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tv   Lectures in History Designing African American Monuments  CSPAN  November 13, 2021 8:01am-9:03am EST

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service. >> beginning now it is history books on c-span to come this weekend explore our nations pass the cspan's american history tv, and watch book tv television for serious readers, today mount vernon tells a story and to revisit president george washington's farewell address in november 11, the centennial of arlington cemetery's tomb of the unknown soldier in the history and who was laid to rest there and you can find a full schedule of history programs in the program guide or by visiting cspan.org/history starting now, lectures in history the course with landscape architecture professor walter hood talks with the design plans for the new african-american museum being built in charleston, carolina. >> ladies and gentlemen, world-class walter - professor
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of landscape architecture in the school of california. [inaudible]. and a distinction and has pursued is designed and. [inaudible]. this in 2019 and walter has design work of the united states, and abroad. in charleston, two designs for the festival over the years. i also have the pleasure of working with walter. in 21 and a half of the international african-american,
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discovering the history and of this location. [inaudible]. 's director of the national museum of african-american history with our class, that was the most sacred african-american history in the western hemisphere. it and the site of the actual war. in the most design architect, tells me that he always wanted have the design process. [inaudible]. and this was for our museum and historically, some of the
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landscape and deserve the marginal power and of the sacred site. a world known netscape architect through the country. i'm so proud to have him today to work on this project. in the city and around the world and i'm so proud to introduce my friend walter. >> figure fmr. mayor joseph riley, and in charleston and whichever it is great to see all of your faces, young and on for a later age. fmr. mayor joseph riley said he's been working on the museum for 21 and a and i think that fmr. mayor joseph riley, i think that i first met you during this
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institute and georgia. on day one of the most amazing speeches that i've ever heard from a mayor to talk about city life and people and i've never heard of politicians it do it that way so i was really moved by that. and then 25 years later we're still having that conversation. it is an honor and i appreciate speaking with you and i'm going to share my screen now. today's talk will be about a half an hour then will have time for questions. the name of my talk today - i'm a southerner from - and took me probably close to i was in my 40s or so until i actually started to talk about how can i
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say, my southern upbringing in the spirits and the like. i wanted to start out by turk and kentucky but the current context and also about the 1619 project but this idea for most people of color in this country particular the african-americans did part-time in this landscape has been long and our freedom though has been very short and so how we begin to kind of think about ourselves, that want is for but it's also very familiar. we have to find her own path and someone working in landscape and his landscape, thinking to look at the same map and i can look at the establishment of the landscape that we, that hold sacred in the way that we think of our country and we think of plantations in the 1730s, and i remember in undergraduate school the first colonial
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gardens. this pre- nibs mount vernon and the university of virginia and some of these other places so very early as my ancestors had been isolated and excluded and partitioned and even given duplicated landscapes, there's been a continuum of building up on the heritage. really being excluded from a lot of people and these double consciousness, how do we actually deal with these companies hidden histories and i do think it is possible to do so because if we look at our ministry in the way that we document our history, race is a big part of it even in our maps, we tend to talk about who we are and how we are situated in the landscape. and during most of the 20th century, we have to face up that we are a nation that doubles, one black and one white. and as i was growing up in north
