Back from vacation!
It has been a while since my last posting, and of course much has happened (Trump and terrorist related), but for the next few days I’m going to turn this into a travel blog, detailing and reviewing the four brand new history museums that I visited on my trip.
I’ll start today with the big one: Smithsonian’s National Museum of African American History and Culture.
Like many of you, I’ve been anxiously awaiting my chance to visit this amazing facility, and I can tell you that despite my high expectations, I was not disappointed.
It didn’t start out that way. As I am sure you are aware, the only advance tickets at this point must be reserved months ahead of time (they won’t be taking orders again until July, for September visits!). I failed to do so, which means I had to get up at 6:30 AM on the morning of my visit (last Thursday, May 18, 2017) to try and snag some same-day tickets on the internet. Despite the fact that three of us were trying to get the tickets, we all struck out, and they were sold-out for the day in a matter of 15 minutes (or less). We were saddened, but decided to make the best of the day by visiting other DC sites we had never seen, or had not seen in a while. This sent all four in my group scattering in different directions.
There was still one more possibility, however. The museum gives out a very limited number of “walk-up” tickets at 1 PM, and I was the only one in my group that decided to give it a shot despite the odds. I showed up at around 12:30, and the line was already a monster. I had little hope.
But then a miracle occurred. As I took my place at the back of the line, a museum employee was working her way around asking for veterans or first responders. It was not until she made it to two people just in front of me that she found two of them, a married couple. Pulling them out of the line, she said she could take them straight in, as well as two others as their guests. They had no others with them, so one woman spoke up immediately and uncouthly begged, “take me! take me!” So she was chosen. When asked who else they wanted to take inside as a guest, the couple demurred (we were all strangers, after all), so the museum employee asked where they were from. Would you believe it? They said “Alabama!” (Even better, they were Alabama fans, not Auburn). I then spoke up and said, “me too!” Which got me chosen as their guest! Yep, I was in the massive walkup line for all of 5 minutes before I got to walk right into the museum. I chalked it up to good karma. 🙂 Roll Tide.
Once inside, I quickly submerged to the underground bottom floors where the museum begins shuffling visitors through a chronologically displayed tour of American history. The design is brilliant, as the early exhibits deal with European history and conceptions of race, as well as the powerful West African kingdoms, in the 1400s. These are laid out in a way that shows the convergence of the two, and at the same time gradually crams visitors tightly together in the replica hull of a “Middle Passage” ship. It was very dark and cramped, as I viewed slave shackles, original beams and planks from a slave cargo ship, and other Atlantic slave trade relics. It was a powerful and sobering start.
As the timeline-advances from Colonial to Revolutionary America, the rooms get slowly larger as the interpretation takes on the paradoxical nature of the American Revolution and its impact on slavery. Eventually, I emerged into a large room with the opening words of the Declaration of Independence looming massively large overhead and an impressive life-sized statute of Thomas Jefferson presiding over the scene. He stands in front of a wall constructed from bricks representing the number (and names) of the slaves he owned. (The exhibit takes it as a given that he fathered Sally Hemings’ children). Pictures do not do justice to the powerful nature of this interpretation and display design, especially as you enter the large room after being cramped in the tighter spaces.
From there, the museum takes you through displays covering slave life and resistance (both violent and subtle), abolitionism and sectionalism, the role of African Americans in the Civil War, and finally Reconstruction (embracing Eric Foner’s interpretation of both the failure and the small but extremely important successes of the Reconstruction era). Relic highlights here include Nat Turner’s small bible (awesome), a large cotton gin, a slave master’s whip (on loan from Oprah Winfrey), Harriet Tubman’s shawl and hymnal, first edition copies of slave autobiographies, and most impressively, a full sized slave cabin from Edisto Island, South Carolina (not a reproduction, the real deal).
This first (underground) floor is simply amazing. If the museum were just this first floor, it would still be a remarkable facility.
At that point, visitors climb a ramp up to the second floor, where exhibits focus on the early 20th century/Jim Crow Era, as well as the modern Civil Rights movement. Here, displays and relics focusing on the cultural construction of black stereotypes and their purposes are particularly powerful and well done, as are those that deal with black migration during the world wars. I felt that while the modern Civil Rights movement displays were extensive, they were less than comprehensive. Still, the Emmett Till exhibit was particularly powerful, especially the viewing of his coffin. (I came in expecting to be shaken up by the sight of it, and I was). This rather morbid display is crucial to what the entire museum is trying to accomplish.
