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Where: The Cotton Club was located on New York City, on 142nd Street and Lenox Avenue, then briefly in the midtown Theater District.
When: The Cotton Club operated from 1923 to 1940.
What: The Cotton Club was a New York City Nightclub. Black people initially could not patronize the Cotton Club, but the venue featured many of the most popular black entertainers of the era.

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Where: The Cotton Club was located on New York City, on 142nd Street and Lenox Avenue, then briefly in the midtown Theater District.
When: The Cotton Club operated from 1923 to 1940.
What: The Cotton Club was a New York City Nightclub. Black people initially could not patronize the Cotton Club, but the venue featured many of the most popular black entertainers of the era.

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The Great Migration, sometimes known as the Great Northward Migration or the Black Migration, was the movement of six million African Americans out of the rural Southern United States to the urban Northeast, Midwest, and West between 1910 and 1970.
The driving force behind the mass movement was to escape racial violence, pursue economic and educational opportunities, and obtain freedom from the oppression of Jim Crow. The Great Migration is often broken into two phases, coinciding with the participation and effects of the United States in both World Wars

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The end of slavery
Ellie,Omer,Galia,Agam,Daphna

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 , Harlem jazz musicians -Yair, Tom Yonatan

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 , Harlem jazz musicians -Yair, Tom Yonatan

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The picture on top is Dizzy Gillespie, one of harlem jazz musicians.

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Omer Kushtai, Alon Ganot,Shani Kelrich, Itamar Hod

Harlem is a neighborhood in Manhattan, New York. Harlem used to be mostly occupied by Jewish and Italian Americans. After that, in the years 1920-1930, African-American residents began to arrive to Harlem, causing a major African-American cultural movement.

Tourists love this place because it's known for its rich culture.

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Noam, Omer Levi, Nadav, Niv

The movement to stop slavery (abolitionism) and the 13th amendment officially abolished slavery and immediately freed over 100,000 enslaved people.
Abolitionism happened in the 19th century.

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Elli,Galia,Omer

Throughout the 17th and the 18th centuries people were kidnapped from Africa, forced into slavery in the American colonies and exploited to work as indentured servants and labor in the production of crops.

The movement began during the Age of Enlightenment and grew in Europe an the United state in the 19th century.

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The movement to stop slavery (abolitionism) and the 13th amendment officially abolished slavery and immediately freed more than 100,000 enslaved people.
Abolitionism happened in 19th century.

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The cotton club is a New York City nightclub
Where: The Cotton Club was located on New York City, on 142nd Street and Lenox Avenue, then briefly in the midtown Theater District.
What: The Cotton Club was a New York City Nightclub

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Nadav, niv ,Omer Levi ,noam cohen

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Maayan
Yaara
Ayala

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Yair
Tom
Yonatan

Harlem Jazz, 1930 is a compilation album of phonograph records assembled by Brunswick Records during the American Federation of Musicians strike, cataloguing the effect of the Harlem Renaissance on what was known as Dixieland, or "hot" jazze  in New York City .
-Top 3 biggest harlem jazz musicians
1. Dizzy Gillespie
2. Mary lou williams
3. Billi holiday

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Noam, Nadav, Omer, Niv - The end of slavery

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Noam Schwartzbard
Avner cohen
Omer leibovich
Mark Makkaveev
Guy Sagi
Itay Kojokaro

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Omer kushtai
Shani kelrich
Alon Ganot
Itamar Hod

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Sophie
Talia
Gilad

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Burra was intoxicated by sensuous experience at its most brilliant and exuberant and transfigured it with his feverish imagination. In this colourful painting Burra arranges his figures to capture the rhythms of an African-American band in New York. We share the off-centre, restricted view of an audience member. Burra exaggerates body types almost to the point of caricature but with affectionate humour and no moral judgment. Minute attention to costume, facial expression and skin tone creates an atmosphere of vibrant intensity. The blinding stage lights are reflected in the sousaphone player's glasses. The baton-swinging conductor is exaggeratedly tall and thin. The solidly sultry songstress in pink gown and chic cropped hair puts her hands on her hips. An incongruous figure in an old-fashioned black hat and coat, ankle boots and white stockings, appears to be jovially accosting the conductor who turns to her. The narrative is puzzling, we are a voyeur on a hermetically sealed world.

Burra did not sketch on site but spent hours sitting in bars and cafes observing the action and recording it in his visual memory. Back at home, he painted in luminous watercolour with the paper flat on the table. Burra's hands were disabled with chronic arthritis from adolescence so he found oil paint too heavy to use. He combined his memories with ideas from both fellow painters and movie paraphernalia, making no distinction between high art and the popular culture he loved.

Burra travelled to New York in October 1933 and landed in the centre of Harlem's cultural scene staying with his friend Olivia Wyndham and her partner the African-American actress Edna Lloyd Thomas. Harlem attracted Burra as the home of jazz, he had collected jazz records since his student days and during the 1920s had enjoyed performances by Josephine Baker in Paris and the Blackbirds in London. It also represented an exhilarating escape from English society of the time. John Banting and Nancy Cunard had visited Harlem in 1932 to research her book Negro: An Anthology.

Burra caught the end of Prohibition which had made Harlem's hundreds of speakeasies the centre of New York nightlife. Burra reveled in the atmosphere, enjoying the stylish and flamboyant culture of black New Yorkers during an era of cultural and political self-confidence for African-Americans, dubbed the Harlem Renaissance. In January, Burra moved to the Lower East Side, with its African- American and Latin American communities, to join his friend Frederick Ashton, who was choreographing the all-black cast of Virgil Thompson and Gertrude Stein 's Four Saints in Three Acts.

Burra's New York paintings fall into two groups, daytime street scenes and scenes of night-time entertainments: Spanish dancers, Cuban bands, striptease artistes, jazz bar singers, dancehalls such as the Savoy and drag-balls at the Theatrical Grill. For Burra, this trip marked a return to realism, in contrast to the semi-abstract experimental compositions he was making before his departure. Burra was at this time at the forefront of the avant-garde and he exhibited with Unit One at the Mayor Gallery after his return to England in April 1934.

© Alexandra MacGlip 2010

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The Band - Edward Burra - Google Arts & Culture

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Burra was intoxicated by sensuous experience at its most brilliant and exuberant and transfigured it with his feverish imagination. In this colourful painting Burra arranges his figures to capture the rhythms of an African-American band in New York. We share the off-centre, restricted view of an audience member.

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https://artsandculture.google.com/entity/archibald-motley/m079z0f