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tv   Lectures in History Designing African American Monuments  CSPAN  November 13, 2021 11:00am-12:03pm EST

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♪ ♪♪ [taps]. [taps]. >> weekend is on "c-span2" are an intellectual feast, every saturday working history tv documents america's story, and on sunday, book tv brings you the latest in nonfiction books and authors and fitting for "c-span2" comes from these television companies anymore including cox, committed to providing eligible families affordable internet access and connecting the programs and urging the digital divide one connection and engagement at a time. cox bringing us closer, along
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with these television companies supports "c-span2" is a public service. it up next on american history tv, and lecture in the military college, the citadel military college, landscape architecture professor walter hood talks about the new african-american museum that is being built in charleston, south carolina and polls are prize-winning author, details how over 2000 white supremacist writing to carolina in 1898 resulting in the death of 60 black men and the displacement of hundreds of african-american families. i later learned about arlington cemetery tomb of the unknown soldier, find more schedule information at cspan.org/history consult your program guide and now here's lectures in history. >> ladies and gentlemen, walter
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is a distinguished professor and landscape architecture at the university of california berkeley and he was that distinction and walter has received from the. and this was in 2019 and also design work pretty. [inaudible]. he's in charleston, selected to design for the festival. and i also have the great honor to work with walter. and in 21 and a half working on the international - continue to
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discover the history and precise dedication and the founding director of the national african-american history in the class and after the war, it is the most sacred site of african-american history in the western hemisphere and applying that site. and our most distinguished architect, always wanted to have the project for the site and more important. and for our. [inaudible]. so that the landscape and is
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designed was preeminent in preserving the power to the sacred site. architect in our country, this is walter hood, i'm so proud to have him today to work on this very important project. and for his work and presenting you walter hood. >> thank you fmr. mayor joseph riley. and it is great to see all of your faces, young and of later age. he's been working on the museum for about 21 and a half years, fmr. mayor joseph riley. and i think that i first met you
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during the mayor institute in macon, georgia what he gave one of the most amazing speeches i have ever heard from a mayor to talk about cities life and people and i have never heard a politician speak that way and so i was really moved by this. in 20 some odd years later, we are still having that conversation and it's an honor. i am going to share my screen now and today's talk will be about a half an hour then will have time for questions but that name of my talk today is. in the landscape. i am a southerner, from charleston, north carolina and it took me probably close to being in my 40s or so until i actually felt comfortable talking about how can i say, my
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southern upbringing in the spirit that guided my life. i wanted to start out talking by the current context and we've heard a lot about the 1619 project. and for most people of color in this country particularly the african americans is our time in this landscape has been long but her freedom has been very short. so how we begin to think about this, it is also very familiar to know that we have to find our own path and someone working in landscape, i have been looking at by taking the same to look and establishment of this landscape that we tend to, they hold sacred in the way that we see our country and we think of the plantations in the 1730s, i remember in undergraduate
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school in colonial gardens. this pre- m's mount vernon and some of the university of virginia and so very early as my ancestors have been isolated and excluded, partitioned and even given duplicated landscape. there's been this continuum in american to build on the richness of heritage and we've really been excluded from a lot of that. so true these double consciousness, how do we actually deal with these things, these hidden histories and i do think that is possible to do vertically look at our history no way that we document america's, and raises a big part of that even in our maps, we tend to talk about who we are and how we are situated in the landscape. during most of the 20th century, we have to face up that we are a nation that doubles and one black and one white so as i
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was growing up in north carolina, there were negro areas unbeknownst to me that i was a young kid, but there were also these reminders that you stayed in place. and remember spending time here and having low you cannot go out at night because the signs told us that you cannot go out at night. i remember many times with my family and going to atlanta and other places and having to stay and other places that were not deemed common places in these kind of ideas would played out in popular culture. they don't deal with reality normal life and then when you think of the semiotics of the world, and i cannot imagine it having to erase those images and i do not remember having to look at the black-and-white drinking fountains and i can imagine it
