The Monument to Stonewall Jackson’s Arm

by Ayele d’Almeida

Ayele d’Almeida is a Political Science and Leadership double-major from Bloomington, Minnesota. Her work at Common Ground, the University of Richmond’s social justice initiative informed her decision to pursue the Race & Racism Project as a summer fellow. She hopes that through her fellowship and continued connection with the project, she will learn more about the University of Richmond. Ayele believes that the Race & Racism Project will also help later in life – as the project forces her to question institutions she may benefits from. She hoped to focus her research on black faculty and the presence of black students in white-dominated clubs and spaces.

When Irina Rogova, the Race & Racism Project archivist first presented the list of potential site visits to our  group, every site seemed normal except for one — “The Monument to Stonewall Jackson’s Arm.” By normal, I mean that all of the other sites did not memorialize individuals but rather told a story. I had joked to myself saying “I wonder if it’ll be sticking up out of the dirt.” I am not sure what it was that initially drew me to visit the Monument to Stonewall Jackson’s Arm at Ellwood Manor. Thomas Johnathan “Stonewall” Jackson was an America Confederate general during the America Civil War. Ellwood Manor served as a field hospital after the Battle of Chancellorsville. Perhaps it was the mere disbelief that Jackson’s arm was buried separately from his body. It may have even been the fact that his arm was memorialized at all. Regardless of whatever it was, I set out to find out what the fervor was about on June 16th with Mysia Perry, another summer research fellow and Dr. Maurantonio, the Race & Racism Project Coordinator.

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Agecroft Hall: What We Value Is What We Preserve

by Kristi Mukk

Kristi Mukk is a rising senior from Mililani, Hawaii. She is majoring in Rhetoric and Communications and minoring in English. She is a dancer and communications director for Ngoma African Dance Company. This is her first time working for the Race & Racism Project as a Summer Fellow, and she is excited to continue her work in the course Digital Memory & the Archive in Fall 2018.

I had never heard of Agecroft Hall before visiting even though it is just a short 10 minute drive from the University of Richmond. Agecroft Hall is an estate that includes a Tudor manor house and gardens overlooking the James River. The manor house was originally located in Manchester, England and was built in the late fifteenth century, but it fell into disrepair in the 20th century. It was bought at auction by entrepreneur Thomas C. Williams, Jr. Williams, who made his fortune in tobacco, banking, and real estate development. He decided to dismantle the manor house and ship it across the Atlantic to be reconstructed in the Windsor Farms neighborhood of Richmond and was completed in 1928. After Williams’ death in the following year after the completion of reconstruction, Agecroft Hall became a house museum as he had instructed in his will. Furthermore, as Williams was a University of Richmond trustee, the Williams’ family donated $25,000 to the University of Richmond in 1890 after his death, and the law school was later named the T.C. William School of Law.

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Win Freedom or Die Trying

by Jacob Roberson

Jacob Roberson is a rising senior on the varsity football team from Richmond, VA double majoring in psychology and sociology. He is a co-vice president of UR Mentoring Network, he is a part of the Dean’s Student Advisory Board, and during the 2017-2018 academic year he was an appointed student representative of the Presidential Advisory Committee for Sexual Violence Prevention and Response. Additionally, he has been inducted into numerous honor societies including Omicron Delta Kappa, Mortar Board, Alpha Kappa Delta, and Psi Chi. He joined the Race & Racism Project in the summer of 2018 as a part of Team Oral History and hopes to remain an active contributor and collaborator into and through the 2018-2019 school year.

“Freedom is never given, it is won.” – A. Philip Randolph

This was one of the first quotes I saw as I made my initial walk through the Black History Museum and Cultural Center of Virginia, looking for a starting point. It caught my eye and teased my mind because I understood the sentiment, but I wasn’t convinced. The short yet encouraging and motivating message led me to question, “Okay, but how do you win?” How do you win freedom that you didn’t know was lost? How do you win when your opponent has a 400-year (and counting) head start? How do you win when your opponent makes all the rules, and makes new ones as you go to make sure you stay behind? How do you win when you didn’t even sign up to play in the first place? How do you win when even when someone on your team starts to make positive progress, their legs are cut from underneath of them? How did you win an arms race when it’s only “legal” for the other team to be armed? How did you win when a grossly disproportionate amount of your squad is incarcerated? You get my drift…

