[1] Drenovsky, Rachel L. "A Community within a Community: Indianapolis's Lockefield Gardens." Traces of Indiana and Midwestern History.
[2] "Lockefield Gardens Apartments--Indianapolis: A Discover Our Shared Heritage Travel Itinerary." National Parks Service.
[3] Barrows, Robert G. "The Local Origins of a New Deal Housing Project: The Case of Lockefield Gardens in Indianapolis." Indiana Magazine of History.
[4] Historic District: Lockefield Gardens." Indy.gov. Accessed April 10, 2019.
[5] Drenovsky, Rachel L. "A Community within a Community: Indianapolis's Lockefield Gardens." Traces of Indiana and Midwestern History
[6]"Historic District: Lockefield Gardens." Indy.gov. Accessed April 10, 2019.
[7] Ibid.
[8] “106 Success Story: New Deal Public Housing Gets New Life.” Advisory Council on Historic Preservation. Washington, D.C., n.d.
[9] Ibid.
[10] Staff, WFIU. "Lockfield Gardens." Moment of Indiana History - Indiana Public Media. February 14, 2005.
[11] “106 Success Story: New Deal Public Housing Gets New Life.” Advisory Council on Historic Preservation. Washington, D.C., n.d.
[12] Jaynes, Gerald D. Encyclopedia of African American Society, Volume 2. Sage Publications. 2005.
[13] “106 Success Story: New Deal Public Housing Gets New Life.” Advisory Council on Historic Preservation. Washington, D.C., n.d.
[14] "Lockefield Gardens Apartments--Indianapolis: A Discover Our Shared Heritage Travel Itinerary." National Parks Service.
The Walker Theatre was named after Madam C.J. Walker, a successful African American entrepreneur who developed a revolutionary line of beauty and hygiene products for African American women. Her profits from the Madam C.J. Walker Manufacturing Company made her one of the wealthiest people in the nation, but Walker’s recognition as the first black female millionaire in the United States is a myth; her estate was worth approximately $600,000 at the time of her death in 1919.[5] Nevertheless, Walker used her success and wealth to advocate for African American rights and improve the lives of black women in her community. As her business expanded, it began to outgrow its original Indianapolis headquarters, and Madam Walker started planning the Walker Building, constructed after her death.[6]
The building, designed by the premier Indianapolis architectural firm Rubush and Hunter, held a new factory and office space for the Walker Company, as well as a casino, drugstore, coffee shop, and additional offices for rent.[7] The Walker Theatre was a special project of Madam Walker’s, intended as a place of entertainment for the local African American community.[8] The movie theater was a particularly notable addition to the building, as Madam Walker herself had experienced discrimination in Indianapolis movie theaters.[9] In 1915, she sued the Central Amusement Company, which owned the Isis Theatre in Indianapolis, for its discriminatory pricing; African American patrons were required to pay an extra 15 cents for admission.[10] Soon after its opening, the Madam CJ Walker Theatre Center developed into a lasting cultural cornerstone on historic Indiana Avenue.
The Walker Building was constructed by the William P. Jungclaus Company.[11] It was lavishly built in the style of the Art Deco movement, popular during the 1920s. The Walker Building is significant because it is decorated heavily with African elements, using terra cotta accents of African, Moorish, and Egyptian symbols.[12] Sphinxes, Yoruba masks, shields and spears are found throughout the building, especially in the extravagant ballroom and theater, marking the building as a source of racial pride for African Americans, something Madam Walker strove to create in all of her endeavors.[13]
The Madame C.J. Walker building was listed on the National Register of Historic Places in 1986.[14] From 1979-1988, the Madame Walker Urban Life Center, the not-for-profit organization that owns the building, oversaw extensive renovations to the Madam C.J. Walker Building, including the Walker Theatre.[15] The renovated site is now known as the Madam Walker Legacy Center. In 2018, the Madam Walker Legacy Center partnered with Indiana University and began another round of renovations of the building, funded by a 15 million dollar Lilly Endowment Grant.[16] This partnership will not only ensure the continuation of the Walker Theatre as a cultural landmark, but also equip the Madam Walker Legacy Center with the resources and means to revitalize the heritage of Indiana Avenue. As Stephanie Nixon, the former chair of the board of the Madam Walker Legacy Center, stated, “It is truly the start of a new day for the Walker.”[17]
