This article reconceptualizes the Harlem Renaissance as a site of intermedial life writing, where text, image, sound, and performance intersect to forge innovative modes of self representation and cultural identity. It argues that Harlem’s artists and writers created multimedia strategies of identity-making that remain vital for understanding contemporary multimodal art and literature. Drawing on expansive theories of life writing (Hornung; Smith and Watson), the essay develops an intermedial framework to examine how visual, literary, and performative forms converged to produce a collective self-portrait of what Alain Locke called “the New Negro.” Through three case studies—Winold Reiss, Zora Neale Hurston, and Aaron Douglas—it explores how portraiture, ethnography, and modernist design translated lived experience across media. Reiss’s portraits and layouts for Survey Graphic and The New Negro established a visual rhetoric of dignity; Hurston’s Mules and Men and WPA fieldwork integrated song, narrative, and performance as participatory ethnography; and Douglas’s illustrations and murals rendered Black history as rhythmic visual autobiography. Together, these intermedial practices negotiated tensions central to Black modernity— authenticity and marketability, insider articulation and mediated representation—while transforming life writing into a multidimensional cultural archive. The article concludes that Harlem’s intermedial strategies prefigure twenty-first century multimodal life narratives, from graphic memoir to digital performance. Reading the 1920s alongside the 2020s, it contends that the durability of life writing rests not in medium-specific mastery but in cross-form resilience—an ethics of representation in which to “sing it, dance it, write it, paint it” becomes both method and manifesto.