HUM - 389 RR 2 - Social Science
Instructions should be in the fourth document. Use all sources given. 3 pages
Billie Holiday's Song "Strange Fruit"
https://us-lti.bbcollab.com/recording/bbd5623f619544a9b464ac7503cafa12
HUM 389: Reading Reflection Prompt for:
“Black Expression in the Early 20thc—Visual Art” (use this for your “title” line)
*Before submitting your first RR, be sure you have reviewed the general info handout on RRs posted to the RR menu tab (particularly the sections on minimum length, formatting, submission requirements, general content, and avoiding plagiarism). Also note that you can find a sample blank rubric posted to RR menu tab which will show you the criteria I will use in evaluating your reflection.
Assigned Content: see the daily folder
(pdf of images by themselves; BR of images with text, CP 77 and brief video clip)
Prompt: In your 2-4 page reflection (2 full pages minimum using required formatting), address each of the following three areas below. When you quote from the readings, “do it like this” (BR page number goes here. Remember that while the minimum length for all RR assignments is 2 full double-spaced pages, earning above-average scores may require going beyond that minimum.
First : BEFORE reading the Blackboard Reading file, look over the pdf of Powerpoint images slides posted (the file with the images by themselves, with artist, title, and date labels): Look over the images in this file, paying attention to visual details (if you feel you can’t see the image well enough from just the file view, you may need/want to do Google image searches for them—but if so, just look at the images themselves—don’t read about them). Select TWO images from the first six (by artist Aaron Douglas) that interest/stand out to you the most (for whatever reason) and then TWO additional images from images 7-13 (by artist Jacob Lawrence) that stand out to you the most. Write one thorough/well-developed paragraph about each of your choices. In each paragraph, explain why you chose the image (why/how/in what (ways) those particular images stood out to you/interested you the most) and what further questions the images raise for you. For each of the four images you choose, refer specifically to its title and to specific visual elements/details you notice in the image.
Then
(minimum of two thorough/well-developed paragraphs per each of the two artists):
AFTER reading the Blackboard Reading file about the visual art of Douglas and Lawrence (images + text), reflect on how/in what specific ways the discussion of these two artists and their works affects/relates back to your initial thoughts and questions about the four images you discussed above.
For example: Did the BR material change any of your initial thoughts about the images? (Explain/develop). Did the BR answer any of the questions raised for you by the images? (Explain/develop). What further questions did the BR raise for you about these two artists and their works? (Explain/develop.) In this section of your incorporate/respond to some well-chosen, concise quotes from various parts of the BR. This section of your reflection should clearly reflect your reading of the BR as a whole (not just the brief parts with specific discussion of the four images you chose to write about above)—remember that other parts of the reading can and should inform your thoughts.
NOTE
: You don’t have to write about the CP page and video clip on the “Strange Fruit” song, but you should be prepared to discuss/respond to it in our class discussion. (For example, what stood out to you from the clip? Can you think of any examples of contemporary popular songs that might somehow connect/compare/relate to this “protest song” of the early 20thc?
Ken Burns Jazz documentary for PBS
https://youtu.be/hjw-w0it8as
1
Black Expression in the Earlier 20th Century—Visual Art1
The Harlem Renaissance was a broad cultural, artistic, and literary movement among
black Americans based in Harlem, New York. During the 1920s, Alain Locke, the
leading critic and spokesman for the Harlem Renaissance, promoted the idea of racial
equality by highlighting distinctively African-American contributions to the arts. In The
New Negro: An Interpretation (1925), an anthology of African-American literature,
Locke, as editor, asked black writers and artists to draw inspiration from their African
heritage and racial origins. The Harlem Renaissance encompassed much more than the
visual arts, but the period following World War I marked the emergence of African American
art on the national and international levels. Picasso and other [European] artists in Paris
helped to stimulate interest in African art. Although some black artists in America rejected
identification with African art, others spoke of the need to develop an African American art
idiom based on African forms. [During the] decades of the 1920s and 1930s, racially
conscious African American artists dealt with many of the themes that were articulated in
the “ New Negro” movement [i.e., the Harlem Renaissance]: the celebration of the beauty of
black people, the illumination of the history of the African American experience, and
the search for identity and roots.
Graphic Art: The Negro Renaissance was primarily a literary movement and African-American
authors demanded from their publishers images of African Americans that befitted the new era.
Some of the best examples of African-American graphic arts could be found in New York City,
which was by now the center for America’s proliferating book, popular magazine, and journal
publishing.