]]>The Walker Theatre is a part of the Madam C.J. Walker Building constructed in 1927 at 617 Indiana Avenue in Indianapolis.[1] The building opened to fanfare on December 26, 1927, with presentations of the feature film The Magic Flame and performances of a Chicago-based dance ensemble set to an orchestra both showing at various times throughout the week for 25 to 40 cents.[2] The Walker Theatre was regularly advertised and reviewed in the black newspaper, Indianapolis Recorder, promoting its “Vaudeville and First-Run Pictures.”[3] The theatre joined a vibrant culture of African American entertainment along Indiana Avenue, known for its dance halls, taverns, and jazz clubs.[4]
The Walker Theatre was named after Madam C.J. Walker, a successful African American entrepreneur who developed a revolutionary line of beauty and hygiene products for African American women. Her profits from the Madam C.J. Walker Manufacturing Company made her one of the wealthiest people in the nation, but Walker’s recognition as the first black female millionaire in the United States is a myth; her estate was worth approximately $600,000 at the time of her death in 1919.[5] Nevertheless, Walker used her success and wealth to advocate for African American rights and improve the lives of black women in her community. As her business expanded, it began to outgrow its original Indianapolis headquarters, and Madam Walker started planning the Walker Building, constructed after her death.[6]
The building, designed by the premier Indianapolis architectural firm Rubush and Hunter, held a new factory and office space for the Walker Company, as well as a casino, drugstore, coffee shop, and additional offices for rent.[7] The Walker Theatre was a special project of Madam Walker’s, intended as a place of entertainment for the local African American community.[8] The movie theater was a particularly notable addition to the building, as Madam Walker herself had experienced discrimination in Indianapolis movie theaters.[9] In 1915, she sued the Central Amusement Company, which owned the Isis Theatre in Indianapolis, for its discriminatory pricing; African American patrons were required to pay an extra 15 cents for admission.[10] Soon after its opening, the Madam CJ Walker Theatre Center developed into a lasting cultural cornerstone on historic Indiana Avenue.
The Walker Building was constructed by the William P. Jungclaus Company.[11] It was lavishly built in the style of the Art Deco movement, popular during the 1920s. The Walker Building is significant because it is decorated heavily with African elements, using terra cotta accents of African, Moorish, and Egyptian symbols.[12] Sphinxes, Yoruba masks, shields and spears are found throughout the building, especially in the extravagant ballroom and theater, marking the building as a source of racial pride for African Americans, something Madam Walker strove to create in all of her endeavors.[13]
The Madame C.J. Walker building was listed on the National Register of Historic Places in 1986.[14] From 1979-1988, the Madame Walker Urban Life Center, the not-for-profit organization that owns the building, oversaw extensive renovations to the Madam C.J. Walker Building, including the Walker Theatre.[15] The renovated site is now known as the Madam Walker Legacy Center. In 2018, the Madam Walker Legacy Center partnered with Indiana University and began another round of renovations of the building, funded by a 15 million dollar Lilly Endowment Grant.[16] This partnership will not only ensure the continuation of the Walker Theatre as a cultural landmark, but also equip the Madam Walker Legacy Center with the resources and means to revitalize the heritage of Indiana Avenue. As Stephanie Nixon, the former chair of the board of the Madam Walker Legacy Center, stated, “It is truly the start of a new day for the Walker.”[17]
[1] National Register Nominations: Bethel A.M.E. Church, Marion County, 12-19-90, Elisabeta Goodall, Author, 7.
[2] B.R. Sulgrove, History of Indianapolis and Marion County (Philadelphia: L. H. Everts, 1884), 404-05.
[3] Earline Rae Ferguson, “In Pursuit of the Full Enjoyment of Liberty and Happiness: Blacks in Antebellum Indianapolis, 1820-1860,” Black History News and Notes, no. 32 (May 1988), 7.
[4] B.R. Sulgrove, History of Indianapolis and Marion County (Philadelphia: L. H. Everts, 1884), 404-05.
[5] Ferguson, “In Pursuit of the Full Enjoyment of Liberty and Happiness: Blacks in Antebellum Indianapolis, 1820-1860,” 6.
[6] Stanley Warren, “The Bethel African Methodist Episcopal Church,” Traces of Indiana and Midwestern History, 19 no. 3 (2007), 33.
[7] Ibid, 34.
[8] Sulgrove, History of Indianapolis and Marion County, 405.
[9] National Register Nominations: Bethel A.M.E. Church, Marion County, 12-19-90, Elisabeta Goodall, Author, 9.
