The hospital also received support from the general community when in 1937 it began receiving community chest (now United Way) funds and a $524,000 trust when Joseph Cullinan died. Throughout the Great Depression a number of hospitals in Houston and across the nation closed due to financial troubles but black community leaders rallied behind Houston Negro and were able to keep the facility open. Several improvements were implemented at Houston Negro Hospital in the 1930s including a new x-ray department and laboratory which raised confidence in the level of treatment patients received there. Houston Negro Hospital was not successful in its first few years as it lacked patients partly because many black Houstonians preferred to rely on treatment at white hospitals which they felt were better staffed and equipped. This was the first educational institution created for the training of black nurses in Houston. The Houston Negro Hospital Nursing School was established in 1931 next to the hospital. This prepaid system continued until 1938.
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The hospital offered memberships to families for $6 a year, granting eligibility for all members for free hospital care. Isaiah Milligan Terrell retired from his presidency at Houston College in 1925 to become the first superintendent at the hospital. The entire hospital staff was black as well which was rare in the United States at that time. Thelma Patten Law and George Patrick Alphonse Forde emerged as community leaders in resisting the white control over the institution while they honed their medical skills and worked to insure the hospital’s financial stability. The hospital also provided work for black physicians who were not allowed to admit patients in the “black wards” of other Houston hospitals. The hospital officially opened in July 1927 and became the first non-profit hospital for black patients in Houston. The tablet also declared that the hospital was “dedicated to the American Negro to promote self-help, to insure good citizenship, and for the relief of suffering, sickness, and disease among them.” At the dedication a bronze tablet from the Tiffany Company was unveiled stating that the building was erected “in memory of Lieutenant John Halm Cullinan,” Joseph Cullinan’s son who had died during World War I. The dedication of the hospital was held on June 19, 1926, a major local holiday in Texas known as “ Juneteenth,” which commemorates the day Emancipation occurred in the state. The city of Houston donated three acres of land in the Third Ward for the new fifty-bed hospital.
African American community leaders began a campaign to garner support from local physicians when oilman Joseph Cullinan, who had earlier supported the existing hospital, donated $80,000 to construct a new facility. It also has much to offer students of anthropology, sociology, media and film studies, and literary criticism.The Houston Negro Hospital was created in 1926 when the earlier black Union-Jeramiah Hospital was no longer capable of accommodating the rapidly growing black population of Houston, Texas. This anthology will be an invaluable and timely resource for everyone interested in cultural studies. Other essays consider such topics as race and representation and colonial and postcolonial discourse. Much of the book centers on Black British arts, especially film, ranging from a historical overview of Black British cinema to a weighing of the costly burden on Black artists of representing their communities. This anthology offers the first book-length selection of writings by key figures in this field.įrom Stuart Hall’s classic study of racially structured societies to an interview by Manthia Diawara with Sonia Boyce, a leading figure in the Black British arts movement, the papers included here have transformed cultural studies through their sustained focus on the issue of race. From Stuart Hall’s classic study of racia Black British Cultural Studies has attracted significant attention recently in the American academy both as a model for cultural studies generally and as a corrective to reigning constructions of Blackness within African-American studies. This anthology offers the first book-length selection of writings by key figures in this field. Black British Cultural Studies has attracted significant attention recently in the American academy both as a model for cultural studies generally and as a corrective to reigning constructions of Blackness within African-American studies.
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