Art isn't just a hobby. For Black history, it's a receipt. It's the proof of existence, the roar of resistance, and the visual record of joy when the world tried to keep things grey. Most of us grew up doing the same three Black History Month art activities every February. You know the ones. You cut out a profile of Dr. King from black cardstock. Maybe you colored in a printed sheet of George Washington Carver and his peanuts. It felt... fine? But honestly, it's a bit shallow.
We can do better.
If you're looking to actually engage with the weight and beauty of Black culture, you have to look at the artists who risked their lives to create. We're talking about people like Augusta Savage, who literally had to fight for the right to study sculpture in Paris, or Faith Ringgold, who turned "women's work" like quilting into a high-art medium for political protest. When we talk about art activities for kids or even adults, the goal shouldn't just be "making something pretty." It should be about understanding the why behind the medium.
Art is a bridge.
The Problem With Tokenism in Art Education
Let's be real for a second. A lot of the stuff we see in classrooms or community centers during February feels like a checked box. It's performative. If the activity doesn't teach the student about the specific struggle or triumph of the artist, it's just a craft. Real Black History Month art activities involve getting your hands dirty with the same questions the masters asked.
Why did Jean-Michel Basquiat use crowns? He wasn't just doodling. He was reclaiming the idea of royalty for Black men in a city—New York—that often treated them as invisible or dangerous. When you sit down to create, you should be thinking about those symbols.
Faith Ringgold and the Story Quilt Revolution
Faith Ringgold is a powerhouse. She passed away recently, in April 2024, leaving behind a legacy that completely shifted how we view textile art. She couldn't get her paintings into major galleries in the 60s and 70s because the art world was—surprise—pretty exclusionary. So, she pivoted. She started making "story quilts."
This is a perfect activity because it blends narrative with tactile creation. Instead of just sewing, you're telling a story.
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How to actually do this:
Don't worry about needles if you're working with younger kids. Use heavy cardstock or fabric scraps and glue. The key is the "border." Ringgold always framed her central image with a story written in text. Have the artist pick a memory—maybe a time they felt brave or a family dinner—and draw it in the center. Then, around the edges, they write the story. It turns the art into a primary document. It’s personal. It’s heavy. It’s real.
Alma Thomas and the Power of the Dot
Alma Thomas didn't even start her professional painting career until she was in her 80s. Let that sink in. She spent decades as a teacher in Washington D.C., and when she finally retired, she revolutionized abstract expressionism. Her style is unmistakable: "Alma's Stripes." They are short, rhythmic dabs of bright color that look like mosaics or falling leaves.
People often think abstract art is "easy." It's not. It's about rhythm.
If you're setting up an activity based on Thomas, focus on color theory. Give the participants a limited palette. Tell them they can't draw lines; they can only use dabs of paint to create a sense of movement. It's meditative. It's also a great way to talk about how it's never too late to find your voice. She was the first Black woman to have a solo exhibition at the Whitney Museum of American Art. That’s a huge deal.
Reclaiming the "Found Object" with Betye Saar
Betye Saar is a legend of the Black Arts Movement. She’s famous for taking racist memorabilia—things like Aunt Jemima folk art—and "remixing" them into symbols of power. She famously put a rifle in Aunt Jemima's hand in her piece The Liberation of Aunt Jemima.
This is "assemblage" art.
It’s about taking what the world gives you and changing its meaning. For a practical activity, you can gather "found objects." Old keys, discarded jewelry, magazine clippings, even literal trash. The goal is to build a shadow box (an old shoebox works perfectly) that represents a specific theme like "Strength" or "Heritage."
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The Harlem Renaissance: More Than Just Jazz
We can't talk about Black History Month art activities without hitting the 1920s. This was the "New Negro Movement." Aaron Douglas is the name you need to know here. His style—silhouettes with concentric circles of light—defined the era's visual language.
He didn't just paint people; he painted "types." He showed the African roots of the modern Black American.
To mimic this, try using translucent paper or tissue paper. Layering different shades of the same color can recreate that "glowing" effect Douglas used to signify hope or divine presence. It’s a technical challenge that teaches kids about opacity and light, but it also opens the door to talking about the Great Migration. Why were all these artists suddenly in Harlem? What were they running from, and what were they building?
Why Photography Matters: The Gordon Parks Approach
Gordon Parks once said his camera was his "weapon of choice." He didn't just take pictures; he told stories of poverty, civil rights, and fashion. He was the first Black staff photographer for Life magazine.
If you have a smartphone, you have a darkroom in your pocket.
A great activity is a "Photo Essay." Challenge someone to take five photos that define their neighborhood. No filters. No posing. Just raw life. Then, have them write a caption for each that explains the "unseen" part of the photo. This connects art to journalism and social justice. It’s about the "gaze"—who is looking, and what do they see?
The Misconception of "Folk Art"
There's this annoying tendency to label Black art as "folk" or "primitive" if it doesn't follow European academic standards. Clementine Hunter is a great example. She was a self-taught artist who lived and worked on Melrose Plantation in Louisiana. She painted on anything she could find—bottles, cardboard, plywood.
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She documented the "small" moments: picking cotton, washing clothes, going to church.
Her work reminds us that art doesn't require expensive supplies from a boutique store. You can make a masterpiece on a pizza box with leftover house paint. An activity centered on Hunter should emphasize "painting your reality." Don't worry about perspective or anatomy. Just paint what happened today.
The Importance of Collaborative Murals
In the 1960s, the "Wall of Respect" in Chicago changed everything. It was a massive mural featuring Black heroes like Muhammad Ali and Gwendolyn Brooks. It wasn't in a museum; it was on a street corner.
Community art is a pillar of Black history.
If you’re in a group setting, don't do individual projects. Get a massive roll of butcher paper. Map out a theme—maybe "The Future of Our City"—and have everyone contribute one section. This mimics the collective nature of the mural movement, where the "we" is more important than the "I."
Actionable Steps for Meaningful Art Projects
- Research the Artist First: Don't just show a picture. Read a biography. Understand the era. If you’re teaching kids about Jacob Lawrence, you have to talk about the Migration Series and why people were moving North.
- Use Quality Materials (When Possible): While Clementine Hunter used what she had, providing good heavy paper or vibrant acrylics shows that the work is valued. It treats the activity with respect.
- Focus on Symbology: Ask the participants what certain colors or shapes mean to them. In many African traditions, colors have specific spiritual meanings (e.g., gold for royalty, red for blood/struggle).
- Connect to Contemporary Artists: Don't stay in the 1920s. Talk about Kehinde Wiley or Amy Sherald (who painted the Obamas' portraits). Show that Black art is a living, breathing, evolving thing.
- Exhibit the Work: Art is meant to be seen. Hang the results in a hallway, a local library, or even a digital gallery. Give the creators a platform.
The history of Black art is a history of making something out of nothing. It's about resilience. When we engage in Black History Month art activities, we aren't just killing time. We are participating in a lineage of truth-telling. Skip the silhouettes this year. Go deeper. Pick up a needle, a camera, or a palette knife and tell a story that actually matters.