[10] Aboard the Underground Railroad. “Bethel AME Church”. National Park Service.
[11] National Register Nominations: Bethel A.M.E. Church, 9-10.
[12] Warren, “The Bethel African Methodist Episcopal Church,” 35.
[13] Bethel African Methodist Episcopal Church. Indiana Historical Bureau. Accessed January 29, 2020.
[14] Warren, “The Bethel African Methodist Episcopal Church,” 35.
https://images.indianahistory.org/digital/collection/p16797coll9/id/2456/rec/109 |
Theodore Roosevelt High School in Gary, Indiana, also known as Gary Roosevelt, can trace its origins to 1908 when the Gary school board issued the segregation of all public schools. The first school for African American children in Gary was built that same year. As the population grew, African American students were also educated in other segregated schools and in portable classrooms, and by 1921, those portable classrooms were located at the present location of Gary Roosevelt.[1] Public school segregation remained in effect, but a few African American students were allowed to enroll in white schools (in segregated classes) if space existed. Under this plan, 18 African American high school students were transferred to white Emerson School in 1927. In protest, over 600 white Emerson students conducted a four-day walkout known as the Emerson Strike.[2] The strike was ended when the Gary City Council agreed to allocate funds to create an African American high school, to be named after President Theodore Roosevelt.[3]
Theodore Roosevelt High School was built in 1930 exclusively for African American students. The Gary Roosevelt building features design elements inspired by Independence Hall in Philadelphia, Pennsylvania. Additional classroom wings were added in 1946 and 1968.[4] The physical design of the Gary Roosevelt building supported what was known as the Gary System of Education or the Gary Plan. Developed by Dr. William A. Wirt, the city’s first superintendent of schools from 1907-1938, the Gary Plan was a Progressive Era educational concept, with some elements of the system playing a role in how schools function today.[5] The Gary Plan emphasized both vocational training and college preparatory classes, a lengthened school day that kept students “off the streets”, and emphasized “work-study-play” incorporating academics, vocational, and recreational activities into each school day. The Gary Plan maximized the utilization and capacity of the building, and even advocated students attending school on Saturday.[6]
Although the official school board policy of public school segregation ended in 1947[7], Gary Roosevelt, like virtually all of Gary public schools, remained segregated by the adjustment of school district and individual school boundaries. The school district boundaries were based on the racial mix of the various neighborhoods.[8] Wirt’s Gary Plan was mostly abandoned in favor of more mainstream educational ideas and in response to severe overcrowding due to a post-WWII population explosion in Gary. Adherence to segregation enforced by neighborhood racial boundaries, no matter the amount of population growth, meant that for almost 20 years, Gary Roosevelt students attended classes in rented portable classrooms or attended half-day sessions in an effort to ease the extreme overcrowding.[9]
Teachers at Gary Roosevelt have educated generations of African American children for nearly a century. The school is now known as the Theodore Roosevelt College and Career Academy, a charter school for grades 7-12. The building formerly known as Theodore Roosevelt High School is listed on the National Register of Historic Places for its architectural importance, its role in the Progressive Era in education, and the integral part it played in Gary's segregated public school system.[10]
Samuel Plato was an African American architect that lived and worked in Marion, Indiana between 1902 and 1921. He was born in Alabama in 1882 when Jim Crow laws legalized segregation and often incited racial violence. He broke racial barriers by graduating from State University Normal School in Louisville in 1902.[1] He was a member of Phi Beta Sigma, an African American fraternity. He then completed a program in architecture with International Correspondence Schools.[2]
Plato moved to Marion in 1902 to work as an architect, at a time when the Ku Klux Klan recorded around half a million of members in Indiana.[3] He quickly found support from wealthy Marion business owners John Schaumleffel and J. Woodrow Wilson.[4] Plato worked to open up building trade unions in Marion to African American workers, who were previously excluded from the unions.[5] Plato was the first African American architect to acquire a government contract to build a post office, and during his career, he would build 38 post offices across the country.[6] He promoted social progress in a white-dominated field by hiring both black and white workers on his projects, creating training and jobs for African Americans.[7]
His most notable works in Indiana included the J. Woodrow Wilson House, completed in 1922. This 15-room mansion, located in Marion, was built for business owner J. Woodrow Wilson. It has also been known as the Hostess House and the Wilson-Vaughan House.[8] Plato designed the Second Baptist Church in Bloomington which opened in 1913 and was “the first church built of stone by African Americans in Indiana.”[9] He also designed the Swallow-Robin dormitory at Taylor University in Upland. This building was slated for demolition in 1986 until it was found that Plato was the architect.[10] His success as an architect and his fight for equality in the business sector brought him fame throughout Indiana. In August 1913, the Indianapolis African American newspaper from Indianapolis The Freeman described Plato as a “colored man engaged in business (…), a contractor, who has built some of the finest houses in Marion.”[11]
In the early 1920s, Plato returned to Louisville, Kentucky to continue his architectural career. While there, Plato built the Temple AME Zion Church[12] and the Virginia Avenue Colored School[13], both on the National Register for Historic Places. During World War II, Plato moved back to Alabama.[14] During this time, he was one of the few black contractors to build federal housing projects.[15] His work was acknowledged and rewarded by First Lady Eleanor Roosevelt in 1943 while she was on an inspection tour of federal dormitories for war workers in Washington, D.C.[16] Plato revolutionized the architecture field by helping to end racial discrimination in architecture and the building trades.