Aaron Douglas (1889-1979): One of the most successful artists to
emerge from the Harlem Renaissance was Aaron Douglas.
Douglas, a native of Kansas, regularly read publications such
The Crisis (the journal of the NAACP), Opportunity: A
Journal of Negro Life (the publication of the Harlem-based
National Urban League, an African American organization founded
in 1910 to help black migrants from rural areas adjust to urban life)
and Survey Graphic (a magazine focused on sociological and
political research). When the opportunity arose for him to
travel to Harlem and pursue his art career, he moved without
hesitation. Upon his arrival in 1924 he immediately became
friends with W.E.B. DuBois and Alain Locke, African
American poets Countee Cullen and Langston Hughes, and whites such as Albert C.
1 Excerpted and adapted from: Bjelajac, David, American Art: A Cultural History (Prentice Hall, 2000); Hughes,
Robert. American Visions: The Epic History of Art in America (Alfred A. Knopf, 2004); Sayre, Henry M. The
Humanities: Culture, Continuity and Change (Pearson, 2011).
2
Barnes and Carl van Vechten, who belonged to the intimate circle of New Negro
leaders. Barnes, one of several wealthy white patrons of black artists during this period,
allowed Douglas to examine his extensive collection of West African sculpture and his
modernist European paintings. Douglas proceeded to combine the stylized2 forms of the two
worlds to create a series of illustrations and murals that spoke to Locke's call for a new
Negro art informed by Africa and celebrating the lives and history of African Americans. On
the strength of his illustrations for Locke’s publication The New Negro, Locke called
Douglas a “pioneering Africanist.” In his bl ack-and-white drawings, human figures
are [often] stylized, and, like the schematic patterns which they complement, they are
flat shapes. Like much of Douglas’s graphic art work, Ma Bad Luck Card (1926) (below),
utilizes flat, sharply outlined silhouettes, geometric forms,
and contrast between light and dark.
Douglas became closely identified with Locke’s notion
of a “New Negro” movement and began receiving
numerous commissions. The powerful profiles of
Douglas’s figures suggest the representations of the human
form found in Egyptian wall paintings. These “Egyptian
form” figures, as Douglas called them, are silhouetted in
profile with the eye rendered from a frontal viewpoint as in
ancient Egyptian tomb reliefs and frescoes. With such
images, D o u g l a s led the way into a new field of African
American art with wall decorations in Nashville (Fisk
University), Harlem, Chicago, and elsewhere.
In 1925 Douglas wrote to Langston Hughes:
our problem is to conceive, develop, establish an art era. . . . Let’s bare our arms
and plunge them deep through the laughter, through pain, through sorrow, through
hope, through disappointment, into the very depths of the souls of our people and
drag forth material crude, rough, neglected. Then let’s sing it, dance it, write it,
paint it . . . Let’s create something transcendentally material, mystically objective.
Earthy. Spiritually earthy. Dynamic.
Douglas conveys this range of emotions in his work, combining hope and determination in
Ma Bad Luck Card, which was used as an illustration for the poem "Hard Luck" by
Langston Hughes in the October 1926 issue of Opportunity. Douglas has given dignity to
his figure, omitting the mundane details of everyday life and conveying, instead, a sense of
monumentality and timelessness. The figure represents the struggles of Africa and of
Africans in America.
2 stylized: in the visual arts, artworks that are “stylized” reflect an emphasis on the manner in which thing is
represented rather than the way it appears to the eye; to “stylize” an image means to make the image conform to
the rules of a particular style
3
Even when dealing with a historical figure, as Douglas
does in his 1931 mural (right) devoted to the escaped
slave Harriet Tubman, who repeatedly returned to the
South to help others escape, he generalizes her form to
represent all black women who broke the shackles of
slavery to flee north. The mural also utilizes a limited
palette [of colors] and shafts of light that function as veils
across the surface of the works, creating an otherworldly
atmosphere. The gradually enlarged circular shapes of
color create a visual rhythm, evocative of music and
spirituality. In Harriet Tubman, Douglas celebrates and memorializes a history that too often had
been misinterpreted or forgotten altogether.
In 1934, Douglas completed a well-known mural (consisting of four separate panels) for the 135th
Street branch of the New York Public Library (known today as the Schomberg Center for Research
in Black Culture, located in Harlem) The four-part mural, titled Aspects of Negro Life (1934),
depicts the cultural and historical background of African Americans. Taken as a whole, Aspects
of Negro Life was Douglas’s most impressive response to Locke’s directive to use African art and
African-American folk culture as an inspiration. It also reflected the conviction of W.E.B. DuBois
that any art of value must be morally responsible and instructive. The historical narrative, on
Africa and African descendants in the United States, is shown in two horizontal and two vertical
compositional formats. In these murals, Douglas restricted his palette [of colors], ranging from light
mauve-browns to dark blue-purples, interweaving his silhouetted figures of abstract geometrical
design.
