November and December flew by. Final papers, holiday gatherings, wrapping paper, and board games with family danced across our lives faster than the sugar plum fairies at the Charlotte Ballet (I HIGHLY recommend the Nutcracker in Charlotte by the way!). But one experience keeps crossing my mind in vivid detail…
Just before Thanksgiving I stepped onto the elevator at the National Museum of African American History and Culture with more than a dozen other visitors. As we descended three floors below street level to the history galleries, I yearned to know the stories of these fellow travelers. Older adults, young couples, families with children: why are you here? What does this mean to you? These thoughts permeated my slow hours at the museum. I stood side by side with strangers reading about medical experiments preformed on enslaved people without their consent. I listened to a soft, tearful conversation between a mother and preteen daughter as we looked at an old newspaper picture of a brutal lynching. I followed the crowd as it circled around the statues of our founding fathers contemplating “The Paradox of Liberty.” I will never know the names or the circumstances of those who walked through these exhibits next to me, but I hope the experience was as powerful for them as it was for me.
The power of the museum comes, in part, from the effective use of images. Allow me to give just three examples. In a small case near the looming statues of the founding fathers sit Thomas Jefferson’s glasses, spectacle case, penholder, compass, and paperweight. The sign below them is titled, “Thomas Jefferson’s Tools” and reads, in part, “Jefferson wrote justifications for both American independence and racial inequality.” I spent some time looking at these “tools,” particularly the glasses.
They evoked in me a flare of anger which quickly dissolved into sadness and a sense of irony. How could this Christian, so passionate about freedom, write “all men are created equal” and enslave more than six-hundred people in his lifetime? As I thought about the different narratives of Thomas Jefferson, for example those presented at Monticello, William & Mary, or the University of Virginia, I realized how often we justify such paradoxes rather than doing the painful, uncomfortable work of sitting with them. According to the website for Monticello, “Throughout his entire life, Thomas Jefferson was publicly a consistent opponent of slavery.” That does not make his slave ownership ok, though I’ve heard this kind of justification before. In fact, I’ve used it myself. I know my great-grandmother grew up on a plantation in Georgia and was raised by a black woman. I’ve always thought, if my ancestors had enslaved people or underpaid African-Americans who worked for them, it was just how the world was at that time. I’m sure they treated them better than some other families. In wrestling with the image of Thomas Jefferson’s glasses, I traded in my former narrative, informed by cultural relativism, for a different story. A more painful story. My white, middle class privilege is a direct benefit of the wrongful enslavement of people of color by my ancestors.
Around the corner from Jefferson’s glasses, I found a set of “Gynecological Surgical Instruments, ca. 1852.” These instruments, a speculum, needle holder, needle, and silver wire, were used by Dr. J. Marion Sims. Sims experimented on enslaved women without using anesthesia. What he learned from these experiments made him a fortune and he is remembered as the “father of American gynecology.” This story evoked a fury within me. What injustice! Sims got rich and is remembered as a medical pioneer. Lucy, Anarcha, and Betsy were forcibly, painfully operated on multiple times and we do not even know their last names.
I imagine they had no power to prevent these agonizing operations. Again, power and privilege taken at the expense of people of color. And again, I benefit directly. I visit a gynecologist yearly. Whether I think about it or not, when I receive gynecological medical treatment, my story is inextricably linked to Lucy, Anarcha, Betsy (and so many more women whose names and faces I will never know) because of professional knowledge gained through their pain.
One level up, I was confronted by vivid images of lynching during the Era of Segregation. Not one or two, but many images, including a room dedicated to the story of Emmett Till who was brutally lynched at age fourteen. In the midst of this exhibit I found a glass case with a small piece of rope, no more than six inches long, that was used in the lynching of Matthew Williams. The rope had been saved by a photographer, Paul Henderson, who reported on William’s murder. The rope was displayed in such a way that I was able to get extremely close. I could see the individual fibers that made up the piece of rope.
It provoked in me confusion and frustration. Rope is so neutral. I’ve used rope to go rock climbing. To hang laundry while camping. To secure furniture while moving. To play jump rope. But this rope was a murder weapon. Like the glasses of Jefferson and the needle holder of Sims, this neutral object was given meaning by narrative and became a powerful symbol of injustice. When I use rope, I am connected to all other rope users across history, from those who built the Great Pyramid of Giza to those who murdered Matthew Williams in 1921.
