Category Archives: Black history

Feminist Abolitionist Myrtilla Miner

Feminist Abolitionist Myrtilla Miner

March 4, 1815 – December 17, 1864

Feminist Abolitionist Myrtilla Miner

Feminist Abolitionist Myrtilla Miner

Early life

On March 4, 1815, Myrtilla Miner was born in North Brookfield, NY. She was one of 13 children in a poor farming family. Often in ill health, she found comfort in reading and studying. With great persistence and financial difficulty, she graduated from the Young Ladies Domestic Seminary  with a teaching degree. She taught in Rochester, NY and Providence, R.I., before accepting a position in the late 1840s in Whitesville, Mississippi.

There she taught at a school for the daughters of plantation owners. There, too, she saw the desperate conditions under which slaves lived. An educator to her core, she naively asked the slave owners if she could start a school to teach the slave girls to read. Myrtilla Miner did not realize that such a benefit was against the law.

Sickness sent her back home to New York, but in 1851 with the encouragement of the Reverend Henry Ward Beecher (abolitionist known for his “Beecher Bibles” (guns) that he sent to Kansas abolitionists and father of Harriet Beecher Stowe, writer of Uncle Tom’s Cabin) and a contribution from a Quaker philanthropist, Miner opened The Colored Girls School in Washington, D.C.

Feminist Abolitionist Myrtilla Miner

Myrtilla Miner

Enrollment grew with the help of continued Quaker contributions as well as a $1000 contribution from Harriet Beecher Stowe from her Uncle Tom’s Cabin royalties.

The school offered primary schooling and classes in domestic skills, but its emphasis was always on training teachers. By 1858 six former students were teaching in schools of their own. The school closed during the Civil War and Miner moved to California because of poor health.

She suffered a carriage accident in 1864 and died on December 17, 1864 shortly after her return to Washington, D.C.

On January 29, 1865, among the many deaths listed under “The Dead of 1864” the New York Times reported, “MINER, Miss MYRTILLA, an authoress and philanthropist, died at Washington, D.C.”

Feminist Abolitionist Myrtilla Miner

After Miner’s death

The Civil War ended and the school reopened as the Institution for the Education of Colored Youth. From 1871 to 1876 it was associated with Howard University. In 1879, as Miner Normal School, it became part of the District of Columbia public school system.

Myrtilla Miner
c 1909…First graders from the Miner Normal School in Washington, DC brushing their teeth)
Feminist Abolitionist Myrtilla Miner

Washington Normal School

Similarly, Washington Normal School (later Wilson Teachers College) was established in 1873, as a school for white girls. In 1929, Congress converted both schools into four-year teachers colleges.

In 1955,  after the US Supreme Court decision of Brown v. Board of Education, the two colleges merged to form the District of Columbia Teachers College.

On August 1, 1977, the Board of Trustees announced the consolidation of the District of Columbia Teachers College, the Federal City College, and the Washington Technical Institute into the University of the District of Columbia

References:

Feminist Abolitionist Myrtilla Miner

Civil Rights Activist Claudette Colvin

Civil Rights Activist Claudette Colvin

In February 2017, the City of Montgomery, Alabama passed a proclamation  naming March 2 “Claudette Colvin Day.”

Civil Rights Activist Claudette Colvin
A teenage Claudette Colvin refused to give up her bus seat to a white passenger during the segregation era in Montgomery, Ala. (Courtesy of Claudette Colvin)
Civil Rights Activist Claudette Colvin

15-year-old student

On March 2, 1955, Claudette Colvin was a 15-year-old student at Booker T. Washington High School in Montgomery, Alabama. Her family did not own a car, so she used buses to get back and forth to school.  Annie Larkins Price was a friend.

On their way home from school together that March day,  Price recalled, “The bus was getting crowded and I remember him (the bus driver) looking through the rear view mirror asking her to get up out of her seat, which she didn’t. She didn’t say anything. She just continued looking out the window. She decided on that day that she wasn’t going to move.

Other black passengers complied; Colvin ignored the driver. 

Civil Rights Activist Claudette Colvin

Police summoned

I’d moved for white people before,” Colvin says. But this time, she was thinking of the slavery fighters she had read about recently during Negro History Week in February. “The spirit of Harriet Tubman and Sojourner Truth was in me. I didn’t get up.”  “They dragged her off that bus,” said Price, who was sitting behind her classmate. “The rest of us stayed quiet. People were too scared to say anything.” Colvin screamed that her Constitutional rights were being violated. (Colvin arrest report)

We all know the name of Rosa Parks who also defied the Jim Crow laws separating Blacks and Whites throughout the United States. The Courts called it “separate but equal.”  We know Parks for her refusal to give up her seat and the resulting 381-day Montgomery bus boycott that followed under the leadership of the young Rev. Martin Luther King, Jr.

