The Ku Klux Klan In The 1920's
After the Great War ended, the 1920s became a roar of changes. Everything from mass consumption to flappers to immigration. The Ku Klux Klan, or KKK, reached its height in the 1920s, with a strong 5 million members. These members believed in a white Anglo-Saxon protestant community, a form of “pure americanism” (Kennedy 730). On the other side of things, the Harlem Renaissance was outpouring African-American art and culture, forming a sense of pride among the African-American community (Kennedy 750). Not only were there changes among race but also sex. Many women were involved in the effort for Great War earlier, allowing for the women’s movement to push forward even more in the 1920s (Kennedy 745). Tensions also rose with the argument between
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The KKK was formed as an antiblack group pre-civil war, and in the 1920s started the “we don’t likes”. This included anything from atheists to gabblers, basically anything that is not white Anglo-Saxon protestant. The Ku Klux Klan used fear, lynching, and intimidation to create a name for themselves (Kennedy 730). Hiram Wesley Evans was a powerful leader of the KKK, and in 1926 published an article in The North American Review, titled, “The Klan’s Fight for Americanism” (Document D). This article furthered the view of white Anglo-Saxon protestant, or the “pure Americanism,” with describing the reasons for keeping power in the hands of the “...average citizen of the old stock” (Document D). With the old stock connected back to the initial Nordic race. This article was meant to be a plea among the Ku Klux Klan for power to be restored in the ideal people of “pure Americanism.” With the African-American community, the Harlem Renaissance brought out a sense of pride. The Harlem Renaissance was a flood of specific African-American art and culture that included writers and musicians, like writer Langston Hughes (Kennedy 750). Langston Hughes published “The Negro Artist and the Racial Mountain” in The Nation, in 1926, with the purpose of describing the pride and conditions being in the African-American society. Hughes 0even details jazz as being the “...tom-tom of revolt against weariness in a white world,” (Document A). These two strong figures, Hiram Wesley Evans and Langston Hughes both take different approaches in trying to accomplish their view on how society should
The KKK was formed as an antiblack group pre-civil war, and in the 1920s started the “we don’t likes”. This included anything from atheists to gabblers, basically anything that is not white Anglo-Saxon protestant. The Ku Klux Klan used fear, lynching, and intimidation to create a name for themselves (Kennedy 730). Hiram Wesley Evans was a powerful leader of the KKK, and in 1926 published an article in The North American Review, titled, “The Klan’s Fight for Americanism” (Document D). This article furthered the view of white Anglo-Saxon protestant, or the “pure Americanism,” with describing the reasons for keeping power in the hands of the “...average citizen of the old stock” (Document D). With the old stock connected back to the initial Nordic race. This article was meant to be a plea among the Ku Klux Klan for power to be restored in the ideal people of “pure Americanism.” With the African-American community, the Harlem Renaissance brought out a sense of pride. The Harlem Renaissance was a flood of specific African-American art and culture that included writers and musicians, like writer Langston Hughes (Kennedy 750). Langston Hughes published “The Negro Artist and the Racial Mountain” in The Nation, in 1926, with the purpose of describing the pride and conditions being in the African-American society. Hughes 0even details jazz as being the “...tom-tom of revolt against weariness in a white world,” (Document A). These two strong figures, Hiram Wesley Evans and Langston Hughes both take different approaches in trying to accomplish their view on how society should