Raisin’ Cane: A Harlem Renaissance Odyssey

Arabhis Nicholson

The Harlem Renaissance also referred to as the “New Negro Movement”, was a literary, artistic, and intellectual movement that cultivated a new Black cultural identity for artists and scholars. It was an “expression of our individual dark-skinned selves” as Langston Hughes poetically worded it.

Raisin’ Cane is both inspired by the 1923 novel by Jean Toomer entitled “Cane”, and also other artists of this time period. Toomer, the poet, playwright and novelist used this work to experiment with the narrative of black culture and characters of the 1920’s. “Cane” is full of a variety of stories about the black experience during the 1920’s and features fifteen poems, a play, six brief prose vignettes and seven stories all taking place in Georgia, Chicago and Washington D.C.

On a cool April 10th, the Seabrook auditorium was at full capacity to see her majesty perform highlights of the Harlem Renaissance. Jasmine Guy, the hotsy totsy livewire made the show a hit on all sixes! Translation: the amazing and energetic Jasmine Guy performed to the fullest! I watched in awe as the triple-threat Goddess graced the stage as the soul of New York City Cotton Club scene. Her performance was greatly enhanced by the Avery Sharpe Trio. It includes Avery Sharpe himself, Diane Monroe and Kevin Sharpe, who mesmerized the audience with every tune and created a jazzy atmosphere.

Jasmine Guy emanated beauty and talent in her every stride and sashay throughout the show. We all know and love her from the hit 90’s T.V. show “A Different World”, but her multifaceted talents expanded farther than her famous character Whitley Gilbert. She plays with themes such as sexuality and religion, always taking the audience by surprise.

When she first appeared on the stage, Guy could not be heard and after checking with the audience, realized that her microphone was not working. She stepped off stage and returned. “Rat-a-tat-tat” was heard when she came out a second time but then she stopped her performance to ask the audience to stop the flash photography which had already been forbidden by the announcer. Although the star relied on reading from prepared text, her dance was flawless. Her defined musculature in movement resembled a combination of a belly dancer and a ballerina.

Some of the paying audience was irate that the front half of the theater was reserved for a group which arrived late, delaying the start of the performance. Even so, it was a showcase of history and art for a community in need of performing arts. The headliner was outshone by the violinist Monroe who received an overwhelming ovation for her solo which was described by a young audience member as modern Skrillex on the violin. That thrilling moment alone was worth the wait.

Hélène Rainville aslo contributed to this article.