During the “Harlem Nine”’s struggle to integrate schools in New York City, multiple newspapers, including The New York Times and Amsterdam News, published photographs of Mae Mallory with her daughter Patricia. These images accompanied articles about the legal struggles of Mallory and the other Harlem mothers who had been charged with violating the state’s compulsory education law when they kept their children out of school. In some ways, she and her daughter became the face of the “Harlem Nine.”
In 1958, one year after nine Black students made national and international news when they desegregated Little Rock Central High School in Little Rock, Arkansas, desegregation activists in Harlem organized their own protest. Nine mothers in Harlem decided to keep their children out of local junior high schools to protest both segregation and the conditions in those schools. They knew that their children’s schools had poorer facilities, a more limited curriculum, and more unlicensed teachers than the city’s segregated white schools. The press called these parents the “Harlem Nine,” echoing how the Little Rock students had been called the “Little Rock Nine.”1
Harlem residents like Ella Baker and Mae Mallory, alongside other parents and community members in Brooklyn and in Jamaica, Queens, pushed the New York City Board of Education to integrate their schools. They gathered information about conditions in schools serving Black and Latinx students, and conducted “street meetings” where parents and interested community members could talk with each other about their concerns.
In March 1925, The Survey Graphic published a special issue. The national magazine with a predominantly white readership invited Alain Locke to guest-edit the issue. He wrote that the issue was meant “to document the New Negro culturally and socially,—to register the transformations of the inner and outer life of the Negro in America that have so significantly taken place in the last few years.” The issue explored the origins of jazz and “Negro folk music,” the “inner life of Harlem,” the community’s “organizing social forces,” the neighborhood’s youth, and the conditions of the schools they attended.1
Mrs. Elizabeth Cisco worked for more than five years, with her husband and on her own, to fight for educational equality and desegregation. She pushed schools in the town of Jamaica, and then the board of education in Queens, and then the New York State Legislature, to end school segregation and provide equal opportunity for her children.1 A few days after the New York State Legislature passed a bill ending legal segregation in schools, Mrs. Cisco attended a gathering at a local Black church in the state capital of Albany. The newspaper captured the scene with the small description you see above.
Photography has an important place in African American history. When racist practices and beliefs denied Black people’s dignity and humanity, Black individuals and families with the means to do so could go to a photography studio and present themselves as they wanted the world to see them. Frederick Douglass, the famous abolitionist and writer who had been born into slavery, used photography to spread the powerful image of himself that he wanted the world to see and recognize. Douglass made himself the most photographed person in the US in the 19th century, in a time when cameras were large, cumbersome, and expensive, and could be accessed only by going to a photography studio.1
Mrs. Cisco’s activism brought attention to segregated schooling in New York, and the state adopted a new law that ended legal segregation in schools. This legislation was regularly referred to as the “Elsberg Bill” because state Senator Nathaniel Elsberg introduced the bill. This Brooklyn Daily Eagle story narrates the events leading up to the bill’s passage, different responses after its signing, and the response of Mrs. Cisco’s attorney George Wallace.