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how one would begin to a race that even have the nature itself and to begin to see the tree us white only versus something that blacks can share printed and then the idea of a specific day that i was reading earlier aboue early memorial day celebrated in charleston. and that literally becoming memorial day before the blacks in the south, that was one day in north carolina, it was a black saturday and that was the day you could go shopping. so of course even when you went shopping, so when we play out and deal with this memory and if you think there's a spirituality that we begin to think about because we didn't make this landscape that we see that we always project that we belong to and actually included in these debates and then we somehow tend
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to be aghast when we have these issues from the 60s to the 80s into the '90s and 2004 people are asking for protection. and so went last year during the george floyd moment when we saw black men across the street in a way that there was another wake-up call that is not the first one so how do we continue to get this kind of think about this and it may be falling back on my childhood growing up in charlotte and i remember in high school. it was his mother's culture and then i read what the structure after he when the meant was really talking about the future. so how can the future of charlotte be unmitigated and new and this kind of future and this
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lasted for about 25 or 30 years. recently i was back in charlotte and i was working there and i noticed that they had changed that entire introduction to the city with his new set of images and it was, you have to remember charlotte was incorporated in 1768 and wondered who is that blackeye, why was there a black guy in town party and it turns out that he was depicting so going back and looking did they have slaves was as a free land and why and 95 do we choose this and i would argue this path of how the city's really reclaimed history and they want to rewrite the narrative in charleston, you notice from your reading list, you're seeing a lot of life from the early part of the 20th century to changing the narrative of the civil war and how you actually allow the
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history for the blacks to be present along with the white history. and i mentioned mayor riley in the project in the constitution and this was like 1998 or 1999, that the doors of the confederacy and cleaned it off in meditative yards and made the sort of blue-collar relationship and we wanted people to see this because they were hidden and we wanted to make it more visible and we made fountains around it and then it plays a cotton bale next to it and i wanted there to be this tension between this fiction of the doors the confederacy in the reality of slaves. this is 20 years ago and people have been i say, somewhat not interested in this. and i was actually black based at the club and try to remember
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it was the mayor at the time, now is a senator and simulators that said you being pro- trade when the mob and hanging over his head as a radical guy from california coming to talk about this. in the last year people have asked about that and have called down to a way that this was bringing us to the moment that we are going through now. and then with charles and i think that we have this moment where there beginning to challenge how we actually think about ourselves, betsy on the right and we have another in the left and these were two new things and as i was reading this piece, they're not saying how can i say the central part of charleston, they are inside of the race track and in these kind of places that are that you don't see every day and i tend to argue that we need more places and spaces may actually
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visit. then we see every day so that we have a way to the back and our spirits are with us all of the time and they're not just. to the side, they are actually with us. and how we might do this to show you these projects that begin to see that idea in the first one is in charleston, and in virginia, this is academic on the left and. [inaudible]. it was a place where you could play but as they were moving the campus to the south of the actually found and turned into homes and they found this beautiful bricks and mortar work and as they dug deeper, it was in the foundation and he build a place where katie foster had bought a piece of property and she went to work at the university and able to create this historic archaeological site and actually frame the
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narrative. i wanted to speak to the spiritual side as i was growing up in north carolina and cemetery and actually getting the spirit and every time place flowers at the great, we would turn the foil back in my grandmother would say there's this notion of life it would hit and it would allow the spirit so when you go to this place, the shadow a place where the port was actually built, and a family is allowed to take that ride so you're in constant engagement with the spirit. of that family there in this notion of forcing you to use your body into something very early, that you're interested in this notion of the phenomenon and there is no light, there is no life but when light hits, there is this duality.