That was nine months later on December 1, 1955.

Civil Rights Activist Claudette Colvin

Browder v Gayle

In the meantime, court had ruled against Colvin and put her on probation.  She became one of the plaintiffs in the Browder v. Gayle case, along with Aurelia S. Browder, Susie McDonald, and Mary Louise Smith (Jeanatta Reese, who was initially named a plaintiff in the case, withdrew early on due to outside pressure).

On June 13, 1956, the federal court ruled that Montgomery’s segregated bus system was unconstitutional. In December 1956, the city of Montgomery passed an ordinance allowing any bus passenger to sit in any seat they chose to.

Two years later, Colvin moved to New York City, where she worked as a nurse’s aide at a Manhattan nursing home. She retired in 2004.

Civil Rights Activist Claudette Colvin
In a 2013 interview…

Colvin stated, “I tell—one of the questions asks, “Why didn’t you get up when the bus driver asked you, and the policemen?” I say, “I could not move, because history had me glued to the seat.” And they say, “How is that?” I say, “Because it felt like Sojourner Truth’s hands were pushing me down on one shoulder and Harriet Tubman’s hands were pushing me down on another shoulder, and I could not move. And I yelled out, ’It’s my constitutional rights,’” because I wasn’t breaking a law under the state’s law, separate but equal; I was sitting in the area that was reserved for black passengers.

At that time, we didn’t even want to be called “black,” because black had a negative connotation. We were called “coloreds.” So I was sitting in the coloreds’ section. But because of Jim Crow law, the bus driver had police force, he could ask you to get up. And the problem was that the white woman that was standing near me, she wasn’t an elderly white woman. She was a young white woman. She had a whole seat to sit down by—opposite me, in the opposite row, but she refused to sit down; because of Jim Crow laws, a white person couldn’t sit opposite a colored person. And a white person had to sit in front of you.

The purpose was to make white people feel superior and colored people feel inferior”.


Civil Rights Activist Claudette Colvin

Book

In 2009, Farrar, Straus and Giroux published Claudette Colvin: Twice Toward Justice by Phillip Hoose. Here is a link to an excerpt from that book: NPR story

Civil Rights Activist Claudette Colvin

From Twice Toward Justice, here is Colvin’s description of the police who came onto the bus that March 2 day:

One of them said to the driver in a very angry tone, “Who is it?” The motorman pointed at me. I heard him say, “That’s nothing new . . . I’ve had trouble with that ‘thing’ before.” He called me a “thing.” They came to me and stood over me and one said, “Aren’t you going to get up?” I said, “No, sir.” He shouted “Get up” again. I started crying, but I felt even more defiant. I kept saying over and over, in my high-pitched voice, “It’s my constitutional right to sit here as much as that lady. I paid my fare, it’s my constitutional right!” I knew I was talking back to a white policeman, but I had had enough.

One cop grabbed one of my hands and his partner grabbed the other and they pulled me straight up out of my seat. My books went flying everywhere. I went limp as a baby—I was too smart to fight back. They started dragging me backwards off the bus. One of them kicked me. I might have scratched one of them because I had long nails, but I sure didn’t fight back. I kept screaming over and over, “It’s my constitutional right!” I wasn’t shouting anything profane—I never swore, not then, not ever. I was shouting out my rights.

In September 2016, the National Museum of African-American History and Culture opened to great fanfare. Colvin  was not invited to the opening dedication and the Museum did not recognize her act of bravery.

References

Civil Rights Activist Claudette Colvin

Sculptress Augusta Savage

Sculptress Augusta Savage

 “I was a Leap Year baby, and it seems to me that I have been leaping ever since.” 

Remembering and appreciating
February 29, 1892 — March 27, 1962

Sculptress Augusta Savage

Sculptress Augusta Savage

Woodstock Music and Art Fair

500,000 attendees and its long list of now-famous performers have overshadowed the original goal of the Woodstock Music and Art Fair.  As its name implied, it was going to be a weekend of art and music.

Now located on the festival site, the mission statement of Bethel Woods Center for the Arts reflects that intention to:

“…inspire(s), educate(s) and empower(s) individuals through the arts and humanities.”