In the first painting of the mural series, The Negro in an
African Setting (left), Douglas employs the popular tropes3 of
“primitivism”—dancing figures, standing figures holding
spears, drummers, and a highlighted fetish4 statue (located in
the middle of the top third of the painting). The figures are
painted in Douglas’s elongated “Egyptian style.” The only
ethnographically accurate image is of the dancing woman,
whose profiled hairstyle is that of the Mangbetu Woman
whom Douglas had portrayed for the
cover of Opportunity
magazine (May 1927); the
original photograph that
inspired Douglas’s artwork
is shown to the left, with
the related magazine cover
shown on the right:
3 tropes: in visual art, a trope is a commonly recurring visual motif that functions as the visual equivalent to a
literary figure of speech (in which the words or expressions are used not in their literal sense but to call to mind
another meaning)
4 fetish: in traditional African art, a fetish is a statue or other object believed to embody supernatural power
4
The second panel of the series is entitled From Slavery Through Reconstruction5 (below):
From Slavery through Reconstruction displays a subtle divergence from the African scene in subject
matter and aesthetic style. From right to left, the panel depicts, in Douglas’s words,
the slaves’ doubt and uncertainty, transformed into exultation at the reading
of the Emancipation Proclamation; in the second section, the figure standing on
the box symbolizes the careers of outstanding Negro leaders during this time; the
third section shows the departure of the Union soldiers from the South and the
onslaught of the Klan that followed.
Cotton, the cash crop on which the slave system was driven, is foregrounded, as it grows even from the
bottom border of the mural while men stand in various poses of work, resistance and exultation around it.
Union troops are depicted, but both their comings and goings fade deep into the background of the
painting, demonstrating both the promise of emancipation and the ultimate failure of Reconstruction.
Even the threatening image of the Ku Klux Klan on the far left of the piece is faded and somewhat
ghostly, more a haunting presence than a direct threat. The piece is clearly most interested in the black
toilers who work the fields and stand in resistance: one, near center, forcefully breaking the chains around
his wrists and raising a fist above his head in triumph or revolt.
The third panel, An Idyll6 of the Deep South7, is shown on the next page. In An Idyll of
the Deep South, Douglas subverts the myth of the "happy southern plantation Negro" by
5 the commentary on From Slavery Through Reconstruction is taken from: Gardullo, Paul. "'Just Keeps
Rollin' Along': Rebellions, Revolts And Radical Black Memories Of Slavery In The 1930S." Patterns Of
Prejudice 41.3/4 (2007): 271-301. Academic Search Premier. Web.]
6 idyll: 1) a short literary work describing a picturesque episode or pleasant scene of country life 2) an event or
scene of rural simplicity 3) a carefree experience
5
flanking the central theme of the painting—cheerful and contented African Americans
singing, dancing, and playing music—with the images of black southern reality, the
aftermath of a brutal lynching and black workers toiling in the fields:
This reality of racism and economic hardship is underscored through Douglas's
incorporation of a star and its emanating ray of light in the left-hand corner of the
composition. Although this star has generally been perceived as a representation of the
North Star, in April of 1971, during a conversation with David Driskell, Douglas revealed
that in fact the star was his version of the red star of Communism. Douglas added that he
had included this star in An Idyll of the Deep South to illustrate the hope held by some
black Harlem intellectuals that true equality might be attained through the alternative
policies of communism and socialism.
In the last of the four murals, Song of the Towers (below), the Statue of Liberty has
replaced the African fetish statue included in the first painting (The Negro in an African
Setting, shown earlier), and the saxophone player
has replaced the dancer. Considered together, the
first and last paintings represent the quintessential
symbols of African and African-American culture.
However, Song of the Towers also carries a “social
realist” message, a critical comment on the forward
march of science and technology, which has had
little effect in improving the economic and social lot
of African Americans.