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a lot of times we only think of things as only the light, we never think of the light in the shadow together and then throughout the site, we try to highlight in a different aesthetic, the homestead in the burial ground. in the burial ground is actually wrapped around with stones and we looked at the bodies and would and they would decompose naturally get very beautiful landscapes and so carved the landscape to mark them here on the site. in this next project is the opposite of this was created a year ago this is the first time that a lot of my work has been dealing with exhuming people who look like me but what's the critique on the other side, what is the critique of the white frames and why colonialism now talking more about like this country was built on whiteness, how do we talk about it and how do we engage in this and so here
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at princeton i had an opportunity to begin to kind of think about that. particularly the box a big union and woodrow wilson's name off there and so, they went to the presidents office, about half of a dozen of them and what came out that that was the trustees was that they say what we will do is have a competition. you see a theme here right, we will do a competition and will see if you can get the best mind is to talk about wilson's good side in his bedside and we decided to do the competition pretty we started to understand with us was about and they were similar in the family and the father was a preacher i think and he was very brilliant man but at the same time, most brilliant and people around him were trying to get him to do the right thing and to those particularly wrote a lot about
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why won't people kind of think about the other side through the sort of double consciousness and got really interested in thinking that cannot project and do both his work on the wilson as a way to interrogate him so the pieces called double-sided. and it's located at central park campus at the top here. it is located next to the wilson school, you have the fountain of freedom and the trees and they were all donated by the central campus. the idea is simple. the marker is vertical in the block tower in a white tower. the white tower comes to rest on the block tower and is made from a square because along the diagonal, diagonal is on the side pretty were able to do from that, is to basically look at the inside and could the inside
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where contemporary and push edit and so is a metaphor for we are inside and those of you for privileged who do not have the consciousness and think of others and this is suggesting that everyone has something inside of them only if they would open up trade in and through that, instructed the architecture if it's between the school and the plaza to remove it if you of the trees and we placed their grade and inside ts contemporary quote to a larger and everyone to james johnson to others and who was asking watson to do the right thing. and as we were making this project struck by the current cultural context that we were in the last four years, where everyone spoke of a certain person. oh people change, he will do the
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right thing. his consciousness will open up. so this idea and then taking wilson contribution and activity and posted them on the outside and the smaller context. so we walked into this piece that you now are face to face with in this contemporary and wilson is marginalized on the outside. and also along the inside is this reflection and is reflecting you so you became one of those who are pushing the righteousness. the funny thing happened on making this memorial, black so pushed to get wilson's name off the school even after it was erected worried and opening day,
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the president came out and unveiled it and within a year, the communication continued in the past summer one of the trustees came out and read something on the outside of the piece and voted to remove his name. and whether this piece is temporary, we think that it's done his job in showing and giving company say, a new kind of imagery, not through a person margin through the contemporary. and they can articulate like for a better world in a better place. >> i'm going to try to make sure that we again showed some of our
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ancestors their insight from an early age. and then at night inside with the words and they speak more powerfully at night. and what will become of this. and what also unexpected that's reflective as you move around the piece, you actually get the context which again, his creating and constantly art parf that in the lesson that i will say is our time here and in charleston, in my introduction through charleston in the early part that mary jane jacobs as part of the past which is
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actually came in after hurricane hugo and i'm trying to write about that. i would argue that was about the first time that one of the first times that the civil rights charleston really had to deal with that historic pass in a powerful way and they dropped in and they exhumed a lot in very i guess a lot of tension it. but over. of 20 years, they have been dealing with the past and in places of the future and then a context in which artists have come and given face to actually think about what it means, this is a piece and an next to him, for over three months, that was
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in that area and for the first time in your minds, i always remember, it will always be flood planes, the landscape is unchanging just because we just found out this area has been there, like all of this, is what we choose. for the international african-americans, and where are charged with having sure this is probably for me, one of the, i am so nervous for this project because there is a lot of stakes this project and i'm very nervous. but it has been agreed to team and he just passed away last year and then walter and the structure and we talk about the story but this is a different place, different than our museum
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that you see, this will be a place for families and individuals and groups to advance into have an appreciation of history and in particular the history and the world which i think makes the spot really powerful. it also suggests that being in charleston, finally it would be in a place where people will pass this area as your going out you will come across the site and is your going across that area you will go through the park on the job, you'll pass us and you would like to think about like the way i think of charleston now, i run to the cemetery. i experienced and i want this to be something that becomes something to people. and again, because it exists on the map, this very interesting it but it depends on what you -
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there's no information on this. so the photographer is in charge so you can go off now and you can move out the trees and you can look at the map and say there's no trees in this what you choose to do in charleston's history, i know that very early since, he had to be subservient did and what americans did and somehow you begin and i sure those two images on the bench by the road and now i would never have this compound anything about the history around this culture. went blacks do when they passed the statute in the rita quote about how we had this in our pockets had we would go past calhoun and i didn't know you were ready for calhoun but how