His projects changed the face of Marion and Indiana. The Freeman, declared, “There is no more successful contractor in Grant County, yes, I dare say Indiana, than Mr. Plato.”[17] Two of his Indiana buildings, the Wilson-Vaughan home in Marion[18] and Second Baptist Church in Bloomington[19] are on the National Register of Historic Places. He is honored with an Indiana Historical Bureau marker in Marion that emphasizes his work securing equal rights for African American workers in the building trades.[20]
Madam C.J. Walker, originally named Sarah Breedlove, was born in 1867 in Louisiana to former slaves. At the age of seven, she became an orphan and lived with her older sister Louvenia.[1] Breedlove married Moses McWilliams at the age of 14 and in 1885, they had a daughter Lelia. Widowed two years later, Sarah Breedlove McWilliams and her daughter moved to St. Louis, where she worked as a laundress and studied at night school.[2] Breedlove McWilliams suffered from hair loss, which inspired experimentation with homemade hair care remedies, resulting in products that promoted healthy hair growth.[3]
In 1906, while living in Denver, Colorado, Breedlove McWilliams married Charles Joseph Walker, who worked in advertising. She became known as Madam C.J. Walker and decided to sell her own hair care products under her new moniker.[4] The new name evoked a French flair to make her products more impressive to potential buyers as opposed to a “condescending name like ‘Aunt Sarah.’”[5] In 1908, while living in Pittsburgh, Pennsylvania, Walker founded Lelia College, named for her daughter, which offered a course in her hair care and beauty methods to aspiring “hair culturists”.[6] In 1910, the Walkers moved to Indianapolis, Indiana, where she opened a laboratory and a beauty school. Walker and her husband divorced in 1912.[7]
The Madam C.J. Walker Manufacturing Company included a factory, and along with the laboratory and beauty school, manufactured Walker’s beauty products and trained her nationwide sales force of “beauty culturists” using the “The Walker System”. With the factory employees and thousands of African American women sales agents across the country, Walker ran a successful line of cosmetic and hair care products that not only promoted hair growth, but hair and skin beautification as well. Her agents made sales and educated customers on the importance of hygiene and presenting oneself in a clean and proper manner.[8] In 1916, her agents organized into the National Beauty Culturist and Benevolent Association of Madame C.J. Walker Agents, later known as the Madam C.J. Walker Hair Culturists Union of America, holding annual conventions.[9] Walker encouraged her sales agents to give back to improve society, giving rewards to the sales agents who made the largest philanthropic contributions in their African American communities.
