Tag Archives: Harlem Renaissance

Black History Month: The Need Remains … a repost


Lonnie Bunch, museum director, historian, lecturer, and author, is proud to present A Page from Our American Story, a regular on-line series for Museum supporters. It will showcase individuals and events in the African American experience, placing these stories in the context of a larger story — our American story.A Page From Our American StoryEditor’s Note: This edition of A Page from Our American Story was originally a speech made by Lonnie Bunch. It is reprinted here in its entirety.Knowing the Past Opens the Door to the Future
The Continuing Importance of Black History Month

Carter Woodson,
father of Black
History Month,
was commemorated
by the United States
Postal Service with
a stamp in his
image on
February 1, 1984.

No one has played a greater role in helping all Americans know the black past than Carter G. Woodson, the individual who created Negro History Week in Washington, D.C., in February 1926.

Woodson was the second black American to receive a PhD in history from Harvard — following W.E.B. DuBois by a few years. To Woodson, the black experience was too important simply to be left to a small group of academics. Woodson believed that his role was to use black history and culture as a weapon in the struggle for racial uplift. By 1916, Woodson had moved to DC and established the “Association for the Study of Negro Life and Culture,” an organization whose goal was to make black history accessible to a wider audience. Woodson was a strange and driven man whose only passion was history, and he expected everyone to share his passion.

This impatience led Woodson to create Negro History Week in 1926, to ensure that school children be exposed to black history. Woodson chose the second week of February in order to celebrate the birthday of Lincoln and Frederick Douglass. It is important to realize that Negro History Week was not born in a vacuum. The 1920s saw the rise in interest in African American culture that was represented by the Harlem Renaissance where writers like Langston Hughes, Georgia Douglass Johnson, Claude McKay — wrote about the joys and sorrows of blackness, and musicians like Louie Armstrong, Duke Ellington, and Jimmy Lunceford captured the new rhythms of the cities created in part by the thousands of southern blacks who migrated to urban centers like Chicago. And artists like Aaron Douglass, Richard Barthe, and Lois Jones created images that celebrated blackness and provided more positive images of the African American experience.

Woodson hoped to build upon this creativity and further stimulate interest through Negro History Week. Woodson had two goals. One was to use history to prove to white America that blacks had played important roles in the creation of America and thereby deserve to be treated equally as citizens. In essence, Woodson — by celebrating heroic black figures — be they inventors, entertainers, or soldiers — hoped to prove our worth, and by proving our worth — he believed that equality would soon follow. His other goal was to increase the visibility of black life and history, at a time when few newspapers, books, and universities took notice of the black community, except to dwell upon the negative. Ultimately Woodson believed Negro History Week — which became Black History Month in 1976 — would be a vehicle for racial transformation forever.  Read the full speech now…

All the best,
Lonnie Bunch
Director

 

NMAAHC


2013 has been an exciting year for us!
Since our ground breaking in February 2012, the Museum has been taking shape at our construction site on the National Mall, located at the corner of 14th Street and Constitution Avenue NW, in Washington, DC.
Just before Thanksgiving, we installed by crane two signature objects — a Southern Railway railroad car (segregated) and a 1930s guard tower from Louisiana State Penitentiary at Angola — too massive to be installed after the Museum is built.  These will be a part of our inaugural exhibition on segregation.
As construction continues, the beams and pillars are beginning to rise. When finished, the Museum will be nearly 400,000 square feet, crowned by a 3-tiered bronze colored corona, but we still need additional funds to reach the finish line.
Can I count on your help? Please consider making a special, year-end tax-deductible gift to the Museum.
Your support is vital to preserving and promoting the cultural legacy of African Americans. Imagine seeing firsthand a PT-13 Stearman Bi-plane actually used to train Tuskegee pilots, viewing the lace shawl Queen Victoria gifted to Harriet Tubman, or enjoying a presentation of jazz music from the Harlem Renaissance!
With artifacts like these and more, the Museum will be a place that becomes a lens into a story that unites as all. To make this possible, Carmen, please consider making a tax-deductible donation today and ensure we stay on schedule to open the Museum’s doors in just a few short years.
Thank you for all you’ve done to support the Museum so far!

Lonnie G. Bunch Sincerely,
Signature
Lonnie G. Bunch
Director