugh at Fate!"
- Gwendolyn Bennett, "To a Dark Girl"