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carolina, unbeknownst to me when i was young kid, but there were also these reminders that you stay in your place. and remember spending summers here and told that you cannot go out at night. this was clan country. and then being able to move around that and i remember many times with my family going to atlanta and other places and he stayed and other places that were not deemed normal places in these kind of ideas and unpopular culture to the left which does not really deal with the reality. and then when we think of our world, i can't imagine having to erase those images and i don't remember the bookmarks and i don't remember the color entrances but i can't imagine it
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how one would begin to erase that even with nature itself and to begin to see the tree of white only versus seeing the tree of everybody. and then the idea of a specific day, i was reading earlier about the early memorial days and charles to and after the that literally became memorial day rated the blocks in the south and there was one day in north carolina, black saturday, that was the day that you could go shopping. so of course even when you went shopping, and trent. how do we play out without and deal with it and i do think there's a spiritual quality would begin to think about because we did it make this landscape. we were actually putting this place and then we somehow tend to be aghast when we have these
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issues. that's from the 60s to the 80s to the '90s to the 2004 people are asking for, asking for protection. so in last year when the george floyd moment when we saw the black man's matters this was another wake-up call printed but is not the first week of call and so we continue to begin to think about this and it made me think about on my childhood grew up in charleston i remember in high school that downtown this, or is modern sculpture and i thought what is the sculpture and then a red what it actually meant, it was how the future was really talking about the future like how can the future of charlotte be how can i say medicated soap to see this kind of future and this lasted for about 25 or 30 years and
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recently i was back in charlotte and i was working there and i noticed that they had changed that entire introduction to the city. and it was absolved in 1995 in winter member that charlotte was settled in 1750 incorporated in 1768 and i was wondering who is a black guy like why was there a black guy in town, there is no black eye in the middle of the town lies going up and it turns out that he's depicting the railroad so going back and looking did they have slaves in why did we choose 95 to depict the history and i would argue this. reclaim the history and rewrite the narrative in charleston, you are saying a lot of the life in the early part of the 20th century changing the narrative of the civil war and have you actually allow for the history.
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and for the blacks to be present alongside the whites in the history i mentioned that fmr. mayor joseph riley and also in macon georgia and the project that i now involved in. this wasn't 1998 and 99 and we cleaned off and we made a set of - the talked about this, blue-collar relationship and we wanted people to see that something was hidden and we wanted it to make it more visible. then i placed a cotton mill next to it and i wanted there to be this tension between this fiction of the doors of the the reality of this being a place of god and that and this was 20 years ago and people were somewhat not interested in this idea. i was actually at the club, i'm trying to remember who was the
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mayor at the time now a senator but he sent me a letter and saying that you're being perpetrated in black faith and seen as this, radical guy from california coming to talk about this. and in the last year, people have asked to come down from away that this was a prelude to the moment that were going through now. in charleston, then we have this kind of moment where they're beginning to challenge how we actually think about ourselves and we had the best thing on the right and we have the national left and these are two things nice i was reading this piece this morning, they're not in the central part of charleston, there the racetrack or trinity and they are in this kind of spaces that you don't see everyday. i tend to argue that we need more places and spaces that we
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actually visit and as we see every day. that we have a way to recollect in our spirits are wake-up call or not just pushed off to the side but are actually with us. and how we might do that also you if you projects. this first one is in virginia. this is a village on the left and south about was a place for the freed black slaves. and as they were moving the camps to the south they actually found and turned it into a homestead and they found this beautiful bricks and mortar work and is a dug deeper, they found a foundation and they could build a place where kitty foster had bought a piece of property and then she went to her for the university we were able to then create the site and actually frame the narrative.
