A defining concept of Harlem Renaissance era was the New Negro, a term that implied a more outspoken advocacy for dignity and a refusal to submit quietly to the systemic oppression of Jim Crow laws. Popularized by Alain LeRoy Locke in his 1925 anthology The New Negro, this idea represented a break from past narratives of Black subjugation.
Locke described this transformation, writing, “The Old Negro had long become more of a myth than a man. The New Negro, at least in the form of the thinking and the speaking minority, is refusing to be sobered into submission.” This shift in consciousness emphasized self-expression, artistic excellence, and cultural empowerment.
This intellectual and artistic resurgence was fueled by the Great Migration, as Black Americans left the racially oppressive South for greater opportunities in northern and midwestern cities. While Harlem was the movement’s epicenter, its influence extended beyond the United States, inspiring francophone Black writers from Africa and the Caribbean, particularly those based in Paris.