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Information to Users INFORMATION TO USERS This manuscript has been reproducedthe from microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough,margins, substandard and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletioiL Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313.'761-4700 800/521-0600 Order Number 9825472 The consciousness of African American women artists: Rage, activism and spiritualism (1860-1930). Interdisciplinary implications for art education Chappell, Brenda Joyce, Ph.D. The Ohio State University, 1993 UMI 300 N. ZeebRd. Ann Arbor, MI 48106 THE CONSCIOUSNESS OP AFRICAN AMERICAN WOMEN ARTISTS: RAGE, ACTIVISM AND SPIRITUALISM (1860-1930). INTERDISCIPLINARY IMPLICATIONS FOR ART EDUCATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Brenda Joyce Chappell, B.F.A., M.A.T. * * * * The Ohio State University 1993 Dissertation Committee: Approved by Vesta A. H. Daniel Nancy MacGregor Adviser Mary Margaret Fonow Department of Art Education Copyright by Brenda Joyce Chappell 1 9 9 3 TO My son, Yohance Yellock, my parents, Laura and Abe Chappell, my grandmother, Madear; and my sisters, Debra and Shirley TO All the sisters whose shoulders I stand upon. Hotep. 11 ACKNOWLEDGEMENTS Any and all credits for this dissertation belong to the "Higher Power" and several persons who nurtured my goals and didn't let me give up. I must first give all praise to God for sustaining me and guiding me through the difficult times and allowing me to see the beginning of an exciting road. Rhema Christian Center gave me a sense of belonging. And to my son, Yohance Yellock, who I love with all my heart, thanks for putting up with me during those difficult years and trying to get me to laugh when all I really wanted to do was cry. Thanks to my parents for being there always. Professionally, Dr. Vesta A.H. Daniel was a mom, sister, professor and a friend, (thanks Dr. Daniel for believing in me). She allowed me to explore and let things emerge during the discovery phase. Dr. Nancy MacGreggor guided me expertly during my generals and for that I am ever grateful. Dr. Louis Lankford always showed enthusiasm for my work and instilled in me the purpose of debating philosophical viewpoints. Dr. Mary M. Fonow gave me encouragement and direction with feminist theory/women's history. Together, they were an excellent committee. Kathy Ellis in the Department of Art was a tremendous help with the printing of my general examination iii (thanks Kathy). Eminent Scholar, Noel Mayo was a blessing in diguise and provided financial assistance along with a ear when I needed it. Dr. Adrienne Hoard of Missouri quietly gave me motivation by transferring her serenity and peacefulness whenever I saw her. Dr. Garlina Bauer found many ways to cheer me up and assisted in the reading of Chapter Two's first draft. Dr. Patricia Collins gave me some fruitful questions. Dr. Stephanie Shaw gave me an enthusiatic ear. God gave me many friends, and Attorney Lola Rainey and her husband Norwood, both of Arizona, were always supportive and there for me. Thanks Lola for always reminding me that I could do it. Dr. Penney Davis-Brooks adopted me as a little sister and strenghened my faith as well as showed me God's love. Mrs. Juette Day is special, she allowed me to stay with her when I went to do research in Washington, D.C. In the early stages Debra Ambush gave her listening ears and introduced me to Mrs. Day. Vicky Minor remained a friend and blessed me with a phone call almost everyday, and helped any way she could. Benita Burton was a partner in supporting each other through our ups and downs but also provided me with big sister advice. Tina Ellis became a sister in spirit and always pushed me forth with a kind word or laughter, and helped any way she could. Lolly Williams and Marcia Scott provided me with not only God's wisdom, but a listening ear and friendship. Lolly introduced me to Betty Newland who gave me invaluable information and helped me in a special time of need. Michelle iv West always created special times whenever we got together. Mary Kirland and Berquitha Brady both made my schooling special and let me know they believed in me as a sister and friend. Cynthia Collins gave me dissertation advice and motivation when I was totally burned out. Angela Small (truely a blessing) had a knack of calling just in the knick of time. Anthony Brown, a wonderful painter, gave (long distance) uplifting conversations when they were needed the most. In the last four months, Flo Gerwin helped me sustain financial problems, and I am ever grateful. I would like to thank the staff at the Schomburg Center for Black Culture in New York, and the Moorland-Spingard Research Center of Howard University, particularly Janet Simms Woods, the librarian. My most recent God sent help was Barry Gaither, Director of the Musuem of the National Center of Afro-American Artists, who loaned me materials on Fuller; and S.C. Fuller, son of Meta Vaux Warrick Fuller had a slide of the hard to find, "The Wretched." A special thanks to Oliver Everhart for allowing me the use of his printer for over a year! I wish to give every one my gratitude, I am ever in their debt! VITA October 1954.................. Born - Montgomery, Alabama 1978 - A.A.....................Springfield Technical Community College 1980 - B.F.A..................University of Massachusetts 1977 - 1988................... Exhibiting/Professional Artist 1986 - M.A.T..................University of Massachusetts 1989 - 1992................... Graduate Associateships The Ohio State University PUBLICATION "Learning to look at African American Photographs" in Columbus Public Schools Curriculum Packet. Songs of Mv People Exhibit. Warner Cable; Columbus, Ohio. 1993 FIELDS OF STUDY Major Field: Art Education VI TABLE OF CONTENTS DEDICATION............................................ Ü ACKNOWLEDGEMENTS...................................... iii VITA................................................... vi LIST OF PLATES........................................ vii LIST OF FIGURES....................................... viii CHAPTER PAGE I. INTRODUCTION Purpose of the Study...................... 1 Background of the Study................... 2 Need for the Study....... 5 Limitations of the Study.................. 8 Definitions................................ 9 Methodology................................ 11 Significance of the Study................. 18 Organization of the Study................. 19 Summary.....................................20 II. LITERATURE REVIEW Historical Overview........................21 Afrocentric Paradigm...................... 27 The Consciousness of African American Women.................. 33 Black Personality Theory.................. 35 Black Consciousness by Salley & Behm 36 Womanist or Black Feminist?............... 38 Factors of Motivation..................... 43 Literature; A Factor of Influence........ 4 6 Summary.....................................47 Vll III. RAGE 1800-1930 Introduction............................... 49 Historical Overview....................... 49 The Selling of Enslaved Children and Spouses.............................. 50 Buying Freedom: Duties Performed......... 52 Slave Revolts........................... .54 Dehumanization of African American Women.......................... .56 Summary.....................................58 IV. ACTIVISM IN THE WORKS OF AFRICAN AMERICAN WOMEN Introduction............................... 60 Historical Overview........................61 Maria Stewart.............................. 63 Frances E. Watkins-Harper................. 65 Sojourner Truth............................ 67 Edmonia Lewis.............................. 69 Amendments/Emancipation. Was Everyone Ready?................... ^.74 Ida B. Wells-Barnett...................... 76 Summary.....................................78 V. AFRICAN AMERICAN WOMEN AND SPRITITUALITY Introduction............................... 80 Historical Overview........................81 Organizational Work in AME Churches...... 88 Power in the Sanctified Church............90 African American Women and their Spiritual Works.......................... 93 Jarena Lee................................. 94 Harriet Tubman............................
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