As I reflected on these three images, I realized that the basic narrative I brought to the viewing of each, and African American history and culture as a whole, was distance. I had a sense of separation, otherness. A sense that “their history” was a story of injustice and that “their culture” was born of oppression. But the only way I could make sense of the images, the only way I could sit with them without justifying, was to connect each to my own life and, therefore, acknowledge my personal responsibility in the injustice that still exists in this world. This experience forced me to connect my story to the story of African Americans and the story of racism, oppression, and injustice in this country.
By no means was visiting the National Museum of African American History and Culture a joyful experience. But it was an incredibly important experience. An experience I have come to believe could lead to at least a small degree of racial reconciliation in this country. For starters, the museum acknowledges wrongdoing and recognizes victims. It is a public, government sponsored acknowledgement of centuries of wrong doing. It makes a definitive claim: this is not how the world should be. The curators went to great lengths to recognize victims, by name if possible. For example, the display showing gynecological tools used by the “father of American gynecology” included the names of three enslaved women he operated on without anesthesia, Lucy, Anarcha, and Betsy. The definitive moral judgement made by the museum as a whole, the way African Americans have been treated throughout history is not how the world should be, provides a doorway to healing memory. Healing memory can take place when those who have been wronged feel the injustices they have experienced have been authentically recognized.
Second, the National Museum of African American History and Culture is a place for African Americans, to honor their ancestors, those brutally murdered and those who fought for freedom across the centuries. The way the space is set, the phrasing on plaques, and tone of the exhibits all contribute to a narrative of respect and honor for the individuals and groups remembered in the museum. Many exhibits, especially the room honoring Emmett Till, feel sacred. There is a strong sense of common humanity, so showing fidelity to the dead feels most natural in this space. Beyond a sense of shared humanity, the museum provides an opportunity for the strengthening of the African American identity in all its complexity. There is plenty to mourn, but there is also so much to be proud of, African Americans throughout history who have fought for freedom and made unparalleled contributions to society from science and medicine to art and music.
Third, the museum helps consolidate our understanding of history and provide an outlet for emotion. The detail within each section, exhibit, and individual display within the National Museum of African American History and Culture is incredible. These details provide facts (dates, times, locations, names, etc.) that are beyond dispute, making it nearly impossible to deny or forget these events of African American history. The power of the history presented in this museum is its polyphony. Within a clear set of historical facts, the narratives of oppression, struggle, triumph, injustice, and freedom run side by side. While some memorials present a single story, the richness of this memorial comes from the multiple narrative meanings interwoven into each level of the museum. On the same floor, wood from the ships that brought slaves to the United States tell a story of injustice and a silk lace shawl worn by Harriet Tubman tells a heroic story.
While the power of truth-telling represented in the National Museum of African American History and Culture cannot be underestimated, I believe it is the multiplicity of narratives within the museum that contributes most significantly to the museum’s potential as a force for racial reconciliation. There are so many individual stories and so many overarching narrative meanings within the exhibits, it would be difficult for visitors not to connect with the museum on a personal level. It is almost impossible not to recognize yourself in one or more of the stories. I believe it is this personal connection that will create changes within individuals and groups that improve relationships leading to reconciliation.
There is a lot that the church could learn from the National Museum of African American History and Culture in terms of working for reconciliation. In concluding this reflection, let me highlight just one things. Christian communities are called to continuously remind their members and the larger society that the injustices of the world do not have the last word. If reconciliation is to take place, there must be people, groups, organizations, institutions willing to consistently hold the hope of a world without the atrocities of systematic oppression, torture, and genocide. Our liturgy holds this hope, together we enact the world as it should be, pray for God’s intervention to make it so, and go forth to be part of God’s transformation of the world that is mysteriously already and not yet.
Note: I visited National Museum of African American History and Culture for my Christian Ethics class this past semester. This blog is part of my final paper for that class.
Photos: From the National Museum of African American History and Culture, taken during my visit.