7 the commentary on An Idyll of the Deep South is taken from: Fleming, Tuliza. “Narratives of African American
Art and Identity.” The David D. Driskell Center for the Study of the Visual Arts and Culture of African Americans
and the African Diaspora. Web. http://www.driskellcenter.umd.edu/narratives/exhibition/sec2/doug_a_02.htm
http://www.driskellcenter.umd.edu/narratives/exhibition/sec2/doug_a_02.htm
6
The icons of American secular society
modernism—industrialization and urbanism—are
represented by skyscraper buildings, smokestacks
belching smoke and mechanical wheel cogs. At
the center of this nightmarish urban-industrial
landscape stands a jazz saxophonist, juxtaposed
with New York harbor's Statue of Liberty in the
far background. However, the distant promise of
African-American freedom appears overwhelmed
by an inhuman socio-economic environment.
In the lower left corner, an exhausted, muscular
figure holds his head in despair as serpentine
and claw-like clouds of smoke threaten to
imprison him, sapping his strength. The plumes of smoke and towering urban-
industrial forms create the demonic characteristics of a hellish underworld.
Douglas’s critical interpretation of American urbanism and industrialization
expressed his socialist political views and strong support for labor unions. Socialist
organizations attracted many African Americans in the 1930s and 1940s because of their
credo of social and economic equality, and anti-racism. Artist’s organizations, such as the
left-wing Artists’ Union (est. 1934), functioned like any other labor union, fighting for
occupational solidarity, better working conditions and economic benefits. . . . Douglas also
belonged to the Harlem Artist Guild, an African-American alternative to the Artists’
Union, whose members desired the visibility and economic opportunities which were
denied to most of them.
In his essay “The Negro in American Culture” (1936), Douglas wrote:
Our chief concern has been to establish and maintain recognition of our essential
humanity, in other words, complete social and political equality. This has been a
difficult fight as we have been the constant object of attack by all manner of
propaganda from nursery rhymes to false scientific racial theories. In this struggle
the rest of the proletariat8 almost invariably has been arrayed against us. Some of
us understand why this is so. But the Negro artist, unlike the white artist, has never
known the big house. He is essentially a producer of the masses and can never take
a position above or beyond their level. This simple fact is often overlooked by the
Negro artist and almost always by those who in the past have offered what they
sincerely considered to be help and friendship.
8 the proletariat: the working classes; term particularly associated with Marxist economic theory, used to refer to
the collective class of industrial wage-earners who do not control any capital or means of production and so who
can only earn a living by means of selling their labor
7
The potential victimization and continued precarious
survival Douglas refers to in his essay is suggested in the
image of a man on the verge of falling into grasping skeletal
hands, seen in the lower left corner of the painting Song of
the Towers described earlier, and also seen in an 1928
illustration entitled Charleston (right) which Douglas
designed for Paul Morand’s book Black Magic (1929).
Jacob Lawrence (left, 1917-2000) Another important
African American painter whose work has been associated
with raising consciousness of black history and experience is
Jacob Lawrence, who was among the many young artists
supported by the WPA Artists Relief Program [“WPA” refers
to the Works Progress Administration, a New Deal government
program operating during the Great Depression].
Lawrence (shown in a photo from 1941 above) dealt with American themes, particularly
work and the urban experience. Like some other black artists who were deeply influenced
by European modernism, Lawrence experienced
hostility not only toward his race but also toward his
manner of painting. However, this did not deter him
from creating a remarkable body of work, which can
be associated not only with the African American
past but also with the shared and universal themes
of freedom and repression, human life, and work.
Lawrence painted several important series that narrate
major events in African American history, including his
thirty-two panel Frederick Douglass series (1938-39) and
his series of thirty-one paintings devoted to Harriet
Tubman. The seventh panel in the Tubman cycle (right)
shows the power of Lawrence’s imagery. Tubman is
represented, one knee on the log she is sawing, as a
massive physical form that nearly fills the picture area.
This suggests that in her strength lies her ability to survive,
to fight, and to gain her freedom.
8
Perhaps the best known is Lawrence’s series on the “Great Migration” (completed in 1940-
41) The migration of blacks from the rural South to the industrial North of America in the
first decades of the twentieth century was the biggest internal migration in American
history and, in the words of Henry Louis Gates, Jr., "the largest movement of black bodies
since slavery." It involved at least a million people—due to defects in the records, the number
will never be known. It went largely uncommemorated, except by historians and sociologists.
No novel, in or out of the African-American tradition, has handled it on the scale it
deserved—it provoked no black equivalent, for instance, of [John Steinbeck’s novel] The
Grapes of Wrath, and although Richard Wright's Native Son dealt with a part of its aftermath in
Chicago, there was no fictional work to match the drama of the migration itself. No
monuments commemorate it, no documentary films were made about it. Lawrence simply
picked up the subject and made it his own. The subject had personal relevance to Lawrence;
members of his own family had migrated from South Carolina to northern industrial
cities.