Walker was an active philanthropist and social activist in Indianapolis. In all areas of her life, she strove for and demanded equal rights, including filing suit against the Isis Theater for charging a higher admission rate (25 cents vs. 15 cents) for African American patrons. She protested segregation within the military during World War I and advocated for an African American army officer training camp.[10] Madam Walker donated to multiple African American charities and community organizations in Indianapolis such as the Senate Avenue YMCA, the Bethel AME Church, Flanner House, and Alpha Home. On a nationwide level, she contributed to campaigns to stop lynching and supported the National Association for the Advancement of Colored People (NAACP), which was newly- formed in 1909.[11]
Throughout her life, Madam C.J. Walker worked tirelessly to create a better life for herself, her family, and her African American community in a segregated Indianapolis. The hard work and hardship took its toll, and she developed health issues in her late forties.[12] In April 1919, she passed away on May 25, 1919 at the age of 51.[13] At the time of her death, she was worth an estimated $600,000 (over $6 million in 2020 dollars), and was considered the wealthiest African American woman in America.[14] She is often lauded as the “America’s first self-made female millionaire."[15]
The legacy of Madam C.J. Walker is exemplified in the personal pride, entrepreneurship, and sense of civic responsibility that her products, business, and personal life instilled in African Americans, especially African American women, throughout the country. After Walker’s death, her daughter took over the Walker Manufacturing Company and in 1927, moved the factory and headquarters to the newly built Walker Building in Indianapolis. The building included a ballroom, theater, hair salon, other public spaces, and became an African American community cultural center.[16] The Walker Building, and the surrounding Indiana Avenue neighborhood, became a hub for the African American arts, culture, and jazz scene in segregated Indianapolis through the 1960s. A tangible reminder of her legacy, The Madame C.J. Walker Building was listed in the National Register for Historic Places in 1980 and was designated as a National Historic Landmark in 1991.[17]
The 1920s marked a great resurgence of the Ku Klux Klan in Indiana, which pressured for segregated education. There was much pushback from African Americans regarding Crispus Attucks being segregated. The Better Indianapolis League, as well as African American churches such as the Bethel AME Church in Indianapolis, strongly opposed segregating the school.[2] Despite this, the school board voted unanimously on segregation. African American students who had previously attended integrated Indianapolis high schools, such as Arsenal Technical, Washington, and Shortridge, moved to Crispus Attucks upon the school’s opening, and were no longer allowed to attend any other public high school in the city. The Indianapolis Recorder reported on this incident, stating: “About two dozen of boys and girls who appeared at Shortridge, Manual and Technical High Schools...were refused admission...The Negro citizens are now faced with the circumstance, voiced by opponents of a Negro High School in the past. The great establishments as Technical, Manual, and Shortridge, offer subjects or works, and facilities that Negro boys and girls will never have at the Attucks High School, some parents declare.”[3]
Many Crispus Attucks’ teachers held master’s degrees or PhDs, which was unusual for a high school at the time. Richard Pierce in Polite Protest states, “By 1934, seven years after opening its doors, the sixty-two-member faculty held nineteen master’s degrees and two Ph.D.s. The percentage of advanced degrees held by Attucks’s faculty far exceeded that of any other high school in the city.”[4] With the amount of highly educated faculty, Attucks provided quality education despite the lack of quality resources compared to the city’s white high schools. The school also found success in sports. In the 1950s, the Attucks Tigers won two consecutive state basketball championships. The 1955 championship made the Tigers the first segregated black high school team in US history to win a state title.[5] Notable athletes who played on the team included future NBA Hall of Famer Oscar Robertson.[6]
Statewide desegregation was enacted into law by the Indiana General Assembly in 1949, five years before the Brown v. Board of Education Supreme Court decision. However, Crispus Attucks continued to be a segregated African American high school. In 1965, the president of the NAACP requested an investigation into why Indianapolis Public Schools (IPS) were still segregated. In 1968, the Department of Justice “directed IPS to begin taking voluntary steps toward actual integration.” IPS ignored this directive, which was met with protests from the African American community, and from whites who refused to let their children attend Attucks High School. The school would remain segregated until September 7, 1971 “under court-ordered desegregation”.[7]
Recognized for both its architecture and its role in African American education and civil rights, Crispus Attucks High School was added to the National Register of Historic Places in 1989. In 1992, the Indiana Historical Bureau erected a historical marker in front of the school, recounting its history and its importance to the Indianapolis African American community.
