Martha Bass Holsey, Institution Building, and Early Black Activism in Athens, Georgia

Photograph of page 93 from the Athens Womans Club minute book dating from 1899-1911

In 2018, I curated an exhibit for the University of Georgia’s Hargrett Rare Book & Manuscript Library. Titled “The New South and the New Slavery: Convict Labor in Georgia,” it examined the history of forced prison labor in Georgia beginning with the inception of the convict lease system in 1868 until its abolition in 1908, its transformation into the chain gang system that lasted until the 1940s, and its continuation with mass incarceration. After speaking with the Digital Library of Georgia and the New Georgia Encyclopedia about this project, they were enthusiastic about adapting the physical exhibit into a digital one. The online exhibition, The New South and the New Slavery, is the result of this collaboration.

As a scholar who specializes in late 19th- and early 20th-century African American and American Indian literature published in the periodical press, newspapers are among the first resources I consult when exploring a particular cultural or historical moment. I heeded the same process to investigate Georgia’s convict lease and chain gang systems. Coverage from the Atlanta Georgian and News and the Athens Weekly Banner was especially insightful. Some notable stories gleaned from these publications included: a mutiny on behalf of Black and white female prisoners in Milledgeville, the flogging of a female prisoner named Mamie de Cris, coverage of a hungry Georgia resident jailed for stealing a chicken, the testimony of an assaulted female prisoner, and reports of Athens-Clarke County’s demand for incarcerated populations for road construction surrounding the University of Georgia. More than ten newspaper accounts from the original Hargrett exhibit were found in periodicals digitized by the Georgia Historic Newspapers database.  

What remains little-known of Georgia’s carceral systems is the fate of orphaned children whose parents were sentenced to labor in prison camps as well as the fate of those born in these camps. After insightful conversations with colleagues and visitors who toured the Hargrett exhibit, I began researching Black-run and -owned charitable institutions in Georgia. As anyone who has spent time steeped in the archives understands, one of the excitements of this kind of research is that, in searching for one story, you are often led to another. One such welcome surprise was the story of Martha Bass Holsey (ca. 1869-unknown), an African American upholsterer from Athens, Georgia, who reached across racial barriers in the Jim Crow South to establish a charitable home that served as an orphanage as well as a daycare for working Black families. 

Reconstructing the story of Bass Holsey’s life and work has been aided by genealogical sites such as Ancestry.com and FamilySearch.org, as well as US Census Records. Additionally, four major collections of the DLG have been instrumental—vital, actually—in this effort: Georgia Historic Newspapers, For Our Mutual Benefit: The Athens Woman’s Club and Social Reform, 1899-1920, Athens, Georgia city directories, and Sanborn Fire Insurance Maps for Georgia Towns and Cities, 1884-1941

Martha Bass Holsey was born in Georgia in 1869, just after the Civil War. She lived for a long period of time in Athens, Georgia, where she worked variously as a dressmaker, upholsterer, seamstress, housekeeper, and nurse. In Athens-Clarke County in 1906, she married Albon Holsey, where they lived on Barber Street with their four children, Augustus, Crosby, Willie, and Mary. Newspaper accounts and meeting minutes of the Athens woman’s club detail Bass Holsey’s tireless, resourceful efforts to collaborate across racial lines to build an institution for Black Athenians. The story of her activism began to unfold with a 1907 report by Mary Ann Rutherford Limpscomb in the Athens Weekly Banner, in which Lipscomb recounted Bass Holsey’s plan for the orphanage and daycare. Because the local African American women’s club lacked the necessary funds to build an orphanage, Bass Holsey in 1907 approached Lipscomb, who was then the president of the Georgia Federation of Women’s Clubs and a member of the local white Athens woman’s club. Together, they charted a plan: Bass Holsey would locate a suitable house to rent and a matron to care for the children, and Lipscomb would enlist the woman’s club to provide funds. In December that year, Bass Holsey, members of the Black community, and Lipscomb and her fellow woman’s club members gathered at the local African American Baptist Church to deliberate. The Home opened in January 1908. It was supported by both white and Black Athenians. The Home’s ongoing success was due in large part to Black residents of Athens, who regularly donated food and money.

