MS01.01.03.B02.F05.032

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patronage of publishing heiress Charlotte
Mason, the Harmon Foundation, and photographer/novelist Carl
Van Vechten constituted the most
outstanding form of financial support
visual and literary artists received in the period.

Black music had burst forth with
the rhythemic accord of Scott Joplin's ragtime
syncopation and it commanded the patronage
of white jazz lovers who swamped Harl-
em's halls, theaters and dens at night
looking for race music and a frenzification
of dance mania, the kind which through
its mobile form recreated animism
and African motive thought a surviving symbol from
from Bantu art, of thing, Place, and time as
was characteristically seen in Muntu thought.
Black dance recreated thing and place as is seen
in African dance by inventions of the
cake walk, a dance which incorporated black snobbery,
sarcasm and satire about white dance -
rhythem and coupled it with the stride of the Tennessee
walking horse. The horse in West Africa
was a symbol of mobile power. Place
was best seen in the dance of the
Charleston. Both time and place are
evident in the timed rhythm of
crossing the feet in accord with the music in
the dance. The city is Charleston, South Carolina -
a continuing source of black cultural happenings.
Jazz proved to be the most widely known
and most readily accepted art form that emerged
in the period. It had been born of all
of the ingredients of black musical
talent combining its southern experience,
particularly of a New Orleanean flavor, with
the blues and gospel genre that sent