The Harlem Renaissance created a new racial identity for African Americans living in the United States after World War I. This new racial identity caused African Americans to become a nation within the United States. A nation is defined as a group of people who share a common language, ethnicity, history and culture. A nation of people may or may not have sovereignty. Harlem, a neighborhood in Manhattan, New York City, has emerged as the “race capital”1 for African Americans living in the Northern states. Many African Americans emigrated from the Southern states to the North due to the influx of available jobs after World War I. The influential writer James Weldon Johnson described Harlem as “taken without violence.” for work. They were inclined to work in factories, and preferred to do so rather than work on cotton plantations in the Mississippi Valley.3 As the economy began to prosper, a distinct African-American middle class began to emerge. This is mainly due to increases in employment and education. Increased education and the emergence of a middle class began to bring intellectuals to the forefront of the African American nation. Influential African American writers, artists, and politicians began to emerge in their respective communities. Harlem became the hub of a social revolution. African American culture began to spread. Art, novels, and poetry became centers of the African-American community. White Americans began to notice and recognize these impressive works of art. Jazz music, or blues, became an American musical style recognized throughout the world. The Harlem Renaissance also led to a major shift in many political controversies led by leaders such as... middle of paper... cKay. Far Far From Home, pp. 87-94.16. Ferguson, Section 1, Document 1, WEB DuBois. Returning Soldiers, pp. 37-39.17. Ferguson, Section 1, Document 1, WEB DuBois. Returning Soldiers, pp. 37-39.18. Ferguson, Section 1, Document 2, Phillip Randolph and Chandler Owen. The new nigga: what is it? pp. 39-42.19. Ferguson, Section 1, Document 2, Phillip Randolph and Chandler Owen. The new nigga: what is it? pp. 39-4220. Ferguson, Section 1, Document 12, Alain Locke. The Survey Graphic, Harlem Issue, pp. 78-8221. Ferguson, Section 3, Document 31, WEB DuBois. Criteria of black art, pp. 160-169.22. Ferguson, Section 1, Document 6, Claude McKay. Harlem Shadows and the Liberator, pp. 56-5923. Ferguson, Section 1, Document 9, Langston Hughes. The tired blues, pp. 68-72.24. Ferguson, Section 3, Document 32, Alain Locke. Art or propaganda? page. 170-172.