As Lawrence explained:
I was part of the migration, as was my family, my mother, my sister, and
my brother . . . I grew up hearing tales about people ‘coming up,’ another
family arriving . . . I didn’t realize what was happening until about the
middle of the 1930s [when Lawrence was about 18 years old], and that’s
when the Migration series began to take form in my mind.
The Great Migration had an epic character. It was forced by the merciless Southern white
reaction that came in the wake of Reconstruction, plunging the black population of the
Southern states—all poor, and nearly all rural workers—into a purgatory of abrogated9
rights. In the South, the years 1900-25 brought the high tide of Jim Crow laws, of lynchings,
and the unrestrained terrorism of the Ku Klux Klan. Moreover, most of the work available to
"free" blacks depended on the cotton industry; and the invention of cotton-picking machines
knocked the bottom out of their labor market. Deprived of work, unable to vote, and
powerless to change their political status, Southern blacks voted with their feet and started
flocking to the Mid-Atlantic, Northeastern, and Midwestern cities, repeating en masse the
old perilous journey on the abolitionists' Underground Railroad, north out of bondage
in the nineteenth century. They were looking for a better America than they had known—
not a hard one to find, one might have thought; except that racism and unemployment were
also endemic in Chicago, Boston, and New York. Those who imagined they were heading
for the Promised Land were sharply disappointed, especially after 1929, when they arrived
in a North economically devastated by the Depression, with little work and less chance of
finding any.
In "Po' Boy Blues," 1932, the black poet Langston Hughes put words in the mouth of the
migrants caught between two worlds:
9 abrogated: nullified; abolished by authority
9
When I was home de
Sunshine seemed like gold.
When I was home de
Sunshine seemed like gold.
Since I come up North de
Whole damn world's turned cold.
But there was no way back. Thus the South was drained of its black proletariat, while the
North acquired a new one, out of which grew a radically altered conception of black
culture in America: distinctively urban, but still Southern in its origins and collective
memory. This was the culture whose synthesis, in New York, produced the Harlem
Renaissance; and through it, American blacks reinvented themselves.
Lawrence was one of them. Born in Atlantic City, he spent part of his childhood in
Pennsylvania and then, after his parents split up in 1924, he went with his mother and
siblings to New York, settling in Harlem. When years later he told an interviewer that "I am
the black community," he was neither boasting nor kidding. . . . .He trained as a painter at
the Harlem Art Workshop, inside the New York Public Library’s 135th Street branch (known
today as the Schomberg Center for Black Culture). Younger than the artists and writers who
took part in the Harlem Renaissance of the 1920s, Lawrence was also [different from]
them: he was not interested in the kind of idealized, fake-primitive images of blacks—the
“Noble Negroes”—that tended to be produced as an antidote to the toxic racist stereotypes
with which white popular culture had flooded America since Reconstruction.
Nevertheless, he gained self-confidence from the Harlem cultural milieu—in particular, from
the art critic Alain Locke, a Harvard-trained esthete10 (and America's first black Rhodes
scholar) who believed strongly in the possibility of an art created by blacks which could speak
explicitly to African-Americans and still embody the values, and self-critical powers, of
modernism. Or, in Locke's own words, "There is in truly great art no essential conflict
between racial or national traits and universal human values." This belief was vital to
Lawrence's own growth as an artist. Locke perceived the importance of the Great Migration, not just
as an economic event but as a cultural one, in which countless blacks took over the control of their
own lives, which had been denied them in the South:
With each successive wave of it, the movement of the Negro migrant becomes more
and more like that of the European waves at their crests, a mass movement towards the
larger and more democratic chance—in the Negro's case a deliberate flight not only
from countryside to city, but from medieval America to modern.
To narrate this event, then, would require a modern language, a deep immersion in the
experience, and an awareness of the harsh toll that contact with American modernity
exacted on the blacks. From childhood, Lawrence had been steeped in family and community
stories of the Migration, and when—encouraged by Locke—he decided to paint it, he
worked hard to get the historical background right. Months of painstaking research in the
10 esthete: one who cultivates a superior appreciation of the beautiful
10
Schomburg Collection of the Public Library, New York's chief archive on African-
American life and history, followed—even though the finished paintings rarely allude to
specific historical events. He took on the task with a youthful earnestness that remains one of
the most touching aspects of the final work, and goes beyond mere self-expression. As a
result, you sense that something is speaking through Lawrence—a collectivity.