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and i wanted to speak more to the kind of spiritual printed remember growing up and in the cemeteries actually giving the spirit of life and every time we would place flowers at the grave, who turned the foil back and my grandmother would say we've arrived so this notion of life was it would allow the spirit to go so when you go to the place in shadow and a place where the portal was actually built in the family is allowed to take that life sooner and constant engagement with the spirit of the family pretty so this notion, something very early that i was interested in his phenomenon so there's no life, no light no life, but when it might hit there's this, a lot of times we only think of only
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the light and we never think of the blackness. and then to go out to the side and try to highlight in a different aesthetic and homestead. in the burial ground actually raptor on the stones and that we looked at a few buried body in the wood, the bodies decompose and you get a beautiful landscape and so it card landscape. in his next project is the opposite and this was created a year ago this the first time that a lot of my work has been exhuming people to look like me but what is the critique of the other side, what is the critique of the white frame braided and white colonialism now beginning to talk more about this country was built on whiteness and how to talk about how do we engage in severe princeton had an
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opportunity to engage think about that because the students critically black student union, they work would roll wilson's name so they went to the president's office and locked themselves in and about a half a dozen of them and what came out of that was the trustee said okay, what we will do is a competition. we will do a competition and will see we get the best mind is to talk about wilson's good side wilson's bedside. so we decided in my field to do this petition and understanding wilson was from the south and his family was i think his father was a preacher and very brilliant man but at the same time, those brilliant people around him were trying to get him to do the right thing. and particularly hear a lot about why won't people kind of
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think about the other side to the sort of double consciousness. they got really interested in thinking, car project or do the words on wilson and use it as a, so the piece is called double fight and located at the central park at the top here. next to the wilson school and you have the fountain of freedom and these were all donated to the spaces by the central campus. the idea is simple, the marker is a black tower in a white tower. the white tower comes to rest on the black tower and is made from a square because along the diagonal is alongside. what we were able to do that on that is to basically think about the inside it could be inside a place where his contemporaries
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could push him so imagine as a metaphor for your inside. to know that your privilege should you not have a consciousness to think of others. so this is suggesting that everyone has something inside of them and through that we constructed this architecture. this was in the plaza we removed some trees and place of their and then on the inside, a contemporary quote reads, everyone to james weldon johnson who is asking wilson to do the right thing. if you were making this project, struck by the current cultural context that we are in the last four years, where everyone spoke of a certain person. oh he will change and he will do
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the right thing in this consciousness we know that it manifests so this idea than taking wilson contribution in the negativity and posted on the outside pretty so we walked into the piece and we now are face-to-face with this contemporary and wilson was marginalizing the outside and also along the inside this reflection it, reflecting new so you become one of those who are pushing for righteousness. and if anything happened at this memorial, the black union still pushed to get wilson's name off the school even after this was corrected. now an opening game the president it came out and within
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a year the communication continued in the past summer one of the trustees came out and read something on the outside of the piece. then he wanted to remove the name and whether this place that is temporary, we think that it's done its job and showing and giving this new kind of imagery. it is not through a person of marginalization but consistently pushing for a better world a better place. and we try to make sure that we showed it again some of our
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ancestors, insight from an early age. and then at night, it glows and the words speak more powerfully at night along with what will become of women's suffrage. and what also unexpected to piecework reflected in measuring around the action actually reflecting the context which is creating, constantly part of it. mls project that i will talk about in the last few minutes is our project here in charleston. my introduction to charleston in the early part of the millennium, jacobs who is part of the big show actually came in
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after hurricane hugo and attorney write about that. i would argue that was the first time or one of the first times in the civil rights in charleston really had to deal with that passed in a powerful way. and the artists would drop in these projects they, it was very good, a lot of of attention but over a series of 20 years, this is been dealing with places of the past and of the future and then a context in which artists have come and given space to actually about what it means. this is 105 artists where next to we grew and have amazing weapons where this all takes
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place in for the first time it reminds us that something that i always remember, like the landscapes do not change. just because we just found this area, is been there like all of this stuff is been there. for the international african-american movement where we are charged with, i have to share with you that this is probably for me, one of, i'm so nervous for this project because there is a lot of stakes in this project and i am very nervous, put it that way. but he is been a great piece. with harry and others last year they reached out at walter and said we need you we need instruction and we need to talk about the story businesses a different place, and a museum that you see, this will be a
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place for individual and groups and the appreciation and particularly the history of the low country which i think makes this spot really powerful. it also suggests that being in charleston, finally it will be in a place of prominence in a place where people will pass it braided as you're going on a boat ride or you will come across this. and you coming through the park on a job, you will come through the side of her like to think about it as as a run through the cemetery, i mean, i experienced and what is to be something that becomes familiar to people. and again something that exists on the map, that is sort of interesting it depends on what you want to map. there was no information on that
