Abstract
Charles S. Johnson, the first Black president of Fisk, encouraged integration both in the racial sense and through the inclusion of a broader range of experiences within the college curriculum. This article examines Johnson’s understanding of art as a tool for advancement, developed during his years as a promoter of African-American art and literature during the Harlem Renaissance. It explores the ways in which Fisk’s art collection and cultural programs were used, and their intended effect on students and campus life. In particular, the article demonstrates the unique role of these programs in building a sense of identity among students and expanding the worldview of people of varying races and ethnicities.
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