ABSTRACT HISTORY TATE. RACHANICE CANDY PATRICE B.A. EMORY UNIVERSITY, 1987 M.P.A. GEORGIA STATE UNIVERSITY, 1990 M.A. UNIVERSITY OF WISCONSIN- MILWAUKEE, 1995 “OUR ART ITSELF WAS OUR ACTIVISM”: ATLANTA’S NEIGHBORHOOD ARTS CENTER, 1975-1990 Committee Chair: Richard Allen Morton. Ph.D. Dissertation dated May 2012 This cultural history study examined Atlanta’s Neighborhood Arts Center (NAC), which existed from 1975 to 1990, as an example of black cultural politics in the South. As a Black Arts Movement (BAM) institution, this regional expression has been missing from academic discussions of the period. The study investigated the multidisciplinary programming that was created to fulfill its motto of “Art for People’s Sake.” The five themes developed from the program research included: 1) the NAC represented the juxtaposition between the individual and the community, local and national; 2) the NAC reached out and extended the arts to the masses, rather than just focusing on the black middle class and white supporters; 3) the NAC was distinctive in space and location; 4) the NAC seemed to provide more opportunities for women artists than traditional BAM organizations; and 5) the NAC had a specific mission to elevate the social and political consciousness of black people. In addition to placing the Neighborhood Arts Center among the regional branches of the BAM family tree, using the programmatic findings, this research analyzed three themes found to be present in the black cultural politics of Atlanta which made for the center’s unique grassroots contributions to the movement. The themes centered on a history of politics, racial issues, and class dynamics. The research offers an alternative to the claim that southern expressions of this movement were generated solely by the historically black colleges and universities of their cities. The study’s findings demonstrate that the Neighborhood Arts Center was a grassroots. multidisciplinary entity for black aesthetics and black cultural nationalism. The findings also suggest that the Neighborhood Arts Center perpetuated the Black Arts Movement through the 1980s. Lastly, the study offers insight on the movement’s transition and legacies. 11 “OUR ART ITSELF WAS OUR ACTIVISM”: ATLANTA’S NEIGHBORHOOD ARTS CENTER, 1975-1990 A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY RACHANICE CANDY PATRICE TATE DEPARTMENT OF HISTORY ATLANTA, GEORGIA MAY 2012 © 2012 RACHANICE CANDY PATRICE TATE All Rights Reserved ACKNOWLEDGEMENTS There are several people who have been of invaluable assistance during the research and writing of my dissertation. I wish to first and foremost thank my mother Dr. Theopia Joimson Tate and my father, the late Dr. Gerald L. Tate, Jr., for their never- ending belief in me. I am indebted to two additional generations of Clarkites who began the tradition of education. I acknowledge my siblings, other family, and friends for their encouragement and uplift. The guidance and example of my committee members, Dr. Richard Allen Morton, Dr. Vicki L. Crawford, and Dr. Mary Arnold Twining, and Dr. Viktor Osinubi, Director of Humanities, and Dr. Stephanie Y. Evans, Chair of History, helped me through this journey from beginning to end. To Mr. Jim Alexander, thank you for providing the inspiration and mentorship for this project and my art career. Ms. Francine Henderson and her staff at the Auburn Avenue Research Library on African- American Culture and History were indispensable. Ms. Karen Jefferson and Ms. Andrea Jackson in the Atlanta University Center Special Collections Archives of the Robert W. Woodruff Library arranged access to the Maynard Jackson Collection. The oral history project was made possible with Mr. Clyde Bradley, videographer, and the grant support of the Emory University’s Center for Creativity & Arts, Ms. Leslie M. Taylor, Executive Director. Lastly, to artists and activists. thank you for the Neighborhood Arts Center. May its memory and your involvement chronicled in this research, inspire future generations of “Art for People’s Sake” advocates. 