Cathleen Lewis, Museum Curator, Smithsonian Air and Space Museum

Proposal Type: Panel

Seeking: Seeking Additional Presenters

Abstract: Throughout the latter half of the twentieth century, the drive to commemorate Black history through public monuments has had to confront local, state and federal red tape and obstruction. Monuments and public facilities created to nurture memories and understanding of blacks’ contributions to the American experience have contended with limits on resources and support and active opposition of the creation of new monuments and facilities that counter traditional views and long-held beliefs in history.

Seeking: In 1968 the Baltimore newspapers announcement that an anonymously financed sculpture of a Negro Soldier would find its home in the city. The announcement immediately caused a flourish of discussion and dissent in the city. The artists who had been commissioned to create the sculpture had insisted that Baltimore be its home even though the donors had not specified a location for their desired monument to blacks who had defended their country. The city’s existing establishment resisted the concept of imposing any military historiography onto the city beyond its well-established fame for its role in the War of 1812. Overt racists objected to the idea that blacks had indeed served in all wars of the United States. The timing of a military monument anywhere in the country was poor as it coincided with the escalation of the War in Vietnam. On a personal campaign, the artist, James Lewis, systematically eroded the objections through persistence and enlisting the support of loc al allies and scholars and the emerging field of study of blacks in the military. ven after a triumphant dedication in 1972, the sculpture of the Black Soldier remained a contested monument. The Thirteen-foot monument had been placed at the northern most point on an island on North Calvert Street, opposite the City Courthouse. After a few years, the City decided to rerouting Calvert Street traffic to north-bound, one way traffic only.   The only way to view the monument by car was through a rear view mirror. The city sought to reinvigorate pride in its monuments through a series of rededication ceremonies in 1997 that coincided with the bicentennial of the city’s incorporation.   However, the ceremonies were recognized as the cost-saving measures for the cash-strapped city that they were. It was not until 2007 that the sculpture was moved closer to a more appropriate place—facing the city’s War Memorial on the Battle Memorial Plaza. This long and complicated story of one monument in Baltimore parallels the history of race relations in the city from mid-20th century to the present. It also tracks the experiences of other cities where the drive to create public places of commemorations for blacks have been subject to public objections and inertia.

If you have a direct offer of assistance, sensitive criticism, or wish to share contact information for other people the proposer should reach out to, please get in contact directly: Cathleen Lewis,lewiscs[at]si.edu

If you have general ideas or feedback to share please feel free to use the comments feature below.

All feedback, and offers of assistance, should be submitted by July 3, 2015.

Related Topics: Civic Engagement, Government Historians, Memory, Place

 

 

Discussion

1 comment
  1. Melinda Marie Jette says:

    Cathleen,

    You may have already considered this, but you might reach out to folks who have recently published on interpreting African American historic sites. I am thinking of Max van Balooy, author of _Interpreting African American History and Culture at Museums and Historic Sites_; and Kristin Gallas and James DeWolf Perry, authors of_Interpreting Slavery at Museums and Historic Sites_.

    -Melinda Jette

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