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Aaron Douglas and Hale Woodruff: the Social The Pennsylvania State University The Graduate School College of Arts and Architecture AARON DOUGLAS AND HALE WOODRUFF: THE SOCIAL RESPONSIBILITY AND EXPANDED PEDAGOGY OF THE BLACK ARTIST A Thesis in Art Education by Sharif Bey © 2007 Sharif Bey Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2007 ii The thesis of Sharif Bey was reviewed and approved* by the following: Karen Keifer-Boyd Professor of Art Education & Affiliate Professor of Women’s Studies Thesis Advisor Chair of Committee Brent Wilson Professor Emeritus of Art Education Charles Garoian Professor of Art Education James Stewart Professor of Labor Studies & Employment Relations, Africana and African American Studies, and Management and Organization Christine Marmé-Thompson. Professor in Charge of Graduate Programs in Art Education * Signatures are on file at the Graduate School. iii ABSTRACT This study examines the expanded pedagogy and formal instruction of Aaron Douglas and Hale Woodruff, two African-American artists who came to prominence during the New Negro Movement, in the 1920s. The decades following the New Negro Movement marked a new era for the art education of African-American students when renowned African-American artists began to prepare future generations of artists and art educators. Douglas and Woodruff spent their tenures teaching the visual arts at historically Black universities in Nashville, Tennessee, and Atlanta, Georgia, respectively. They both had a profound influence on this new era of art education, in which they were situated in a Black experience in the segregated United States. I specifically explore to what extent and for what goals racial consciousness and Black content were a part of the instruction, artwork, and lives of Douglas and Woodruff. The majority of the data examined for this study was discovered in special collections in the archives of the libraries at Fisk and Atlanta Universities. Artist statements, letters, curricular materials, class and lectures notes, exams, interviews, artwork, and testimony of their former students were all closely examined to understand the political, cultural, aesthetic, and pedagogical influence of these two teaching artists. The data convincingly conveys that Douglas and Woodruff were influential figures outside of the classroom. My findings indicate that various political factors and the limitations of classroom instruction within these institutions did not allow Douglas and Woodruff to teach content which affirmed the historical and cultural significance of African-Americans in the United States, but their lives and artwork served as pedagogy which instilled racial pride, tenacity, and perseverance that was absent in the curriculum. iv I conclude the study with my speculation, as an art educator at a historically Black university, on the relevance of Douglas’s and Woodruff’s methods of educating African- American art students in the 1930s and 1940s to current students. Understanding how these two art educators effectively used their pedagogical, creative, and professional influence to earn the support of the Black community while navigating a White-male dominated field is critical to empowering and educating today’s Black youth. TABLE OF CONTENTS ACKNOWLEDGMENTS ………………………………………………………… vii PROLOGUE: VISUAL ARTS AND SOCIAL/POLITICAL RESPONSIBILITY: FROM THE SLOVAK REPUBLIC TO BLACK AMERICA......................................1 Responses to Oppression in Slovak and African-American Visual Art 3 Cultural, Political, and Personal Influence ....................................................... 9 CHAPTER ONE: AARON DOUGLAS’S AND HALE WOODRUFF’S EXPANDED PEDAGOGIES: SITUATING THE STUDY............................................................... 18 Instruction and Pedagogy.................................................................................. 21 Understanding Black Identity ........................................................................... 26 Problematizing Social Responsibility............................................................... 28 Interpreting Blackness and the Black Artist’s Social Role............................... 33 African-Americans and Modernism ..................................................................43 The Black Abstraction .......................................................................................47 History of the Black Academy ..........................................................................54 African-American Art Educators ..................................................................... 55 A History of African-American Art Pedagogy: Problems and Challenges …………………………………………..……………………………………. 