]]>Crispus Attucks High School, located in Indianapolis, Indiana, opened in 1927. Originally, it was to be named after President Thomas Jefferson. However, the idea of a school built explicitly for African American students named for a white slave owner invoked multiple petitions from the African American community. The name changed to Crispus Attucks to honor the runaway slave who is said to have been the first person to die in the American Revolution, during the Boston Massacre.[1]
The 1920s marked a great resurgence of the Ku Klux Klan in Indiana, which pressured for segregated education. There was much pushback from African Americans regarding Crispus Attucks being segregated. The Better Indianapolis League, as well as African American churches such as the Bethel AME Church in Indianapolis, strongly opposed segregating the school.[2] Despite this, the school board voted unanimously on segregation. African American students who had previously attended integrated Indianapolis high schools, such as Arsenal Technical, Washington, and Shortridge, moved to Crispus Attucks upon the school’s opening, and were no longer allowed to attend any other public high school in the city. The Indianapolis Recorder reported on this incident, stating: “About two dozen of boys and girls who appeared at Shortridge, Manual and Technical High Schools...were refused admission...The Negro citizens are now faced with the circumstance, voiced by opponents of a Negro High School in the past. The great establishments as Technical, Manual, and Shortridge, offer subjects or works, and facilities that Negro boys and girls will never have at the Attucks High School, some parents declare.”[3]
Many Crispus Attucks’ teachers held master’s degrees or PhDs, which was unusual for a high school at the time. Richard Pierce in Polite Protest states, “By 1934, seven years after opening its doors, the sixty-two-member faculty held nineteen master’s degrees and two Ph.D.s. The percentage of advanced degrees held by Attucks’s faculty far exceeded that of any other high school in the city.”[4] With the amount of highly educated faculty, Attucks provided quality education despite the lack of quality resources compared to the city’s white high schools. The school also found success in sports. In the 1950s, the Attucks Tigers won two consecutive state basketball championships. The 1955 championship made the Tigers the first segregated black high school team in US history to win a state title.[5] Notable athletes who played on the team included future NBA Hall of Famer Oscar Robertson.[6]
Statewide desegregation was enacted into law by the Indiana General Assembly in 1949, five years before the Brown v. Board of Education Supreme Court decision. However, Crispus Attucks continued to be a segregated African American high school. In 1965, the president of the NAACP requested an investigation into why Indianapolis Public Schools (IPS) were still segregated. In 1968, the Department of Justice “directed IPS to begin taking voluntary steps toward actual integration.” IPS ignored this directive, which was met with protests from the African American community, and from whites who refused to let their children attend Attucks High School. The school would remain segregated until September 7, 1971 “under court-ordered desegregation”.[7]
Recognized for both its architecture and its role in African American education and civil rights, Crispus Attucks High School was added to the National Register of Historic Places in 1989. In 1992, the Indiana Historical Bureau erected a historical marker in front of the school, recounting its history and its importance to the Indianapolis African American community.
The first African American family to vacation there was that of Viola Reynolds in 1927. Reynolds was secretary at the Madam C.J. Walker Company, an Indianapolis cosmetic manufacturing business, which was the largest and most successful African American-owned business in the nation at that time. The Reynolds family was invited to buy a cottage from the Boyd family, a white family who had purchased land from the Fox Lake Land Company. News quickly spread about the resort, initially bringing in African American clientele mostly from Indianapolis, but soon bringing in visitors from cities within a day driving distance such as Detroit, Chicago, Toledo, Marion, and Fort Wayne.[2]
The Fox Lake resort was listed in the Negro Motorist Green Book, a book published annually by Victor H. Green that listed establishments that served African American patrons. The Green Book was published from 1936 to 1966, during which that resort was listed as “ANGOLA: Fox Lake Resort - 1 1/2 miles S. W. of Angola” in the 1941 edition.[3]
In its initial decade, Fox Lake residents were required to use a community water pump until wells could be built on the properties. Finally, in 1936 electricity arrived and 1938 saw the arrival of the Fox Lake Property Owners Association which organized trash removal, road maintenance, and the like. By the 1940s, the resort’s clubhouse hosted many well known musicians. The resort also boasted recreational amenities including tennis courts, horseshoe pits, and basketball hoops.[4] Saddle horses were also available until the early 1950s. Other activities included trap shooting matches, weekly Family Night at the restaurant, and Sunday school held on the beach under the trees.[5]
For the African American youth that lived within driving distance, the resort served as a recreational destination for beach swimming, dancing, and socializing. During World War II, African American troops stationed at nearby Baer Field in Fort Wayne were invited to enjoy the resort on their free weekends. In addition, a variety of meetings of African American fraternal organizations, churches, and alumni groups were also held at the resort.[6]