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do we begin to unpack a lot of these ideas in a very early the project we asked the mayor, to make sure and remember the day we were standing there pretty and everybody said no, and fmr. mayor joseph riley said why not as toxic and you look at the window there's some guy down the whole any digging a hole right nurses idea of how do we act with this archaeological thing that we have done. here is a picture of harry with this beautiful building this long long bar, almost like a vessel since about 13 feet off of the ground. the columns are 2 meters wide, almost 6 feet wide, like tapering at the top and give the ground. and as we have made the plans, we try to make the plan be unfettered by stuff we have
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taken the north bar are part of the site which is next to your building, we created a sweet grass field and how do you keep that openness your way in, you go through what we call a colonial garden and shaved and is whipping on to a certain degree and then you make a clearing under the dome and it's all creating this ocean floor and for activities as you make you where to the south, we call the warehouse and is the place where the slaves were stored after they were incubated in. and they were brought here and we know that they were stored in the warehouse and some perished. so at night the site will be opened and again you will visited in the same way that you visit other spirits of charleston. as you enter from the city, we
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have tried to reimagine a binary tomb at make you aware that your coming to water and then as you look out of the sea, those ocean floor spreads out. and then from the sweetgrass, coming in from one side becomes are much more smaller scale passage system and looking at the north side of the building which is in light and again local cultural land and we know that charleston became the veil at the edge. and at the gardens, our ancestors had different voices coming out of blocks to the way of the different groups that came out of from africa and changing at the garden because we know the flora will impact and give us an opportunity to
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talk about the flora and things the slaves brought with him from west africa. and rice planters and propagating life and what we learned very early from this notion of having and how wide it is also having programs to talk about the quality. and then looking back to the south towards the warehouse and build a wall and i think the quote now. ...
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>> currently making the model of different scales, should they be lined down and i've been living with the figures for the last 3 months which is really interesting of how abstract should they be, should they be black, should they be white. i mean, these are things, again, for the divine process. we want this moment as you walk-through to feel that experience as you're walking through before you come out to see the harbor. lastly, of interest is the brooks map which is a slave ship, really showed the horrific social and psychological and physical quality of slavery but this boat made over ten journeys
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to the indies and to north america and i thought it would be really important to kind of view the landscape somehow through this kind of density and we took a boat ride out to sullivan, it was about 3 of us and it was one of these feelings that i had never felt as i was thinking, right, about this diaspora and it reminded me of the cartoon that they have over fort moltry and i was taken away. with this a copy but then it stuck with me because it almost looked like a textile but if you looked at it closely you see there are figures head to toe, head to toe and so create what had we call an infinity fountain and we lifted the water up to the level of the museum and
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along that edge we are looking at making paying user within the pattern and those are just some early copies of what the figures might look like. we want the shell to come out but come out in body and then as you serialize them you kind of begin to see the quality of life and unexpected to me as we've been going through and i know this is low but i just got the other day but i thought the light playing against the shells were pretty wonderful and this idea of having, you know, this fountain that becomes dry and would play against all of these shapes. and this is what a final would look like and what you're beginning to see at times it looks like it's positive or negative but it's negative coolidge and all the shells are
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from atlantic ocean even though that are made in california and along that line we make the lines stainless steel again going back to the idea of reflection, flash of the spirit and if you look up towards the harbor a fountain will fill up and then figures would be dominant and then it'll fill up again and those figures would be dominant. lastly, i want to end with a piece i had at the chicago who was called 3 trees and i was taken by a article that i had read in this new paper in chicago where they were blaming obama for cutting down trees in washington and jefferson park and it occurred to me that they never kind of referred to him as the president and so i asked for could i recycle the trees and so i made trees in the library of chicago and, of course, i had to
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put obama in there along with washington and jefferson. thank you. >> bravo. >> whoa! i hope i got through the time. i'm done. [laughter] >> walter -- walter that was wonderful and one thing that i was determined to say while we have walter was this, years and years ago walter working in california and working around the country and around the world and the institute and i was exhausted just thinking about his work ethic and i said, walter, how do you do it, how
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are you attending to all of the different responsibilities. well, charles, you know, i have a lot -- i'm determined not to let any drop and i wanted to say that today to the students here and for everyone that that's part about life's work we often have lots of responsibilities and we learn to find to akin to them all without -- without letting them drop. walter, he laughs every time i say this, but that was just so profound because he was worn out. you would see him coming back from these meetings with his spirit, smile and everything else and so that's -- so walter knows have never forgotten that
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and the students here. this is about life's work. dedicate a lot of balls in the air and the goal is not to let them drop. >> you forget the most important piece of that quote. some do fall. [laughter] >> you have to know which ones. you can't keep them all in the air, right? once i learned that, some can fall, there's kind of a freedom, right, versus you have to keep them all. some are going to hit the ground but you have to know which ones to keep in the air and that means choice, if you can get to the place of choice. >> i want to just our students and guests to put questions in the chat and i will relay those to professor hood.