59 Giving Voiced to the Marginalized: Reading Between the Lines ……………………………. ………………………………………………… 62 Organization of the Study ………………………………………………… 64 CHAPTER TWO: CRITICAL SOURCES AND ARCHIVAL RESEARCH: FISK UNIVERSITY FRANKLIN LIBRARY AND ROBERT WOODRUFF LIBRARY OF THE ATLANTA UNIVERSITY CENTER ARCHIVES AND SPECIAL COLLECTIONS ……………………………………………………67 Critical Strategies Employed in Analysis .........................................................75 Authorship, Authenticity, and Integrity: Considerations Toward the Data......78 CHAPTER THREE: SITUATING AARON DOUGLAS AND HALE WOODRUFF IN AFRICAN-AMERICAN ARTIST’S PERSPECTIVES ON SOCIAL RESPONSIBILITY .………………………………………………………….…...….86 The Social Role of African-American Artists ………………..…..………... 89 Contextualizing the Study: A Historical Overview of the Social Responsibility of Black Artists ……………………………………... 92 Beginnings of an African-American Aesthetic: Resistance and Identity …………………….…………..……..92 vi Different Approaches to Social Responsibility to the Black Community ………..……...…………………………...95 Working Toward Acceptance in White Society …………………......102 CHAPTER FOUR: IMPACT OF RACIAL-CONSCIOUSNESS AND BLACK IDENTITY ON THE PEDAGOGY OF AARON DOUGLAS AND HALE WOODRUFF ……………………………………………………………….. 107 Working the Galleries to Promote Diversity ................................................................107 Reconciling Community: Black and White Patronage .....................................116 Race Consciousness and Curricular Materials ……………………………....139 Douglas and Curriculum.......................................................................139 Woodruff and Curriculum ………………………………………….142 Black Content............................................................................151 Murals as Social/Political Teaching Tools …………………...155 CHAPTER FIVE: DOUGLAS AND WOODRUFF: INSTRUCTION AND PEDAGOGY ..………………………………………………165 Historian Orientations ….…………………………………………………..177 “The No History School” Historian Orientation ....…………………………177 “Contributionist Approach” Historian Orientation ………………………….181 “Transformationist” Historian Orientation .…..……………………………189 The Imposition of White Content: “Founding Father Pedagogy” in a Pluralistic Society……………………….……………………….194 Challenging Hegemony, African-American Content in Predominantly White Classrooms: Exposing Wounds and Validating the Other ...…198 Challenges African-American Students Face Today ……….………………203 REFERENCES .…………………………………………………………………….. 209 APPENDIX A: Chronology of Aaron Douglas’s Life ....……………………………223 APPENDIX B: Chronology of Hale Woodruff’s Life …………………………….. 224 vii ACKNOWLEDGMENTS This project was made possible by the generosity, support, and patience of many people. I would like to first and foremost thank my wife Asteir for being a pillar of strength through all of the rough transitions my career has taken us through over the last several years and our three children who have endured my absence and divided attention. I am forever grateful for the assistance of my in-laws Kenneth and Ella Walker who always came to our rescue during times of hardship. I have been blessed with the good fortune of having Karen Keifer-Boyd serve as my advisor and thesis chair. Without her dedication, guidance, and inspiration this project would have surely lingered. I would also like to thank those who served on my committee: Charles Garoian, who encouraged me to pursue my doctorate studies in art education and made time to entertain my ideas despite his busy administrative schedule; Brent Wilson, who instilled confidence in me during some of the most confusing periods as my research topic evolved; and James Stewart who continually asked those critical questions which compelled me to strengthen my position as an aspiring scholar. I am appreciative for the assistance and flexibility of archivists Beth Howse of Fisk University Franklin Library and Karen Jefferson at the Robert Woodruff Library of the Atlanta University Center Archives and Special Collections who thankfully took time out for me outside of their work schedules. This project came to be through the finanical support of The J. William Fulbright Commission, Penn State University’s Africana Research Center, Penn State University’s Office of Graduate Research, Penn State University’s Office of Graduate Equity, and viii Penn State University’s School of Visual Arts. I additionally thank the following people for their encouragement and support: My brother, Jamil Bey and sister, Nadia Bey, Robert Blackburn, Debbie Brown, Stephen Carpenter, Charles Dumas, Grace Hampton, Michael D. Harris, Walter Terrell Jones, Renee Kredell, Richard Mayhew, Todd McCannon, Larry Napoleon, Joyce Robinson, James Rolling Jr., Curtis Bey-Swaim, Beverly Vandiver, G. Washington, and Edward Williams. PROLOGUE VISUAL ARTS AND SOCIAL/POLITICAL RESPONSIBILITY:
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