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and somebody did not want to include that information in the photographer is in charge. we can go out right now and map and move of the trees and see that there were no trees. in charleston's street as we know very early that the slavery uncertainty and had to be observing it to give to want to behold this american city so how do you begin to consider and shape those two images and events by the road. now i would've never anything about the history around the cultures. what blacks used to have to do in that fashion and is reading one quote about how we should have a little something in our pocket and as we would go pascal phone so you were ready. but how do we begin to unpack a
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lot of these ideas and very early in this project we asked fmr. mayor joseph riley and remember that they were standing there and there was an archaeological site and i said no, and he said why not. and you look at the window there's some guy down in the hole digging a hole actually digging a hole right so this idea of how to react. eventually found more. and here is a picture at this beautiful building of this long bar almost like a vessel that sits on 13 feet off the ground. as to leaders wide almost 6 feet wide and tapering at the top. and as we have made plan, we try to make a plan b, unfettered by stuff and we taking the north
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part of the site which is next, we created a grass field because we had to keep an open and as you make your way and you go through what we call a colonial garden and shaped by whipping on to certain degree you would make use of a clearing which is all the ocean floor for activities to to places you make your way to the south there's a place where the slaves were stored after they were inc. rated. [inaudible]. and they were brought here and we know that they were stored in a warehouse summer braided so the site at night will be open and again you will visit in the same way that you visit the other spirits. and as you enter from the city, we try to reimagine it that
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makes you aware and then as you look back to the city, they caress you is that ocean floor spreads out. and then from the sweetgrass coming in one side it comes in and the smaller scale, you're looking at the north side of the building. looking through a brick fence again looking at the local cultural landscape of the bricks of charleston and actually became the veil of the village braided in the gardens of our ancestors will have different voices coming out of the rock to underinflated different groups that came out of there from africa and changing that garden because we know the flora will get infected it different times. we'll talk about the kind of
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flora and things that make it. and we have life planters the propagated life and what we learned early in life and the notion of having a ritual and also having the programs to talk about all of these things pretty and then looking back to the south towards a warehouse, they built a wall and i think that the quote and as i rise, elation under national grace upon the slides you make your way over to the warehouse, in between the long boardwalks, we would have inspiring from the white negroes. [inaudible]. and this is been something for me having never dealt and a lot of figuration something you're constantly going through but we want this to be a place for
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people coming in contact with human beings. lacking a very small confined area so currently, we are making the models in different scales and thinking should they be purged or laying down, i been working on these figures for the last three months is interesting of how should they be black or should they be white and these are things that go through the design process. we want this moment that you walk through to feel the pain and that experiences are walking through here. and then lastly, of interest is the slave ship on the first lithograph really shows the horrific social and psychological and physical form of slavery but this boat has been made with the journey, to
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north america and my thought that it would be really important to be the landscape somehow through this kind of density. and we took a boat ride on morning and there were about three of us and it was one of these feelings that i never felt. as i was thinking about this past, it reminded me of the cartooning have over and i was taken aback will why didn't they have will pharaoh and was this a copy. but then again struck me that it almost looked like a house and if you look at it closely, maybe head to toe, head to toe and so working with this, we created what we called an infinity fountain at the edge, tilted to the rounded lifted the water up to a level and along that edge we are looking at, it imitated
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within the past we have early copies of what those figures might look like some looking at the sheldon with a shelter go away in a certain point within come out in the body. and as you actually begin to see the quality of life in unexpected to me as we have been going through the light i knew this was a little red breath of the light playing against the shell was pretty wonderful. this idea of having this fountain and became straw all the sudden against all of these shapes. and this is what the final look like and what you're beginning to see at times it looks like a positive or negative. and all of the shell from the
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local hundred and sunny goshen even though they are made in california. [laughter] and along that line, we have made it feel again going back to the reflection in the spirit and then look back out towards the harbor. and in the fountain will go up and then trend out and those fingers will be gone and it will fill up again. and lastly, i want to end with the piece that i had at chicago last year, and i was taken up by an article that read a newspaper in chicago were there blaming obama for cutting down trees in washington's and jefferson park and it occurred to me that they never referred to him as the president and so i asked for to recycle the trees. and of course i had to put obama
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in there along with washington and jefferson. >> thank you. so, walter rated that was wonderful and one thing that i s determined to say about having walter was this, years and years ago, as law clerks working california and around the country and around the world. i was exhausted just thinking about his work ethic and i said walter, how do you do it.
