The history of post-colonialism started with a form of 'ethnic minority discourse', and the genealogical root of post-colonialism begins with the resistant discourse of 'Negro', the Other. Black diaspora occupies a prominent place in the historical context of post-colonialism. That's why Pan-Africanism, which African blacks as main agents of discourse attempted to overcome colonialism and racism and aimed to unify and uplift African descendants, could be a starting point of post-colonialism. This paper is, hence, based on an awareness of the problem that post-colonialism begun with the resistance of Negro and the theory of post-colonialism of the West-based scholars is rooted in Pan-Africanism by William Edward Burghardt Du Bois. Pan-Africanism, especially, served as a main impetus for Harlem Renaissance to popularize the culture of both Africa and American blacks to new world for the first time. With the advent of Harlem Renaissance, Negro rejected the past negative image of blacks represented by whites, recovered the pride of blacks as the subject, not the object, of representation, and encouraged new consciousness of race. Therefore, the quest for Pan-Africanism in the Harlem Renaissance is a work to restore the intrinsic self-reliance in post-colonialism as well. Black artists of Harlem Renaissance defined African art as their 'lost legacy' and tried to connect it with African-American culture. And they newly posited their identity as the progenitor of civilization, not the descendants of slaves, through Egyptian civilization. This is a deconstruction and resistance to the negative identity given by whites in the past and an attempt to establish the consciousness of race as the subject. Against this backdrop, this paper intends to reveal post-colonialist attributes shown in Harlem Renaissance art by focusing on how Pan-Africanism was embodied in the Harlem Renaissance art works, clarifying that Pan-Africanism by Du Bois is the foundation of the theory of post-colonialism discussed after Said in the 80's.