The series is notable for the language it does not use. Lawrence was not a propagandist. Considering
the violence and pathos of so much of his subject matter—prisons, deserted villages, city slums,
race riots, labor camps—his images are restrained, and all the more piercing for their lack of
bombast. When he painted a lynching, for instance (panel 15 of the Migration series, below), he
left out the dangling body and the jeering crowd: there is only bare earth, a branch, an empty noose,
and the huddled lump of a grieving woman.
Lawrence wasn't painting murals, but images closer in size to
single pages, no more than eighteen inches by twelve.
Nevertheless, he imagined the paintings as integrally
connected—a single work of art, no less unified than a
mural, but portable. Migration is a visual ballad, each image
a stanza—compressed, like the blues, to the minimum
needs of narration.
Panel Number 10
of the series "They were very poor" (right), pares the
elements of a black-sharecropper's life down to the least
common denominator: a man and a woman staring at
empty bowls on a bare brown plane, an empty basket
hung on the wall by an enormous nail—the sort of nail you
imagine in a crucifixion. There isn't a trace of
sentimentality.
The debts to [European modernist painting] i n L a w r e n c e ’ s w o r k are obvious [to those familiar with
early 20th century Western art], but some aspects of his visual style, such as his approach to the use of
color, came, as Lawrence acknowledged, more from his experience in Harlem
than from other art. Recalling the visual influence of the Harlem
neighborhoods that influenced him, Lawrence later recalled:
In order to add something to their lives, [black families] decorated their
tenements and their homes in all of these colors. I've been asked, is anyone in
my family artistically inclined? I've always felt ashamed of my response—I
always said no, not realizing that my artistic sensibility came from this
ambiance... It's only in retrospect that I realized I was surrounded by art.
You'd walk Seventh Avenue and look in the windows and you'd see all these
colors in the depths of the depression. All these colors.
Lawrence’s memory of those colors is plain in panel Number 57,
"The female worker was also one of the last groups to leave the South" (above), with its single
figure of a laundress in a white smock, stirring a vat of fabrics—blue, black, yellow, pink—
11
with her pole: a dense and well-locked composition, suggesting the permanence and resistance
which is one of the underlying themes of Lawrence’s series as a whole.
Lawrence had met the older artist Aaron Douglas soon after arriving in Harlem in the mid-
1930s. The angularity and rhythmic repetition of
forms that Douglas introduced is evident in many of
Lawrence's paintings for the Migration series.
Angularity and rhythmic repetition of forms is also
reflected in his illustration of three girls writing on a
chalkboard at school. Lawrence gave this panel from
the series the caption In the North, the Negro had
better educational facilities (right).
Here the intellectual growth of the girls, as each
reaches higher on the board, is presented as a
musical crescendo in a syncopated11, 4-beat, rhythmic form where the first beat, as it were, is
silent and unplayed. Lawrence dresses the girls in the primary colors of red, yellow, and blue,
thus emphasizing the fundamental nature of primary education.
Above all, what the art of both Douglas and Lawrence makes clear is
the connectedness of literature, music, and visual image in African-
American experience. Such connections would continue to inform
African-American culture for the rest of the century. In the panel
They also found discrimination in the North although it was
much different from that which they had known in the South
(panel 49, left), Lawrence depicted a blatantly segregated dining
room with a barrier running down the room’s center separating
the whites on the left from the African Americans on the right.