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honey tended to all of these different responsibilities and he said well you know, i have rm determined not to let that happen and wanted to say that today to the students here and to everyone that is part about the lifework that we often have lots of responsibilities and as you learn to try to attempt to them, walter laughs every time i say this is just a man. he was worn out, literally you see him come back and from like one of the places at the institute, his spirit and his mild everything else and so walter knows that have never forgotten that.
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this is about life's work and responsibilities and you have to keep a lot of balls in the air and not let them drop. >> you forget the most important piece of that quote, god knows which one you have to know which one. get keep the ball in the air, and once i learned that, some can fall and there's kind of a freedom. some are going to hit the ground but you've got to know which ones to keep up in the air. >> i want to just remind our students and gas to put questions in the chat and i will relate those to the professor.
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and as we are waiting for those to come in, i was wondering professor hoodie, one or two questions that i was hoping you might do. you have been described as a community whisper and i think the suggestion there is that you understand things about communities even before they realize aspects of their own experience and am wondering if that is a description you accept and whether you might. lisa: that dynamic of being community whisper her. >> i think it has a lot to do with the project that i was working on the district and i think that i had been with a
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neighbor for years and i think what she was meeting by that was that we try to go out of her way to be good listeners. and if you're a good listener, you will hear things. and then if you listening, somewhat giving back and then you give them back through your lens and i do think people are appreciative when you listen to them and then you're able to then take what they are saying and not just respond, but inclined but respond genuinely and i think that is been cross working in various geography, something that i value. i'm next in expert what i do but i know very little about to place a lot of times i have to do the work. i want to do the work, and then
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gives you a point in a vehicle that might not always be the same but at least there's a value to it. i see questions. >> so mechanics of the pool, will the water philip and train by the side or is a man-made mechanism. >> it is man-made because it really has a few inches of water so if we waited six hours from the tide so i don't know if they were from the correct timing yet but you will notice it there
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will be seminar. some in their. >> and fountains like this there will be some and that's why they're called infinity fountain so on a holiday, one might stick their feet and but it's one of those things where you think the image is going to form a different ritual and i think it will between 60 and 90 minutes for the entire thing to fill up and then go down for there will always be water in the piece so sometimes ahead will have some and sometimes if he will knows where it will reflect the wall. >> would like to know if you're currently working on a project in charlotte.
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>> yes the discovery place museum which is in freedom park. putting it is one of those places where as a kid, i went in and coming back, and having to resign actually redesign a canopy so you can actually walk in the park which i'm really excited about. >> can you comment on your southern upbringing in addition to many other positive comments that are coming in through the chat. using have a very deep understanding of the south. >> was a black man raised in the south, you have to i don't want
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to but i had to on my uncle peeved was a sharecropper and class at littleton that all the time and at that he owned the land. even went to the college i would brag about my uncle. and i just remember my sophomore year in college, went and i said uncle, is a great company acres do you have any said this number land. and that is part of the self. sf braided line of north carolina, i change my speech, because when i to dc, everybody thought that i was at a southern drawl but when throughout and went through all of that and i remember being in california in
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one of my calling team from carolina a professor and listening to her, i was thinking she has an accent and i was like, i want my accent but she was a white woman was like man so again, thinking about the heritage. but getting back to south carolina. it really did give me a renewed interest in the past heritage and it really pushed me to take on projects. and working in florida right now, home to james weldon and again is like this amazing place right now so it is been a gift and a curse, put it that way. >> there many comments coming into the chance will do my best to relay these to you.