There is much that remains unknown about Bass Holsey’s life beyond her institution-building initiatives. The death of Albon in 1913 left her widowed. While her whereabouts after his death are yet unclear, there are ample records of her two sons, Augustus (ca. 1889-1967) and Crosby (ca. 1893-1962), who served in the US military in World War I. Augustus attended Hampton Institute in Hampton, Virginia, before leaving school to enlist in the war, during which he served with a field artillery unit. He retired as a post office carrier in Baltimore, Maryland, and he is buried in Baltimore National Cemetery. Crosby enlisted in World War I, as well, and he served as a cook in the 365th Infantry. After the war, he worked as a railroad porter in Baltimore, where he lived with Augustus and Augustus’s wife, Estella. There are more gaps to fill with regard to the Holsey family history.

Until recently, a looming question remained: Where was the Home located? I spoke to David Mitchell, the Executive Director of the Atlanta Preservation Center, who suggested consulting Sanborn Fire Maps. Thanks to the DLG’s extensive digitized archive of Sanborn maps, the former site of the orphanage and daycare has been located in the Reese Street Historic District. The Home once stood near what is now the Athens Masonic Association, formerly Athens High and Industrial School, the first Black public high school in Georgia. Just a few blocks away from the Home would have been the Knox Institute, a Black school opened by the Freedmen’s Bureau just after the Civil War. While Bass Holsey’s Home, like the Knox Institute, no longer stands, its history is another salutary reminder of this neighborhood’s position as a rich site of early Black institution-building.

Bass Holsey’s and the Home’s story continues. Conversations, chance discoveries, and the addition of newly digitized newspapers and other records will, I hope, turn up new information. The next step? To find some way to visibly, publicly acknowledge this culturally significant site that adds yet another layer to the story of Black history and early Black activism in Athens.

Illustrations

Page from the Athens Banner

“Story of Movement to Establish Home.” The Athens Banner, Dec. 13, 1907, p. 10. Courtesy of Georgia Historic Newspapers, https://gahistoricnewspapers.galileo.usg.edu/lccn/sn88054098/1907-12-14/ed-1/seq-10/.

Image from Athens city directory

Directory, City of Athens, Georgia [1909]. Athens Directory Company: 1909, p. 128. Courtesy of University of Georgia, Map and Government Information Library, https://dlg.usg.edu/record/dlg_acd_acd1909.

Photograph of page 93 from the Athens Womans Club minute book dating from 1899-1911

Minutes 1899-1911, p. 93. Athens Woman’s Club collection, Heritage Room, Athens-Clarke County Library, Athens, Ga., as presented in the Digital Library of Georgia. https://dlg.usg.edu/record/dlg_awcm_awc001

Sanborn Map Company. Insurance maps of Athens, Clark[e] County, Georgia, April 1908, p. 8. University of Georgia Libraries Map Collection, Athens, Ga., presented in the Digital Library of Georgia. https://dlg.usg.edu/record/dlg_sanb_athens-1908#item 

Sidonia Serafini, Ph.D. candidate in English, University of Georgia

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Decades of episodes of Augusta, Georgia’s pioneering African American gospel television program Parade of Quartets now available freely online

The Digital Library of Georgia has partnered with the Brown Media Archives and Peabody Awards Collection at the University of Georgia Libraries to digitize part of its collection of Parade of Quartets. This gospel program has aired on WJBF-TV in Augusta, Georgia, for more than 50 years. The collection is available at https://dlg.usg.edu/collection/ugabma_poq.

The footage, which documents decades of regional gospel music performances, religious practices, and political activities. Ruta Abolins, director of the Brown Media Archives and Peabody Awards Collection, notes that these materials are “part of the largest collection of gospel performance footage at any North American library.” 

Parade of Quartets, broadcast on WJBF-TV in Augusta, Georgia since 1954, is a rare example of a sustained African American media presence on a southern television affiliate. Hundreds of well-known Black gospel musicians such as Shirley Caesar, Dottie Peoples, the Mighty Clouds of Joy, the Dixie Hummingbirds, and the Swanee Quintet have appeared on the program. In the last few decades, the program’s content has expanded to include local and national African American political leaders’ appearances. Some of them appear in the digitized materials, which cover the period from 1980 to 2011.

