èßäAV

James Weldon Johnson Poet, Author, Civil Rights Leader


Popular as a songwriter, masterly as a writer, riveting as a public speaker, and forceful as a proponent of civil rights, James Weldon Johnson was a central figure of the Harlem Renaissance.

He became the first Black man admitted to the Florida bar in Jacksonville, his birthplace. Around the turn of the century, he moved to New York City.

Johnson, with his brother J. Rosamond and musician Bob Cole, formed a trio called “Those Ebony Offenbachs” and wrote light operas, Broadway shows, and popular songs such as “Lift Every Voice and Sing.” The latter tune—sometimes dubbed the “Black national anthem”—testifies to the trials, the triumphs, and the underlying patriotism of African American civilians.

Black Americans may have lacked economic power, Johnson reasoned, but they could still use art and literature to improve the conditions of their daily lives. He therefore set out to promote African American culture. His 1922 anthology, The Book of American Negro Poetry, enabled new voices to resound on the literary scene; indeed, some cite it as a catalyst for the Harlem Renaissance.

Johnson’s friendship with white philanthropists such as Joel Spingarn helped him finance several Black talents. He persuaded the Julius Rosenwald Fund to start up an African American fellowship program; over the next 25 years, it provided nearly 1,000 fellowships. As executive secretary of the National Association for the Advancement of Colored People (NAACP) from 1916 to 1930, Johnson excelled at raising funds for that organization’s critical work. Johnson’s writing weaved its way into the fabric of Harlem society.

Selections from his 1927 book of poetry, God’s Trombones: Seven Negro Sermons in Verse, were often recited at social gatherings such as the parties thrown by Carl Van Vechten. In 1930, his Black Manhattan—the first history of African Americans in Harlem—spotlighted the emergence of Black artists in the city. A year later, Johnson left the city he had helped define for a creative writing professorship at Fisk University in Nashville, Tennessee.

A logo banner that says “Drop Me Off in Harlem” in white font on top of a transparent image of the Cotton Club. The Cotton Club image is obscured by a soft mixture of green, yellow, and pink.

I n t e r s e c t i o n s

A black-and-write image of scholar, novelist, essayist, and editor W. E. B. Du Bois.

W. E. B. Du Bois urged him to join the NAACP.

A black-and-white image of painter and illustrator Aaron Douglas.

Aaron Douglas illustrated his God’s Trombones.

A cropped version of the cover of Survey Graphic work featuring the face of a Black man.

His essay “The Making of Harlem” appeared in Survey Graphic.

A black-and-white photo of the face of writer Claude McKay.

He helped raise money for poet Claude McKay’s move to the Soviet Union.

A black-and-white image of sculptor August Savage.

Johnson’s “Lift Every Voice and Sing” inspired sculptor Augusta Savage.

harlem-line.jpg

Related Resources

Media Billie Holiday + Strange Fruit

Billie Holiday had a hit record with the song “Strange Fruit” in the 1930s, bringing light to the horror of lynching in the American South.

  • Music
  • Jazz & Blues
  • African-American History
  • Women in the Arts

Media Jason Moran: In the Studio

Learn the basics of jazz music and how the art form works. Along with his band, Jason Moran shows you how jazz is more like skateboarding and football than you would think, as well as plays original and classic jazz standards.

  • Music
  • Jazz & Blues
  • Backstage

Media Jazz in DC

From Fairmont Street to U Street, from the Howard Theater to the Bohemian Caverns, take a tour through jazz history with Billy Taylor and Frank Wess, who lead listeners through their hometown’s music scene in this seven-part audio series.

  • History
  • Jazz & Blues
  • United States

Media Swing! Swing! Swing!

This series, hosted by Connaitre Miller of Howard University, explores why Swing was the most popular dance music in America and how it is still alive today in dance halls, clubs and movies

  • Music
  • Jazz & Blues
  • Popular Music
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!

spacer-24px.png                email.png

Generous support for educational programs at the Kennedy Center is provided by the U.S. Department of Education.

Gifts and grants to educational programs at the Kennedy Center are provided by The Paul M. Angell Family Foundation; Bank of America; Capital One; The Morris and Gwendolyn Cafritz Foundation; Carnegie Corporation of New York; The Ednah Root Foundation; Harman Family Foundation; William R. Kenan, Jr. Charitable Trust; the Kimsey Endowment; The Kiplinger Foundation; Laird Norton Family Foundation; Lois and Richard England Family Foundation; Dr. Gary Mather and Ms. Christina Co Mather; The Markow Totevy Foundation; Dr. Gerald and Paula McNichols Foundation; The Morningstar Foundation; Myra and Leura Younker Endowment Fund; The Irene Pollin Audience Development and Community Engagement Initiatives;

Prince Charitable Trusts; Dr. Deborah Rose and Dr. Jan A. J. Stolwijk; Rosemary Kennedy Education Fund; The Embassy of the United Arab Emirates; The Victory Foundation; The Volgenau Foundation; Volkswagen Group of America; Jackie Washington; GRoW @ Annenberg and Gregory Annenberg Weingarten and Family; Wells Fargo; and generous contributors to the Abe Fortas Memorial Fund and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas. Additional support is provided by the National Committee for the Performing Arts..

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.