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one excellent student in her class us about the ways in which you developed and in the ways in which her imagination may have broadened it working on the international african-american museum. how have you developed this is an architect. >> i was in the biggest is freedom, i was taken by the decision to call me one day and say what i take on gardens and this was not something that was part of the original project. this was something that came out of our working together and taking that on was challenging but also empowering. anything since it has pushed me to kind of think that we can be
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in the landscape and representation and we can begin to put other narratives out there blacks in america, we are not one large thing, we are many and i think the project for me is allowing me to be something that can never be slightly project like this, allow people to come together and share and i really appreciate the staff people like gary and karen went to the last week she would mini project the people involved but do you do not just put it that way. its way on insurance project. >> so there are several questions regarding your work process this seems like it's a little bit more about how these produce together and how you
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work pretty. >> that is hard to say, right now with covid-19, every morning and i draw. so starting morning and paint and i try to build context from the 60s about right now and working in three books and being able write and read in his really try to find they do think that if you can guess writing in every day, those using everyday and will design and everyday, i think you'll have this conversation and these are things that i never really had the space to do with this past year, i have an in a way, it's a way of working that i want these
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things. and i told her my off as it used to be that i would go to a office and there would be about 15 people new deal with all of that in a way, freedom now to put the work out there and i can be of myself. >> i'm going to ask a couple of questions here, one student was asking if you would say a little bit more about the influence of older family members on your work and then, looking forward, what will be the legacies of your work for generations. >> the older, will my mother died when i was very young and my grandmother raised me a lot of the time so there is a kind of southern this too bad read intergenerational and i was
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taken by pretty i was listening to someone, they were talking about grandmothers and i think people of my generation we talk about grandmothers is a chicken forms among lives and even think back to the committee that i had for the elder remember when the comments that we can't have people stepping on bodies is like wow so listening to that so that's where the bridge came in and so again, this kind of response to whether it is a whisper or whatever. i think the more the work will begin to live mentally through but through the unity. >> in terms of the legacy of the
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museum, any of that your work holds up 50 years from now. bush we take from your work in 50 years. >> this is a wonderful thing about landscape unlike architecture. landscape stands time of transformation and i would like the contributions to be that the work speaks for itself. i can't be a person projected 50 years from now i want to make work and i want to put it out there and i do want the work to be seen in a popular way i want people to find in the work. and if anything is a space i can go to and i get to feel something different and i could hear something different and as
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of late, have been thinking a lot about this is a question of america, and we push were different. and we celebrate different because colonialism celebrate things that he wants to keep creating things which means that different and a varsity just becomes this kind of a medium to deal with things. they're just different and the differences different. and you think for someone walking for a white person to walk in burned that piece, they should see a different just as somebody walks in front of calhoun, actually saw it different and those are things that i think that part of the experiment in a country that we are not really good at and accepting others in those differences pretty in one hand
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people marginalize this double consciousness. we have to take on those things predict any question from the student who are non- like to say how do i work in the black community and is a simple answer to that pretty i have to figure out how to work with white people predict so assessable. and i think our lives in this country is actually a way for people to deal with different rated and i think the resiliency and when we talk whether resilience, resiliency start the abolitionists of this land, the still here, that's brilliant. i can still be here. and again if you think about our ancestors, and imagine being around the 20th century and having to deal with the possibility of being tied to a
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tree. some people are looking back and they know they're going to get thrown out or shot but they did it anyway and i do think that this experiment, i think we have to get to a place where we want to have a conversation i'm hoping the things that are happening in charleston can actually be a model for the country. these are hard things and again i show that half earlier, we can only access about 50 years back like we have been trying to do this for 400 years but hey, only for like 50 years and during the 50 years we have to do law to do it. and even then you have people pushing back and finding ways to get around the law and so in a way, we are back where we started 50 years ago if you think about it. and are we willing to go back
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there, affirmative action was not a handout is a way to get us to live because we had to be forced to do it and zoe have a lot of work to do. i think we are moving. >> i think that we have time for maybe one additional question and some of this you alluded to, their political moments and characterized by grass grassroots going back to wall street, through iterations of black lives matter and even recently, with january 6 riots have the capitol and i am wondering how that has shaped your work and how that is having an impact on landscape architecture pretty.
