Between the 1930s and 1960s, the University of Iowa sought to
assert its modernity, cosmopolitanism, and progressivism through an
increased emphasis on the fine and performing arts and athletics.
This enhancement coincided with a period when an increasing number
of African American students arrived at the university, from both
within and outside the state, seeking to take advantage of its
relatively liberal racial relations and rising artistic prestige.
The presence of accomplished African American students performing
in musical concerts, participating in visual art exhibitions,
acting on stage, publishing literature, and competing on sports
fields forced white students, instructors, and administrators to
confront their undeniable intellect and talent. Unlike the work
completed in traditional academic units, these students'
contributions to the university community were highly visible and
burst beyond the walls of their individual units and primary
spheres of experience to reach a much larger audience on campus and
in the city and nation beyond the university's boundaries. By
examining the quieter collisions between Iowa's polite midwestern
progressivism and African American students' determined ambition,
Invisible Hawkeyes focuses attention on both local stories and
their national implications. By looking at the University of Iowa
and a smaller midwestern college town like Iowa City, this
collection reveals how fraught moments of interracial
collaboration, meritocratic advancement, and institutional
insensitivity deepen our understanding of America's painful
conversion into a diverse republic committed to racial equality.
People discussed in this collection include Edison Holmes Anderson,
George Overall Caldwell, Elizabeth Catlett, Fanny Ellison, Oscar
Anderson Fuller, Michael Harper, James Alan McPherson, Herbert
Franklin Mells, Herbert Nipson, Thomas Pawley, William Oscar Smith,
Mitchell Southall, and Margaret Walker.
General
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