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and as we are waiting for those to come in, i was wondering professor hood if i had, you know, one or two questions that i was hoping you might do, you've been described as a community whisperer and i think the suggestion there is that you understand things about communities even before they realize aspects of their own experiences and i'm wondering if that's -- is that a description that you accept and whether you might speak to that dynamic of being a community whisperer? >> i think it has a lot to do. it's a project that i've been working on in pittsburgh in the hill district and they were quoting a neighbor that i had
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been working for years. yeah, walter is the community whisperer but i think what she was meaning by that we try to go out of our way to be good listeners, right, and if you're a good listener you'll hear things and then if you just keep listening and at some point you get them back and you give them back through your own lens and i do think people are appreciative when you listen to them and you're able then to take what they're saying and not just respond by being kind but to respond gene line we through what you do and i think that has been for us working in geographies, something that i really value at. i'm an expert at what i do but i know very little about your place and i have to do the work. i have to do the work and once you do the work it then gives
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you the point of view, right, and it might not always be -- might not always be the same but at least, you know, there's a value to that. i see questions. >> yeah. we have questions here from priscilla who want today comment on, i guess, the mechanics of the pool. will the water full up and drain by the tide or is that man-made mechanism? you're raising your hand. [laughter] >> it's just -- it really has a few inches of water so if we waited, you know, 6 hours of the tide, it's worked out correct timing yet but you'll notice it
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but they'll be some in there that would be, you know, very good. >> and fountains like this is basically a small bit -- >> that's right. >> that's why they are called infinity fountains. on a hot day someone might stick their feet but it's one of those things where we think the image is going to force a different ritual. i think it'll be between 60 and 90 minutes for the entire thing to fill up, slow down but there will always be water in the piece because it's tilted and sometimes the head will have a little pull and the feet will have a little pull and that's where the reflective quality comes in. [laughter] >> bob, would like to work if
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you're working on projects in charlotte. >> i'm working in discovery place museum which is in quito park and, again, it's one of those places where as a kid i went and then coming back, you know, and having to redesign and redesign actually a free canopy so people can walk-through the forest which i'm really excited about. >> question and comment of your southern upbringing in addition to positive comments that have come in through the chat. general say says that you seem to have a very deep understanding of the south? >> as a black man raised in the south you have to have a deep understanding in the south.
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i spent summers in tobacco road. didn't want to but i had to on my uncle -- my uncle was a cropper and all behonest i thought he owned the land and even when i went to college i bragged about my nuclearle and s tobacco land. you know, the south, made comments about the things about the south that i wanted to vanquish. when i went to south carolina i moved and i went through all of that and i remember being in california and one of my
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colleagues came from north carolina. she's a profess o and just listening to her i was like, damn, she has her accent. she was a white woman. working and getting back to south carolina, it really did give me a renewed interest in my past heritage and pushed me to take on projects like this. was doing reconstruction, again, it's like the amazing places right now and so it's been a gift and a curse, put it that way. >> and there are many, many comments coming in through the chat so i will do my best to relay these to you.