In the present day, Fox Lake Resort is still a flourishing African American community. Traditions dating back to the 1930s remain upheld by second and third generation lake cottage owners.[7] A portion of Fox Lake Resort, with 27 contributing single dwelling cottages, is listed on the National Register of Historic Places (since 2001) as a historic district.[8]
]]>Fox Lake Resort was the first and only resort established in Indiana catering to African American families, and one of only a few in the Midwest. In September 1924, a group of white Fort Wayne businessmen purchased land in Angola, Indiana, under the name of the Fox Lake Land Company. Their intention was to market the land to the growing Indiana African American community, specifically to African Americans in search of an independent resort where they would not be excluded. Almost all summer resorts at the time in Indiana excluded or severely limited the participation of African Americans. Advertisements described the resort as “a place of their own where they could escape the heat of the cities and enjoy the pleasures of summertime activities.”[1]
The first African American family to vacation there was that of Viola Reynolds in 1927. Reynolds was secretary at the Madam C.J. Walker Company, an Indianapolis cosmetic manufacturing business, which was the largest and most successful African American-owned business in the nation at that time. The Reynolds family was invited to buy a cottage from the Boyd family, a white family who had purchased land from the Fox Lake Land Company. News quickly spread about the resort, initially bringing in African American clientele mostly from Indianapolis, but soon bringing in visitors from cities within a day driving distance such as Detroit, Chicago, Toledo, Marion, and Fort Wayne.[2]
The Fox Lake resort was listed in the Negro Motorist Green Book, a book published annually by Victor H. Green that listed establishments that served African American patrons. The Green Book was published from 1936 to 1966, during which that resort was listed as “ANGOLA: Fox Lake Resort - 1 1/2 miles S. W. of Angola” in the 1941 edition.[3]
In its initial decade, Fox Lake residents were required to use a community water pump until wells could be built on the properties. Finally, in 1936 electricity arrived and 1938 saw the arrival of the Fox Lake Property Owners Association which organized trash removal, road maintenance, and the like. By the 1940s, the resort’s clubhouse hosted many well known musicians. The resort also boasted recreational amenities including tennis courts, horseshoe pits, and basketball hoops.[4] Saddle horses were also available until the early 1950s. Other activities included trap shooting matches, weekly Family Night at the restaurant, and Sunday school held on the beach under the trees.[5]
For the African American youth that lived within driving distance, the resort served as a recreational destination for beach swimming, dancing, and socializing. During World War II, African American troops stationed at nearby Baer Field in Fort Wayne were invited to enjoy the resort on their free weekends. In addition, a variety of meetings of African American fraternal organizations, churches, and alumni groups were also held at the resort.[6]
In the present day, Fox Lake Resort is still a flourishing African American community. Traditions dating back to the 1930s remain upheld by second and third generation lake cottage owners.[7] A portion of Fox Lake Resort, with 27 contributing single dwelling cottages, is listed on the National Register of Historic Places (since 2001) as a historic district.[8]
Since Gary’s founding by the United States Steel Corporation in 1906, the city’s public schools had been segregated by residential boundaries and school board policies. As the African American population began to grow during the 1920s, African American families were sequestered into crowded, low-income neighborhoods. “The Patch,” later named Midtown, was one such neighborhood. The only school in The Patch, located on Virginia Street, could not meet the needs of its many students and was overcrowded by the late 1920s. In an effort to alleviate the school and push educational reform, Superintendent Wirt decided to allow 18 African American honor roll students to transfer to Emerson High School.[4]
On September 19, 1927, the 18 African American students entered Emerson High School for the first time. Superintendent Wirt did not expect the strong backlash that quickly followed. Within the first week, the new students began receiving harsh threats from their white classmates. According to former student Hazel Bratton Sanders, “the white students would line up on both sides of the sidewalk and stretch their arms over us.” As the African American students were forced to walk under them like an arch they yelled insults like “'Go away, darkies. This isn't your school.'”[5] The students were also subject to verbal abuse, and many were pushed and spit on by white students.[6]
Fearing that the admittance of the African American students would lead to more integration, white students and families planned a mass demonstration. On September 26, 1927, approximately 600 white students staged a school walkout at Emerson High School and refused to return until the African American students were removed. Protests continued for multiple days, and by Wednesday, over 1350 participants were involved.[7] Superintendent Wirt attempted to threaten the strikers, but the all-white school board sided with the demonstrators. The protests ended when the school board struck a deal with white protesters. Rather than integrating Emerson High School, the city would build an all-African American school and send the African American students back to their old school in “The Patch.”[8]
Three students appealed the decision to gain re-admittance into Emerson High School, but their appeal was denied. The new school for African American students, Theodore Roosevelt High School, was built in the center of Midtown and opened in 1931. For the students mistreated at Emerson in 1927, Roosevelt High School came too late. Although Roosevelt was a beautiful facility with many amenities, the decision to build the all-African American school in favor of integrating existing schools perpetuated the segregation of Gary public schools.[9]