11 TABLE OF CONTENTS CHAPTER 1.1 INTRODUCTION 1 Purpose of the Study 1 Background of the Problem 2 Statement of the Problem 4 Significance of the Study 9 Research Questions 10 Simultaneity: A Conceptual Framework for Cultural Politics 11 Art for People’s Sake: A Black Aesthetic 12 Afrocentricity: Location Centering 15 Simultaneity 16 “Our Art Itself was Our Activism” 18 Methodology 20 Project Design & Data Collection 20 Limitations 23 Chapter Organization 23 CHAPTER 2 26 REVIEW OF LITERATURE 26 Introduction 26 Black Aesthetic Predecessors to the Black Arts Movement 26 Black Aesthetics in the Black Arts Movement 32 Cultural Politics: Urban Manifestations in Chicago, Detroit, and California 39 Oral History Methodology 42 Conclusion 46 CHAPTER 3 48 HISTORICAL CONTEXT 48 Socioeconomic Factors 49 Mechanicsville Community 52 111 The Economics of Housing .53 The Economics of Class 54 Black Atlanta’s Social Culture 54 Influence of the Atlanta University Center 56 The Harlem Renaissance and Alain Locke 58 Atlanta Traditions 59 The 1960s 66 Civil Rights: SNCC and Its Freedom School Legacy 68 The Black Arts Movement: Radical 1970s and 1980s 72 Renaissance of Atlanta Black Theatre 76 Revolutionary Art for the Times 80 CHAPTER 4 85 VISUALIZING ATLANTA’S CULTURAL POLITICS 85 Political Factors 85 The Jackson Years: The First Term (1974-1977) 88 Federal Funding: Comprehensive Employment & Training Act (CETA) 89 Local Funding 93 Jackson’s Focus on Neighborhoods 95 Jackson’s Second Term (1978-198 1) 97 The Andrew Young Years, 1982— 1989 97 The Politics of Education: The Atlanta School Board 100 The Politics of Economic Class 101 Mayor’s Ad Hoc Committee for the Arts 102 Creating an Arts Blueprint 108 Mayor’s Day for the Arts: Two Communities Coming Together 109 Bureau of Cultural and International Affairs (BCIA) and Public Art 112 Creating a Community Arts Center: The Politics of Location 115 CHAPTER5 118 FINDINGS: PART I - NEIGHBORHOOD ARTS CENTER PROGRAMS 118 iv Introduction .118 Theme I — Local/National and Individual/Community Dichotomies 120 Theme I — Summary and Analysis 143 Theme II — Art for the Masses 143 Theme II — Summary and Analysis 160 Theme III — Space and Location 161 Theme III — Summary and Analysis 174 CHAPTER 6 175 FINDINGS: PART II- NEIGHBORHOOD ARTS CENTER PROGRAMS 175 Theme IV - Women and Gender 176 Theme IV — Summary/Analysis Women/Gender 193 Theme V — Social and Political Consciousness 194 Theme V — Summary and Analysis Social and Political Consciousness 228 CHAPTER 7 231 FINDINGS: ATLANTA CULTURAL POLITICS 231 Politics 232 The Politics of Creation: The Mayor’s Ad Hoc Committee for the Arts 232 The Politics of Location: Creating Community Arts Centers 243 Atlanta’s Politics & Cultural Appeal 248 The Politics of Funding the Arts 249 The Politics of Funding: Paying for Excellence in Atlanta 260 Atlanta’s Cultural Appeal: National and International 265 International Impact of Atlanta 266 The Politics of Local, State, and National Funding Dynamics 268 CHAPTER 8 271 FINDINGS: RACE & CLASS 271 Race 271 Racial Balance on the Neighborhood Arts Center Board 275 Theater and Race Relations 288 V New Play Projects Festival Bring Races Together 289 Creative Writers Explore a National Black Aesthetic 292 Atlanta’s Position as an Arts Center in the Black Arts Movement 296 Class 299 The Politics of Interracial Class 300 Intra-Racial Classism 301 Internal Intra-Racial Class Dynamics 304 The Neighborhood Arts Center’s Board and Fundraising 306 Summary — Research Question #2 314 CHAPTER9 317 CONCLUSION 317 Further Study 327 APPENDIX A 330 INTERVIEW SCHEDULE 330 APPENDIX B 333 INTERVIEW GUIDE 333 APPENDIX C 335 CHRONOLOGY 335 BIBLIOGRAPHY 339 vi LIST OF FIGURES Figure 5.1. Jim Alexander, Take Me a Picture, 1978 121 Figure 5.2. Jim Alexander, Romare and Nanette at the NAC, 1978 122 Figure 5.3. Jim Alexander, Like This, 1978 145 Figure 5.4. Jim Alexander, Jazz Professor, 1978 151 Figure 5.5. Jim Alexander, NAC Big Band II, 1978 156 Figure 5.6. Jim Alexander, Monty Ross, 1982 158 Figure 5.7. Jim Alexander, Akbar in “Quo,” 1978 168 Figure 5.8. Jim Alexander, Intensity, 1979 169 Figure 5.9. Jim Alexander, Horrified, 1978 171 Figure 6.1. Jim Alexander, Tubbs, 1979 180 Figure 6.2. Jim Alexander, The Poet, 1977 187 Figure 6.3. Jim Alexander, Tina Teaching, 1979 189 Figure 6.4. John Riddle, Spirit Bench, 1976 198 Figure 6.5. Jim Alexander, Untitled (Spirit Bench), 1978 199 Figure 6.6. Jim Alexander, Unveiling, 1978 200 Figure 6.7. John Riddle, Expelled Because ofColor, 1976 (detail) 202 Figure 6.8. Jim Alexander, Wall ofRespect, 2006 205 Figure 6.9. NAC Mural Team, Wall ofRespect, 1976 (detail) 206 Figure 6.10. Wall ofRespect, Chicago, Illinois, 1967-1971 208 Figure 6.11. NAC Mural Team, Black is Art, Music, Light, Since the Beginning, 1978 212 vii 1980.218 Figure 6.12. Jim Alexander, Limbo Stick, Figure 6.13. Jim Alexander, Shooting Klansmen, 1978 222 Figure 6.14. Jim Alexander, SCAA W, 1978 224 Figure 7.1. Jim Alexander, The NeighborhoodArts Center Challenge, 1979 245 Figure 7.2. Jim Alexander, The Coordinators, 1979 267 Figure 7.3. Jim Alexander, Thanks, 1980 269 Figure 8.1. Jim Alexander, NAC Photo Workshop at Nexus, 1980 279 Figure 8.2. Jim Alexander, Ojeda Penn & Friends, 1978 282 Figure 8.3. Jim Alexander, Thank You Peabo, 1979 282 Figure 8.4. Jim Alexander, Shaking the Pier, 1978 283 Figure 8.5. Jim Alexander, O.T and the