The Harlem Renaissance was more than a time or movement that included the growth and birth of arts and artistic freedom. It included a cultural explosion. For many it allowed people to experience and, in some cases, express lifestyle changes. The Harlem renaissance allowed the birth of African American arts and poetry for artists of all types.
According to the Smithsonian’s National Museum of African American History and Culture’s Collection Story, called The Harlem Renaissance in Black Queer History the most prominent and respected leaders of Harlem and its queer community were black queer thinkers, scholars and artists. People like James Baldwin and Langston Hughes were key parts of this cultural surge that quickly became a movement. To avoid arrest and being shunned by the larger part of society, they were “closeted” or hid their identities and or gender preferences. During this time in America concealing, one’s identity –even as people mixed heritage “passed” to conceal their black ethnicity was popular and accepted. This happened before the 1800s and into the 20th century. Some people of mixed ethnicities continue to pass today. According to the site’s collection story, many popular figures of the time had secretly kept “off-line lives to hide same gender relationships” and many portrayed hetero socially acceptable roles. Some of them include Langston Hughes, Countee Cullen, Bessie Smith, and Alain Locke—all of whom are believed to have had same-sex relationships in their personal lives, which were of course different form their public personas. They did this to keep favor with mainstream audiences.
Writers
During the 1920s and 30s Harlem was a safe haven for popular black queer writers. While some of them never addressed their private lives or intimate relationship preferences, influential people like Wallace Thurman and Langston Hughes never spoke publicly about their intimate relationships. However, generations after their deaths details about their private lives began to surface. Confirmations would come via their diary entries, correspondence and unpublished works. Later generations of scholars and biographers have drawn conclusions by examining their private documents and comments from their contemporaries. Some writers of the period included themes that did not align or in some cases were exactly opposite to their opinions about same-sex romantic relationships—in their work.
Entertainers
The nightclubs have always been places where people who had hidden lives were able to be their true selves. Harlem’s nightclubs kept their closeted secrets and were places that black queer artists felt comfortable and began to gain a huge following. At times some of their performances addressed mainstream society “masculine” and “feminine” behavior and ideas of gender specific types of clothing according to the mainstream majority. New York City laws and enforcement during the 1920s at times specifically addressed and at other times ignored the black queer residents of the city. The Committee of Fourteen, a citizens’ organization worked with the city police and courts to enforce anti-vice laws. Because the committee ignored many of the black queer community, a lively LGBTQ+ nightlife existed in Harlem and people did not have to worry about being arrested. This was not the same outside of Harlem. Some of the popular clubs, Hot-Cha and Clam House were homes to queer entertainers, like as Jimmie Daniels and Gladys Bentley at the Clam House, found success in this relatively lenient environment.
Gladys Bentley, known for gender bending performances while openly flouting the gender and sexuality constraints of the 1920s and 30s. Bentley became famous for performing in men’s clothing. She was known for singing raunchy songs about her interactions with women and even regularly flirted with women in the audience.
In 1931, Bentley married her then-girlfriend, a white woman. Bentley’s marriage was not hidden from the public—later in 1931 her popularity declined due to her marriage. Bentley’s artistry and boldness, she was considered an early twentieth LGBTQ history icon.
Blueswomen
The term blueswomen refers to black queer women who performed and sang what was also called “the lesbian blues.” This style of music was popular during the 1920s with stars like blues” era Gertrude “Ma” Rainey, Bessie Smith, and Alberta Hunter. Many of the aforementioned were involved in same-sex relationships at different points in their lives. In keeping with the practices during the time, they never commented publicly on their lesbian or bisexual identities. Although their personal lives were common knowledge, they were relatively open with their colleagues in the entertainment industry. Hints about some of their intimate preferences cand found in the lyrics of their songs. For example, Ma Rainey’s 1928, “Prove It On Me Blues,” refers to lesbian relationships. Blueswomen including Bessie Smith, Alberta Hunter, and Ethel Waters were influential not only in Harlem’s cultural landscape, but their bold lyrics woven through the blues impacted music and the work of Langston Hughes and other Harlem Renaissance writers.