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This thesis discusses the creation and history of Hardeman County in the state of Texas. The period of the Texas Republic was one of uncertain and unstable government, and the Red River Municipality thus created in 1835 remained as such for only two years. It was realized by the government that such large political subdivisions would not be easily administered, and by 1837 these municipalities were further divided into counties. The vast territory encompassed by the original boundaries of the Red River Municipality yielded thirty-five counties between 1837 and 1891, including Hardeman. The population of the newly created county was made up entirely of transient pioneers and roving bands of cowboys and cattlemen. The official census did not list a record of any population until 1880, when fifty people were shown as residents.

This study is concerned with the roles and relationships between artists-in-residence, community audiences, and program coordinators/art educators as they engage together in community arts programs. This study takes place at Project Row Houses (PRH), a community arts organization located in Houston, Texas and focuses on the artist-in-residence program, which commissions a group of national and international artists for a 6-month period to create art installations in relation to the community and its African-American heritage. This ethnographic case study is based on the activities and events surrounding the 2008 PRH exhibition, Round 29, Thunderbolt Special: The Great Electric Show and Dance, after Sam Lightnin’ Hopkins and employed qualitative data gathering methods of participant-observation, conducting semi-structured, open-ended, in-depth interviews, and through document collection, and contextual information. Observations were recorded through field notes, photographs, and video. Interviews were conducted with 3 artists-in-residence, 3 community audience members, and 3 program coordinators or staff members involved with the program, regarding their experiences at the site and experiences with each other. My analysis presents the roles of artist, community audience, and program coordinator/art educator through three sections on cultural work. Within these sections I discuss topics related to the power of voice, situatedness, and creativity, as it relates to the artists and community audiences. For the role of program coordinator/art educator, I focus more closely on her role in the process of mediation. Topics of power, social dynamics, identity, and representation are also framed within these discussions.

The Bonton and Ideal neighborhoods in Dallas Texas, developed in the early 1900s, experienced physical and social decay throughout the 1980s. Neighborhood organizations and resident activism were vital to the rebirth of the community in the 1990s. Current revitalization efforts taking place there have been a source of contention as the neighborhood continues to overcome inequalities created by decades of racialized city planning initiatives. This thesis focuses on how the structuring structure of whiteness has historically affected, and continues to affect, the neighborhoods of Ideal and Bonton, as well as acts to identify how black residents have navigated their landscape and increased their collective capital through neighborhood activism.