Sculptress Augusta Savage

Her Life

Savage’s 1942 terracotta Portrait of a Baby recalls the small, red clay sculptures she made as a child (New-York Historical Society)

The life of Augusta Savage reflected the Center’s mission.

She was born Augusta Christine Fell in Green Cove Springs, Florida on February 29, 1892. She loved sculpting animals and other small figures as a child with the red clay others used to make bricks, but her father, a poor Methodist minister, frowned upon such an activity.

Sculptress Augusta Savage

Persistence

Augusta persisted.

Augusta Savage (her second husband was James Savage, the name she kept even after their divorce) moved to Harlem in 1921, where she cleaned houses to pay her rent and studied art at the tuition-free Cooper Union. She finished her degree in three years.

A bust she made of W.E.B. DuBois led to another commission for a busts of other African American leaders such as Marcus Garvey.

Her best-known work of the 1920s was Gamin, an informal bust portrait of her nephew, for which she was awarded a Julius Rosenwald Fellowship to study at the Fontainebleau School of the Arts in Paris.

Wendy N.E. Ikemoto of the New York Historical Society explains that the selection committee rescinded the scholarship.  The reasoning was the white women “would feel uncomfortable sharing accommodations on the ship, sharing a studio, sharing living spaces. ...the way that these committee members expressed that decision and the justification for it — they were concerned about Savage. It would be uncomfortable for her.”

Despite the withdrawal, Savage stayed in Paris for three years studying, working, and winning awards.

Sculptress Augusta Savage
Gamin

Sculptress Augusta Savage

Savage Studio of Arts and Crafts

According to the Smithsonian site, in 1932,  she “returned to New York and established the Savage Studio of Arts and Crafts and became an influential teacher in Harlem. In 1934 she became the first African-American member of the National Association of Women Painters and Sculptors. In 1937 Savage’s career took a pivotal turn. She was appointed the first director of the Harlem Community Art Center and was commissioned by the New York World’s Fair of 1939 to create a sculpture symbolizing the musical contributions of African Americans. Negro spirituals and hymns were the forms Savage decided to symbolize in The Harp. Inspired by the lyrics of James Weldon Johnson’s poem Lift Every Voice and Sing, The Harp was Savage’s largest work and her last major commission. She took a leave of absence from her position at the Harlem Community Art Center and spent almost two years completing the sixteen-foot sculpture. Cast in plaster and finished to resemble black basalt, The Harp was exhibited in the court of the Contemporary Arts building where it received much acclaim. The sculpture depicted a group of twelve stylized black singers in graduated heights that symbolized the strings of the harp. The sounding board was formed by the hand and arm of God, and a kneeling man holding music represented the foot pedal. No funds were available to cast The Harp, nor were there any facilities to store it. After the fair closed it was demolished as was all the art.” (NYT announcement)

Sculptress Augusta Savage
The Harp by Augusta Savage, displayed at the 1939 World’s Fair in New York City

Sculptress Augusta Savage

Lost job

When Savage returned to Harlem, her job at the Harlem Center was taken. She attempted to establish two other centers, but a lack of funds during the late Depression, caused their failure.

In 1945, Savage moved to Saugerties, New York, in the Catskill Mountains to be with her daughter and her daughter’s family.

Although she visited NYC occasionally, the peace of rural Saugerties (as had been the case for earlier artists and would be the case for some other artists in the not-too-distant future) continued to attract her. She taught children in local summer camps, and produced a few portrait sculptures of tourists.

In 1962 Savage moved back to New York where she died in relative obscurity on March 26, 1962. (NYT obit)

Sculptress Augusta Savage

Legacy

Douglas Anderson School of the Arts

On September 14, 2017 the Douglas Anderson School of the Arts dedicated the Augusta Savage Sculpture Garden.

“Augusta Savage was an African-American artist who failed to receive the recognition she deserved in her lifetime,” said Khanh Tran, the sculpture instructor at DA. “This sculpture garden is our way of commemorating her contributions to the local and national artistic landscape.”

Restore art to replace Confederate statues

Aviva Kempner wrote in The NY Times that as important as the removal of Confederate statues was, it was just as important to replace them with appropriate art such as Augusta Savage’s. Kempner wrote, “First on the list should be “The Harp,” a magnificent work by the noted African-American sculptor Augusta Savage that was demolished at the closing of the 1939 World’s Fair in New York..” 

This short video shows Savage at work.

References:

Sculptress Augusta Savage