The Crisiswas the publication produced by and for
the NATIONALASSOCIATION FOR THEADVANCE-
MENT OFCOLOREDPEOPLE(NAACP). During the
Harlem Renaissance, its staff was made up of tal-
ented and multifaceted writers and thinkers, in-
cluding JESSIE FAUSET, the visionary and
perceptive literary editor, AUGUSTUSGRANVILLE
DILL, coeditor of The BROWNIES’BOOK with
Fauset. The journal established an extremely popu-
lar and rewarding annual literary competition
whose winners included LANGSTONHUGHESand
COUNTEECULLEN. In 1924 the magazine began
awarding the Amy Einstein Spingarn Prizes in Lit-
erature and Art, a prestigious award endowed by
Spingarn that further recognized the talent and
potential of African-American writers.
Bibliography
Lewis, David Levering. W. E. B. Du Bois: The Fight For
Equality and the American Century, 1919–1963.New
York: Henry Holt and Company, 2000.
Wilson, Sondra Kathryn, ed. The Crisis Reader: Stories,
Poetry, and Essays from the N.A.A.C.P.’s Crisis Maga-
zine.New York: The Modern Library, 1999.
Crisis Guild of Writers and Artists
The drama troupe established by W. E. B. DUBOIS
with help from REGINAANDREWS. The acronym
Crigwa in the name “CRIGWAPLAYERS” was de-
rived from this group. It was later changed to
Krigwa.
Crisisprizes in literature and art
Awards that THECRISIS,the official publication of
the NATIONALASSOCIATION FOR THEADVANCE-
MENT OFCOLOREDPEOPLE, awarded in 1925 for
the first time. These prizes, which solicited submis-
sions from aspiring and established artists and writ-
ers, acknowledged, encouraged, and celebrated the
works of African Americans. JOELand AMYSPIN-
GARNprovided the first funds for the competition
when they sent $300 to Crisiseditor W. E. B.
DUBOISfor the prizes.
DuBois was the first to develop the idea of lit-
erary prizes. Yet, his competitor, OPPORTUNITYedi-
tor CHARLESS. JOHNSON, who in September 1924
announced that his journal would be holding a
prize competition, preempted him. According to
David Levering Lewis, DuBois’s biographer, John-
son’s usurpation of the idea “was an early example
of [his] gloved ruthlessness. For the pragmatic so-
ciologist who believed that ‘literature has always
been a great liaison between races,’” notes Lewis,
“appropriation of a rival’s idea was hardly even a
misdemeanor if it promoted racial progress through
the arts” (Lewis, 97–98).
DuBois and his indispensable associate JESSIE
FAUSETendeavored also to recognize formally the
work of artists as well. In 1925 the prizes were
awarded in the categories of short stories, poetry,
plays, and essays. By 1927 the prizes were given
only in two categories: poetry and literary art and
expression. In 1928 The Crisiswas soliciting sub-
missions for the Charles Waddell Chesnutt Hono-
raria, which provided winners with a substantial
$50 prize each month. As scholar Cary Wintz
notes in his study of the period, The Crisisintensi-
fied further its support for writers when it “per-
suaded a number of black banks and insurance
companies to fund ‘economic’ prizes for literary
and artistic creations that portrayed black eco-
nomic development” (Wintz, 144).
The prestige that accompanied the award was
generated in large part by the esteemed judges that
served on the prize committees. The Crisisassem-
bled interracial panels that included literary stars,
race leaders, and political activists. DuBois also in-
cluded newly established Harlem Renaissance writ-
ers and artists. In 1925, judges included WILLIAM
STANLEYBRAITHWAITE,LESLIE PINCKNEYHILL,
SINCLAIRLEWIS,MARYWHITEOVINGTON, and
JOELSPINGARN. In 1926, judges included CHARLES
CHESNUTT, Otelia Cromwell, JAMES WELDON
JOHNSON, and LANGSTONHUGHES.
Winners of The Crisisprizes received consider-
able attention, and many were able to capitalize on
the celebrity and attention to their works. Win-
ners, many of whom also won prizes in the Oppor-
tunitycontests also, included MARITABONNER,
ARNA BONTEMPS,ANITA SCOTT COLEMAN,
COUNTEECULLEN,GEORGIADOUGLASJOHNSON,
JOHNMATHEUS,EFFIELEENEWSOME, and ED-
WARDSILVERA. In addition to first, second, and
third prizes, the judges dispensed “honorable men-
tion” awards. In so doing, they broadened the
scope of the competition and were able to endorse102 Crisis Guild of Writers and Artists