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tyler who is one of our excellent students in the class asks about the way in which you developed -- the ways in which your imagination may have broadened since working in the international african-american museum. >> freedom. the biggest has been freedom. i was taken by the board decision to call me one day and say would i take on the garden. this was not something that was part of the original brief of the project. this is something that came out our working together and taking that on, you know, was challenging but it also was empowering and i think since it has pushed me to kind of think back, we can be more in the
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landscape in representation, we can begin to put other narratives out there, blacks in america, we are not one large thing, we are many things and i think the project for me is allowing me to being anything that i thought i could never be and so i think projects like this allow people to come together and share and i really appreciate this opportunity to have people like harry and people like neil riley that allow to do what it is that you need to do. in many projects, people won't let you do what you want to do. i will put it that way. that's why i wanted to show the making project which i think is as good touch stone. >> a couple of questions regarding your question process and if you might say a little more about how the projects come
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together and how you work. >> that's hard to say. i mean, right now with covid, i get up every morning and i make -- [laughter] >> i start every morning making drawings. i painted all the paintings behind me. i try to build a context in which things can come out. right now i'm working on 3 books and being able to write and read and it's really, you know, trying to find and if you can get writing in every day, if you can get a little music in every day, you know, i think you start to have this -- this conversation like with culture and these are things that, you know, i never have the space to do and this past year has given me the space and in a way it's a new way of working but i want these things daily now.
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i don't go to my office. used to be that i go to my office and i have 15 people. and it's freedom now to put the work out there but i can be with myself. >> i'm going to pull out a couple of questions here. 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 -- i mean, my mother died when i was very young. i think when i was 8. my grandmother raised me a lot of the time, so there is a kind
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of southernness to that i was listening to brian, he was talking about his grandmother. people of my generation we talk about our elders who had big influences in our lives and i even think back to the committee that we had, some of the older when we first presented the idea. i remember one of the comments that we can't have people stepping on bodies, right, wow, so, again, listening to that, we put in a bridge. that's where the bridge came from and so, again, the responses in whether it's a whisper or whatever but this just makes the work better. the more voices i think you can pull into the work, the more the work begins to live not only through you but lives through the community. >> in terms of the legacy of the museum or how do you hope your
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work holds up 50 years from now? what should we take from your work, you know, in -- yeah n50 years. >> well, this is a wonderful thing about landscape unlike architecture. landscape is in constant transformation, right? i would like the contributions to be that, you know, the work kind of speaks for itself. i mean, i can't be the person to project 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 consumed. i want to meet it in a popular way. i want people to find space in the work and if anything, it's like there are these spaces that i can go to and i get to feel something different. i get to see something different, i get to hear
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something different and i've been thinking about question with america. it's like how do we push for a difference, right, and how do we celebrate difference because colonialism celebrates and wants to keep creating which means that difference is always kind of shun diversity becomes a median to deal with things. different is different, right, and i do think, you know, for someone walking or for a white person walking in front of the statute they should see it different than somebody walking in front of a calhoun statute and those are things that are part of the experiment in this country that we are not really good at an experiment in accepting others and those differences because on the one
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hand people marginalized and we go back to double consciousness, we've had to take an those things and i get questions from students alike but how do i work with the black community and here is the simple answer to that, i have to figure out how to work with the white community. it's that simple, you know. i think our lives in this country is actually a way for people to deal with difference and i think resiliency when we talk about resiliency, i mean, resiliency are the originals of the land and are still here and still be here and, again, if you think about our ancestors, i mean, i can't imagine being around the early 20th century and having to deal with the possibility of getting tied up and hung from a tree.