Besides the coffin, relic highlights here include two of the dolls used in the Brown vs. Board of Education case, a full sized and segregated railroad car, a bucket that MLK used to soak his feet after the Selma March, and most imposing, a plane used in training the Tuskegee Airmen.
Lastly, the ramp takes you up again to the final chronologically arranged exhibits, using 1968 as its starting point for carrying visitors through the ongoing fight for Civil Rights, culminating with Obama’s presidency. (I was born in the momentous and eventful year of 1968, so it really interested me to pause and consider the ways that my own life growing up in Birmingham, Alabama played out during, and was shaped by, these more modern events and cultural transformations).
Most interesting to me were the displays dealing with the role that 70s and 80s television and movies played in shaping and changing perceptions of African Americans. Here, Bill Cosby was noticeably missing from the narrative. This is understandable given his current troubles, but I feel The Cosby Show and its creators and cast deserve to have its very important cultural impact significantly explored in the museum.
Some will question the ending of the history lesson with Obama, but I have no doubt the museum will continue to evolve and is not ending the story with our first black president as a means of embracing the concept of a “post racial” society. The last video that we see before emerging on the ground floor contains a clip of Obama’s brilliant speech at the Pettus Bridge in Selma (I am convinced it will go down as one of our greatest presidential speeches), in which he strongly rebukes those that believe there has been no racial progress in this country, yet insists that the artificially and purposely created barrier of race is far from dismantled.
As the museum’s interpretations are largely focused on our artificial construction of race that has prevented us from living up to our greatest founding promises, this ending is appropriate. The museum definitely embraces the “arc of the moral universe bends toward justice” interpretation of American history, (which is physically conveyed as visitors start in the darkened lowest floor, slowly rising via ramps to more airy and elevated spaces) while still acknowledging that it is our responsibility to fight the powerful and deeply entrenched forces that have and would bend it off course and backwards (hence the importance of uncomfortable relics like slave shackles, whips, pictures of lynchings, and Till’s coffin). It is a sobering presentation and ending, but a clearly hopeful one.
From there, visitors can explore the above ground floors that take you on a less chronological tour through the American past, focusing on the cultural and pop cultural impact of African Americans in the shaping of the United States. I was disappointed by the jazz exhibits, but the TV and film and sports sections were quite good. Highlights included a short film on the transformation of the depiction of blacks in movies, as well as relics like Chuck Berry’s guitar and convertible Cadillac, the track shoes Jesse Owen wore in the ’36 Olympics, the gloves Joe Lewis used in his rematch with Max Schmeling, and Jackie Robinson’s uniform.
But these just scratch the surface of what is upstairs (they even have Eddie Murphy’s jacket from the first Beverly Hills Cop movie), as these cultural exhibits are heavier on objects than they are on interpretation (the reverse is true in the below ground, chronological history sections). These exhibits are more fun and certainly entertaining.
I spent a total of about 4.5 hours in the museum, only because I did not get in until 12:30ish. I definitely needed more time.
Besides not having enough hours to do the upstairs portions more justice, I was mostly disappointed by the number of kids and teens frolicking around seemingly oblivious to the remarkable facility’s interpretive power. Don’t get me wrong, I saw a large number of youngsters transfixed and interested in the exhibits (and there are many high tech and “immersive” exhibits meant to draw them in and get them pondering what kinds of choices they would have made if they had been in our past), but those that were treating it like a playground made me feel sorry for all the people that have been trying to get into the museum and were not as fortunate as myself (like the three friends I traveled with). All in all, the museum was not as successful at keeping the attention of children as were the three other museums I saw on my trip (more on those in later postings).
My final assessment: A few quibbles aside, the museum is every bit as amazing as you have heard and read about. I was astounded by the relics, at times numbed by the experience, and inspired by its sobering, yet ultimately hopeful interpretation of United States history. A+.
Get there ASAP.
3 thoughts on “Visiting the National Museum of African American History and Culture.”
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Thanks for writing this blog and giving us the update on the difficulty of getting tickets. Well done post
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Thanks for the comment! I am sure that the ticket demand situation will eventually taper off and visitors will be able to walk right in as they can at the other Smithsonian Museums. But for now, its tough to get in, and that shows no signs of slowing down anytime soon. It’s really rather remarkable.