This content serves the study of gospel music, religious broadcasting, African American programming, African American community outreach and organization, local television programming, African American politicians, entertainment, musicology, performance studies, African American studies, Southern studies, civil rights history, journalism and media studies, and business.

Dr. Barbara McCaskill, professor of English, associate academic director of the Willson Center for Humanities and Arts, and co-director of the Civil Rights Digital Library at the University of Georgia, said that the collection of shows documents a broad spectrum of essential aspects of life for African Americans in the South.

“The name ‘Parade’ in the program’s title alludes to the pageant tradition in Afro-Protestant churches. At Christmas, Easter, and church anniversaries, youth and adults perform brief skits of Bible parables and lessons, sing spirituals, and recite Bible verses,” she said. “Rooted in this important Afro-Protestant pageant tradition, which combines oration, song, and performance in a unique form of worship, Parade of Quartets exemplifies how black Christians used the new medium of television to agitate for social change and honor their communities, as well as showcasing local and regional black gospel artists. 

“Secular-themed church pageants commemorate the patriotism and military service of African American men and women. Additionally, they laud the contributions of African American individuals, communities, and organizations,” she explained. “Many of the artists who guested on the show pitched advertisements for black-owned businesses. So Parade of Quartets is also valuable evidence that southern African Americans recognized the power of television to build community wealth and multigenerational financial stability.”

McCaskill concludes, “For its connections to the Afro-Protestant pageant tradition, its dual functions as an example of musical innovation and civil rights activism, and its effectiveness as a lever for African American business growth, Parade of Quartets is a national treasure.” 

Karlton Howard, who has produced and hosted Parade of Quartets for more than thirty years, adds: “The Howard Family and Parade of Quartets are eternally grateful to the  Brown Media Archives & Peabody Awards Collection for the gift of preserving portions of the video history of Parade of Quartets. Your kindness will ensure that the culture of the African American gospel quartet will be enjoyed and cherished for generations to come.”

Link to featured images:

Parade of Quartets. [1995-02-14]. https://bmac.libs.uga.edu/pawtucket2/index.php/Detail/objects/360325
(Still shot of the African American gospel group the Bruesteraires performing on Parade of Quartets)
https://lh6.googleusercontent.com/ta2BnYr614OJP_QNHJfCwS7g2DDYZdQj35LO-Jo0Gf1lAM1ry6UEnnHR7n_jXQOyR1IRBH0snEo8ki9V3wLmE-Ckj4EveFZdjFdIypEhI9fGPIw8T1NcxHoTBqpzgoEhIX5SohF5
Parade of Quartets. [1998-03-22] https://bmac.libs.uga.edu/pawtucket2/index.php/Detail/objects/360500 
(Still shot of Georgia state representative and former Parade of Quartets host Henry Howard)

About the Walter J. Brown Media Archives and Peabody Awards Collection

The Walter J. Brown Media Archives & Peabody Awards Collection is home to more than 90,000 titles and 5,000,000 feet of newsfilm, making it the third-largest broadcasting archive in the country, behind only the Library of Congress and UCLA. The Archives comprise moving image and sound collections that focus on American television and radio broadcasting, and the music, folklore, and history of Georgia. There are more than 50,000 television programs and more than 39,500 radio programs in the Archives, in addition to audio folk music field tapes and home movies from rural Georgia. Their mission is to preserve, protect, and provide access to the moving image and sound materials that reflect the collective memory of broadcasting and the history of the state of Georgia and its people. Learn more at libs.uga.edu/media/index.html

About the Digital Library of Georgia

Based at the University of Georgia Libraries, the Digital Library of Georgia is a GALILEO initiative that collaborates with Georgia’s libraries, archives, museums and other institutions of education and culture to provide access to key information resources on Georgia history, culture, and life. This primary mission is accomplished through the ongoing development, maintenance, and preservation of digital collections and online digital library resources. DLG also serves as Georgia’s service hub for the Digital Public Library of America and as the home of the Georgia Newspaper Project, the state’s historic newspaper microfilming project. Visit the DLG at dlg.usg.edu.

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