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what did people feel in the 60's that they are lacking back, they will get out and march and knew they would get shot but they did it anyway. i do think that this experiment, i do think we have to sort of get to a place where we want to have that conversation and i'm hoping this new building and the things that are happening in charleston can actually be a model for the country because these are hard things. again, i showed the map very early. this is hard. we have only been active for about 50 years. we act like we have been trying to do this for 40. we have only been trying for 50 years and in the 50 years we have to use law to do it and even using law to do it, you have people pushing back and finding a way to get around the law and so in a way we are back where we started 50 years ago if you think about it, right, and are we willing to enact new things. we got rid of affirmative action
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and it was not a handout, affirmative action was a way to get up and be together because we had to be force today do that. we have a lot of work to do and i think we are moving. >> walter, i think we have time for one additional question and, you know, some that you alluded that our political moment has been characterized by grassroots compensation over public space going back to occupy wall street to the iterations of black lives matter and recently with januarl and i'm wondering how that has shaped your work and how that is -- are we seeing that have an impact on landscape
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architecture. i think we are seeing having impact. i think the painting is an act of the public realm. as i was saying earlier, if you look back at the history of charleston, the public space has always been the place where identity politics and social unrest played out. the early days, you know, post emancipation, the celebration on january the first or taking fourth of july celebration and going the marion square and other places and actually having taking over the space. so this is not something new. i think we should be looking back at all of these examples in our history and why do we keep repeating the same thing, right, because, i mean, again because we know where it ends. it ends the streets going back to just being what the streets are like and so i think we have to find that place where we will feel comfortable in those spaces
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with things that might mean something different to one of us being side by side. i think if you start erasing one side you only get back to that kind of single dimension. i think we have to learn to deal with these dualities right at the heart of the country and we have to deal with dualities and there's nothing, i will just speak to young, brown and black people on the street, it's a powerful thing, for me to walk into a room or space and to be -- to feel that people immediately look at me, my race first and they don't even have to say anything and you know that lack, you just know that look and so one was asking me to describe it and i was like really, i have to describe it. but you know that look. i remember being in the elevator at 19, maybe 20 in asheville,
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north carolina. my first job as an intern and i'm on the elevator and i got my tie on and i'm looking around there are all white people and this is 1979 or so and first they looked at me and are like what are you doing in the elevator? what are you doing in the elevator. these are things that stay with us. [laughter] >> thank you so much. i will turn it back to you for wrap-up comments but professor hood, there are many, many additional very favorable remarks put in the chat but i wish we had time to relay all of those but thank you very much. thank you, professor taylor and
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walter, thank you. we will never forget. we will be long gone but the -- but will always be there, those with powerful landscape confronted and challenged and hardened by it, the beauties of the hope, the future, the sad past, lots of opportunities looking, create walter will be a continuing gift to people who come and then, walter, we will not forget you today. i think we have lots -- we have 300 people or so in the audience of students and grandparents and
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everything in between and to hear a brave and thoughtful impression, the priceless gift of his time and it's really wonderful. thank you. i look forward having you back and certainly in june or july 2022 when we opened the international african-american and i get goose bumps of saying it and we get the powerful work of walter. thank you very much. >> thank you, guys. i wish everyone a really safe spring beginning of spring, but one thing i like to say about our mayor, one of the things this was a park and i was out at
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the site and a couple asked me to come into the condo and look down at the site and i asked them, are they going to miss the park now that they're getting this thing and they said the park didn't have any words and they gave us eloquently that they were looking to having this new landscape and that stuck with me because change sociology in space, sometimes it's really hard for people, you know, they got rid of the road and they moved this, you have to change the way of life and a lot of people the fight is going to be different and i'm hoping that it would help heal but also get people to kind of see the world around differently. thank you all. it was a pleasure. you have a hero mayor riley, you
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guys are getting a great education. >> in 2017 american history tv toward the newly reopen smithsonian african-american museum. >> we are fortunate enough that we were able to receive a call from the historic preservation society that wanted to donate a slave cabin to our museum. they knew we were looking for a slave cabin and they had one from plantation located in south carolina which really powerful about this cabin is on the front side we actually interpret it looking at slavery and on the backside interpreting looking at freedom because on island that's where the union army camped out during the period of the civil war and you see where land is given to the african-american
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community and taken away several times until it is ultimately taken away for good. but let's talk about the interpretation in terms of slavery. notice the cabin behind me. what's important is not unlike where people walked up animals at night and they worked in fields not unlike the enslaved men, women and children. african-american men, women and children, holding onto humanity, found ways to love one another and practice their faith and grow gardens to supplement their diet and to create new cultural practices. >> watch full tour online at c-span.org/history. >> did you know you can listen to lectures on the go. stream it any time, you're watching american history tv.

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