In panel 50 of the series, Race Riots
were very Numerous all over the
North, right), Lawrence depicted
several club and knife-wielding
rioters in flattened, distorted
patterns of violence directed
against unseen victims beyond the
picture frame. Although his abstract, simplified style recalls
American folk art, Lawrence h a d assimilated Cubist painting
techniques and admired Aaron Douglas's fusion of realism and
Modernist abstraction. Images like these reflect the fact that the
conditions …
Aaron Douglas, Ma Bad Luck Card (1926)
Aaron Douglas, Harriet Tubman (1926)
Aaron Douglas,
The Negro in an African Setting (1934)
Aaron Douglas, From Slavery to Reconstruction (1934)
Aaron Douglas, An Idyll of the Deep South (1934)
idyll: 1) a short literary work describing a picturesque
episode or pleasant scene of country life
2) an event or scene of rural simplicity
3) a carefree experience
Aaron Douglas, Song of the Towers (1934)
Jacob Lawrence, Harriet Tubman (1940)
Jacob Lawrence, Migration Series (1941)
Panel No. 10: “They were very poor”
Jacob Lawrence, Migration Series (1941)
Panel No. 15: “Another cause was lynching…”
Jacob Lawrence, Migration Series (1941)
Panel No. 49: “They also found discrimination in the North…”
Jacob Lawrence, Migration Series (1941), Panel No. 50:
“Race riots were very numerous all over the North”
Jacob Lawrence, Migration Series (1941), Panel No. 57:
“The female worker was also one of the last groups to leave
the South”
Jacob Lawrence, Migration Series (1941), Panel No. 58:
“In the North the Negro had better educational facilities”
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h. Micros-enterprise Development
Outcomes
Subset 2. Indigenous Entrepreneurship Approaches (Outside of Canada)
a. Indigenous Australian Entrepreneurs Exami
Calculus
(people influence of
others) processes that you perceived occurs in this specific Institution Select one of the forms of stratification highlighted (focus on inter the intersectionalities
of these three) to reflect and analyze the potential ways these (
American history
Pharmacology
Ancient history
. Also
Numerical analysis
Environmental science
Electrical Engineering
Precalculus
Physiology
Civil Engineering
Electronic Engineering
ness Horizons
Algebra
Geology
Physical chemistry
nt
When considering both O
lassrooms
Civil
Probability
ions
Identify a specific consumer product that you or your family have used for quite some time. This might be a branded smartphone (if you have used several versions over the years)
or the court to consider in its deliberations. Locard’s exchange principle argues that during the commission of a crime
Chemical Engineering
Ecology
aragraphs (meaning 25 sentences or more). Your assignment may be more than 5 paragraphs but not less.
INSTRUCTIONS:
To access the FNU Online Library for journals and articles you can go the FNU library link here:
https://www.fnu.edu/library/
In order to
n that draws upon the theoretical reading to explain and contextualize the design choices. Be sure to directly quote or paraphrase the reading
ce to the vaccine. Your campaign must educate and inform the audience on the benefits but also create for safe and open dialogue. A key metric of your campaign will be the direct increase in numbers.
Key outcomes: The approach that you take must be clear
Mechanical Engineering
Organic chemistry
Geometry
nment
Topic
You will need to pick one topic for your project (5 pts)
Literature search
You will need to perform a literature search for your topic
Geophysics
you been involved with a company doing a redesign of business processes
Communication on Customer Relations. Discuss how two-way communication on social media channels impacts businesses both positively and negatively. Provide any personal examples from your experience
od pressure and hypertension via a community-wide intervention that targets the problem across the lifespan (i.e. includes all ages).
Develop a community-wide intervention to reduce elevated blood pressure and hypertension in the State of Alabama that in
in body of the report
Conclusions
References (8 References Minimum)
*** Words count = 2000 words.
*** In-Text Citations and References using Harvard style.
*** In Task section I’ve chose (Economic issues in overseas contracting)"
Electromagnetism
w or quality improvement; it was just all part of good nursing care. The goal for quality improvement is to monitor patient outcomes using statistics for comparison to standards of care for different diseases
e a 1 to 2 slide Microsoft PowerPoint presentation on the different models of case management. Include speaker notes... .....Describe three different models of case management.
visual representations of information. They can include numbers
SSAY
ame workbook for all 3 milestones. You do not need to download a new copy for Milestones 2 or 3. When you submit Milestone 3
pages):
Provide a description of an existing intervention in Canada
making the appropriate buying decisions in an ethical and professional manner.
Topic: Purchasing and Technology
You read about blockchain ledger technology. Now do some additional research out on the Internet and share your URL with the rest of the class
be aware of which features their competitors are opting to include so the product development teams can design similar or enhanced features to attract more of the market. The more unique
low (The Top Health Industry Trends to Watch in 2015) to assist you with this discussion.
https://youtu.be/fRym_jyuBc0
Next year the $2.8 trillion U.S. healthcare industry will finally begin to look and feel more like the rest of the business wo
evidence-based primary care curriculum. Throughout your nurse practitioner program
Vignette
Understanding Gender Fluidity
Providing Inclusive Quality Care
Affirming Clinical Encounters
Conclusion
References
Nurse Practitioner Knowledge
Mechanics
and word limit is unit as a guide only.