Emerson High School was officially integrated in 1948, but the trauma sustained by the African American students never faded.[10] Due to Superintendent Wirt’s pioneering work in educational reform, Emerson High School has been deemed historically significant and was added to the National Register of Historic Places in 1995.[11] Declining enrollment in the 1970s, was the impetus for the transition into a magnet school in the early 1980s. With inadequate funds to maintain the building, the school board made the difficult decision to close Emerson School for the Visual and Performing Arts in 2008, just one year shy of the building’s centennial anniversary. Since its closure, the historic school has stood empty, quickly decaying due to the weather and vandalism.[12] While the building is listed under the National Register, there are currently no plans to restore the Emerson High School.[13]
]]>Ralph Waldo Emerson High School was the first high school built in Gary, Indiana. Emerson High School was constructed in 1909 by St. Louis architect William Ittner.[1] William A. Wirt, superintendent of Gary school systems, played a large part in designing the building. Desiring to implement his innovative “Work-Study-Play” philosophy of education, in which students took vocational and athletic classes along with traditional high school courses, Wirt required the building to contain amenities such a foundry, large gymnasium, and printing shop. The three-story school building was intended to be a “total learning environment,” separated physically from the growing industrial city by a park and surrounding athletic fields.[2] While the design and teaching methods employed at Emerson were cutting edge for the time period, the school largely failed to provide for the educational needs of Gary’s growing population. Upholding policies of segregation, the school prevented most African Americans from joining the student body. In 1927, when 18 African American students transferred to Emerson High School, tensions boiled over, and white students staged a school walkout to protest the admittance of their African American classmates.[3]
Since Gary’s founding by the United States Steel Corporation in 1906, the city’s public schools had been segregated by residential boundaries and school board policies. As the African American population began to grow during the 1920s, African American families were sequestered into crowded, low-income neighborhoods. “The Patch,” later named Midtown, was one such neighborhood. The only school in The Patch, located on Virginia Street, could not meet the needs of its many students and was overcrowded by the late 1920s. In an effort to alleviate the school and push educational reform, Superintendent Wirt decided to allow 18 African American honor roll students to transfer to Emerson High School.[4]
On September 19, 1927, the 18 African American students entered Emerson High School for the first time. Superintendent Wirt did not expect the strong backlash that quickly followed. Within the first week, the new students began receiving harsh threats from their white classmates. According to former student Hazel Bratton Sanders, “the white students would line up on both sides of the sidewalk and stretch their arms over us.” As the African American students were forced to walk under them like an arch they yelled insults like “'Go away, darkies. This isn't your school.'”[5] The students were also subject to verbal abuse, and many were pushed and spit on by white students.[6]
Fearing that the admittance of the African American students would lead to more integration, white students and families planned a mass demonstration. On September 26, 1927, approximately 600 white students staged a school walkout at Emerson High School and refused to return until the African American students were removed. Protests continued for multiple days, and by Wednesday, over 1350 participants were involved.[7] Superintendent Wirt attempted to threaten the strikers, but the all-white school board sided with the demonstrators. The protests ended when the school board struck a deal with white protesters. Rather than integrating Emerson High School, the city would build an all-African American school and send the African American students back to their old school in “The Patch.”[8]
Three students appealed the decision to gain re-admittance into Emerson High School, but their appeal was denied. The new school for African American students, Theodore Roosevelt High School, was built in the center of Midtown and opened in 1931. For the students mistreated at Emerson in 1927, Roosevelt High School came too late. Although Roosevelt was a beautiful facility with many amenities, the decision to build the all-African American school in favor of integrating existing schools perpetuated the segregation of Gary public schools.[9]
Emerson High School was officially integrated in 1948, but the trauma sustained by the African American students never faded.[10] Due to Superintendent Wirt’s pioneering work in educational reform, Emerson High School has been deemed historically significant and was added to the National Register of Historic Places in 1995.[11] Declining enrollment in the 1970s, was the impetus for the transition into a magnet school in the early 1980s. With inadequate funds to maintain the building, the school board made the difficult decision to close Emerson School for the Visual and Performing Arts in 2008, just one year shy of the building’s centennial anniversary. Since its closure, the historic school has stood empty, quickly decaying due to the weather and vandalism.[12] While the building is listed under the National Register, there are currently no plans to restore the Emerson High School.[13]