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>> i think were seeing the impact. i think the painting of the streets is an act of the public crown but as i was saying earlier, you look back at the history of trust in the public spaces has always been the place where politics and social unrest played out in the early days of emancipation, the celebrations on january the first or taking the fourth of july for the celebration actually going to these other places actually taking people to the space of this is not something new and i think that we should be looking back at all of these examples in our history and why do we keep repeating the same thing. and again, because we know where it ends, it and us with going back to just being with the streets are bike and so i think that you have to find the place where we will feel comfortable
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in the spaces with things that might mean something different to one of us i think that if we start erasing one side we only get back to what we mentioned. i think that we have to learn to deal with these. at the heart of this country and you've got to deal with these realms and we've got to tinkerbell off because there is lisa: young brown and black people on the screen here, to powerful thing here and to feelt people immediately look at me and my race first pretty they don't he need and even have to say anything and you know the look pretty you saw the look. and so he was asking me to describe it and i was like really, i've got to describe it but you do know that look and i remember being in an elevator at 19 years old and maybe 20 in
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north carolina and my first job as an intern, and on the elevator, my suit my tie on and i'm looking around at all white people. this was like in 1979 or so and first they looked at me like what you're doing in the elevator. and like does this just go up but these were things. >> great, thank you so much and fmr. mayor joseph riley alternate back to you for the wrapup comments and professor hood, very favorable remarks in the chad and i wish we had time to relay that result to you but thank you very much. >> thank you professor kerry taylor and walter, thank you we
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will never forget the landscape and will be far gone but this will always the impacting the powerful landscapes and confronted and challenged and argued and riots and the beauty in the hope of the future, and the sad path underpass and what you create their will be continuing. two people who come and also we will not forget you today. and i think there were a few hundred people in the audience the students and grandparents and everything in here brave and
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thoughtful person give us the priceless gift of this time. and also of his thoughts. i am so rageful and thank you and i look forward to having you back. in july of 2022, when we open the international african-american museum and they get goosebumps to say we see the powerful work of walter reed thank you very much read. >> will thank you to wish everyone a really safe and free but one thing that i would like to say about our site fmr. mayor joseph riley is one of the things that i'm always touched by is that the site needs to be a public space and i was out of the side one day in a couple
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asked me to come to the condo and i asked them, are they going to miss the park now that the are getting there and they said the park - and they gave her they told me that they were looking forward to having the landscape and essay for me because to change your sociology in space, sometimes it's really hard for people. they got rid of the road and they moved this and that change the way of life and for a lot of people i think that is going to be different but i am hoping that will help heal but also get people to see the world around them. thank you and it was a player entered pleasure and you have a national hero fmr. mayor joseph riley and i want to be in all of
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these lectures, you guys are getting a great great education. >> in 2017 to mark in history tv, the national museum of african-american history and culture in washington dc. here's a look at it. >> were fortunate enough that we were able to receive a call from the historic preservation society that wanted to donate a slight gavin for our museum, they knew that we work looking for slight gavin to help tell the story powerful way unfortunately, they had one on a fortified plantation motorcade on the island in south carolina and was really powerful about this gavin is on the front side, actually interpret it at slavery in the backside, you interpreted looking at freedom because in fact, on the island, that is where the union army camped out during the period of the civil war and you see where the land
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it is given to the african-american community then take away several times until was ultimately taken away for good and let's talk about the interpretation in terms of slavery rated notice the cabin behind me, what's important about the cabin is that unlike or people locked up animals and i, the work in the fields, not unlike the enslaved men women and children, this really could be considered a pen but african-american men women and children, again resist the resilience and holding onto their humanity found ways to love one another, practice their faith, to grow gardens on the side of the cabin and to supplement their had to create new cultural practices pretty. >> bicycle tour online at cspan.org/history. did you know you can listen to lectures in history on the go, stream it as a podcast anywhere, anytime and watching american history tv. >> what is your relationship

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