The assessment may be re-attempted on two further occasions (maximum three attempts in total). All assessments must be resubmitted 3 days within receiving your unsatisfactory grade. You must clearly indicate “Re-su
Trigonometry
Article writing
Other
5. June 29
After the components sending to the manufacturing house
1. In 1972 the Furman v. Georgia case resulted in a decision that would put action into motion. Furman was originally sentenced to death because of a murder he committed in Georgia but the court debated whether or not this was a violation of his 8th amend
One of the first conflicts that would need to be investigated would be whether the human service professional followed the responsibility to client ethical standard. While developing a relationship with client it is important to clarify that if danger or
Ethical behavior is a critical topic in the workplace because the impact of it can make or break a business
No matter which type of health care organization
With a direct sale
During the pandemic
Computers are being used to monitor the spread of outbreaks in different areas of the world and with this record
3. Furman v. Georgia is a U.S Supreme Court case that resolves around the Eighth Amendments ban on cruel and unsual punishment in death penalty cases. The Furman v. Georgia case was based on Furman being convicted of murder in Georgia. Furman was caught i
One major ethical conflict that may arise in my investigation is the Responsibility to Client in both Standard 3 and Standard 4 of the Ethical Standards for Human Service Professionals (2015). Making sure we do not disclose information without consent ev
4. Identify two examples of real world problems that you have observed in your personal
Summary & Evaluation: Reference & 188. Academic Search Ultimate
Ethics
We can mention at least one example of how the violation of ethical standards can be prevented. Many organizations promote ethical self-regulation by creating moral codes to help direct their business activities
*DDB is used for the first three years
For example
The inbound logistics for William Instrument refer to purchase components from various electronic firms. During the purchase process William need to consider the quality and price of the components. In this case
4. A U.S. Supreme Court case known as Furman v. Georgia (1972) is a landmark case that involved Eighth Amendment’s ban of unusual and cruel punishment in death penalty cases (Furman v. Georgia (1972)
With covid coming into place
In my opinion
with
Not necessarily all home buyers are the same! When you choose to work with we buy ugly houses Baltimore & nationwide USA
The ability to view ourselves from an unbiased perspective allows us to critically assess our personal strengths and weaknesses. This is an important step in the process of finding the right resources for our personal learning style. Ego and pride can be
· By Day 1 of this week
While you must form your answers to the questions below from our assigned reading material
CliftonLarsonAllen LLP (2013)
5 The family dynamic is awkward at first since the most outgoing and straight forward person in the family in Linda
Urien
The most important benefit of my statistical analysis would be the accuracy with which I interpret the data. The greatest obstacle
From a similar but larger point of view
4 In order to get the entire family to come back for another session I would suggest coming in on a day the restaurant is not open
When seeking to identify a patient’s health condition
After viewing the you tube videos on prayer
Your paper must be at least two pages in length (not counting the title and reference pages)
The word assimilate is negative to me. I believe everyone should learn about a country that they are going to live in. It doesnt mean that they have to believe that everything in America is better than where they came from. It means that they care enough
Data collection
Single Subject Chris is a social worker in a geriatric case management program located in a midsize Northeastern town. She has an MSW and is part of a team of case managers that likes to continuously improve on its practice. The team is currently using an
I would start off with Linda on repeating her options for the child and going over what she is feeling with each option. I would want to find out what she is afraid of. I would avoid asking her any “why” questions because I want her to be in the here an
Summarize the advantages and disadvantages of using an Internet site as means of collecting data for psychological research (Comp 2.1) 25.0\% Summarization of the advantages and disadvantages of using an Internet site as means of collecting data for psych
Identify the type of research used in a chosen study
Compose a 1
Optics
effect relationship becomes more difficult—as the researcher cannot enact total control of another person even in an experimental environment. Social workers serve clients in highly complex real-world environments. Clients often implement recommended inte
I think knowing more about you will allow you to be able to choose the right resources
Be 4 pages in length
soft MB-920 dumps review and documentation and high-quality listing pdf MB-920 braindumps also recommended and approved by Microsoft experts. The practical test
g
One thing you will need to do in college is learn how to find and use references. References support your ideas. College-level work must be supported by research. You are expected to do that for this paper. You will research
Elaborate on any potential confounds or ethical concerns while participating in the psychological study 20.0\% Elaboration on any potential confounds or ethical concerns while participating in the psychological study is missing. Elaboration on any potenti
3 The first thing I would do in the family’s first session is develop a genogram of the family to get an idea of all the individuals who play a major role in Linda’s life. After establishing where each member is in relation to the family
A Health in All Policies approach
Note: The requirements outlined below correspond to the grading criteria in the scoring guide. At a minimum
Chen
Read Connecting Communities and Complexity: A Case Study in Creating the Conditions for Transformational Change
Read Reflections on Cultural Humility
Read A Basic Guide to ABCD Community Organizing
Use the bolded black section and sub-section titles below to organize your paper. For each section
Losinski forwarded the article on a priority basis to Mary Scott
Losinksi wanted details on use of the ED at CGH. He asked the administrative resident