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Contemporary Issues, Addressed at VCU’s Institute for Contemporary Art

by Catherine Franceski

Catherine Franceski is rising junior from Washington, D.C. majoring in Philosophy, Politics, Economics & Law (PPEL) with concentration in politics and minoring in Rhetoric & Communication Studies. She is the president of Phi Alpha Delta pre-law fraternity, and a member of the Westhampton College Honor Council. This is her second year working on the Race & Racism Project. Last summer, she focused on studying the lives and legacies of “hidden” black figures in Richmond, Virginia’s history.

Virginia Commonwealth University’s Institute for Contemporary Art opened its doors to the public in April of 2018. Visitors enter a beautiful, airy architectural masterpiece called the Markel Center. Ranging three floors, the museum’s inaugural exhibit is called “Declaration.” The entrance to the exhibit states, “We believe in the socially transformative power of arts and the arts…Emphasizing new work by artists based in Richmond and around the globe, it deliberately mixes work by artists of varied generations, backgrounds, and perspectives. Such diversity is essential to any healthy community, whether a university, a city, or a nation. These works mirror the multitude of voices that we encounter on a daily basis, speaking in different modes, tones, and intensities.”

 

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A History of Slavery Won’t Look Nice on Your Wedding Pinterest Board

by Rena Xiao

Rena Xiao is a rising junior from New York City who has spent the majority of her life living abroad in Beijing, China. She is a Double Major in Geography and Global Studies with a Concentration in World Politics and Diplomacy, and a minor in WGSS.

Driving down the gravel path it is easy to see how one can be seduced by the idyllic, tranquil settings of Westover Plantation. The grounds are surrounded by farmland and greenery right on the banks of the James River. The place is quiet except for the occasional breeze or bird chirp. Looking around, one could see how the red brick mansion and expansive green lawn could be the backdrop of a wedding or birthday party. Westover Plantation is inviting and alluring, without even a mention of its nefarious past of slavery.

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The Lost Piece of Stonewall: Evaluating Our Obsession with the Confederacy

by Mysia Perry

Mysia Perry is a rising sophomore from Richmond, VA with an intended major in Leadership Studies and minor in Sociology and Women, Gender, and Sexuality Studies.  She is a part of the WILL* program, Peer Advisors and Mentors,  Planned Parenthood Generation Action, and she is both an Oldham and Oliver Hill Scholar. This is her first summer working on the Race & Racism Project on Team Oral History, and she is very excited to begin working for more equitable environment here at the University of Richmond.

CNN reported that, as of 2016, there were about 1,500 monuments to the Confederacy in public spaces throughout the United States. As I explored the internet searching for this number, I found myself wondering why we are so obsessed with the “losers.” America, and the South specifically, has developed this obsession with redefining how we see the Civil War because of all the shame that we hold as a result of its causes. From this fixation stems sayings such as “heritage not hate” and protests to removal of these monuments to the Confederacy. How are we in a country that has spent so much time condemning the controversial pasts of other countries, yet we have no fear in highlighting the scars of ourselves under false pretenses?

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No John Trumbull

BlogPost3.Photo1_Lim_062217By Karissa Lim

The title for this piece is sourced from the song “No John Trumbull” from the Hamilton MixtapeWatch if performed here.

Located near Chinatown in Old City, the African American Museum in Philadelphia (AAMP) is the first institution built by a major US city to preserve, interpret, and exhibit African American culture. Across from the museum are two federal buildings: the Federal Detention Center and the Federal Reserve Bank of Philadelphia. The museum consists of four galleries; currently, they have two art exhibits and two history exhibits. On display on the first floor of the museum is “Audacious Freedom: African Americans in Philadelphia: 1776-1876.” This exhibit attempts to tell the history of African Americans in Philadelphia through photos, light projections, a timeline, and audio. It answers questions museumgoers may have about African American culture in Philadelphia and the contributions they made to not only the abolitionist movement but also the city’s history. Read more

Site in the Spotlight: IPS Crispus Attucks Museum

by Dominique Harrington

The Indiana Public School (IPS) Crispus Attucks Museum, a museum which commemorates the first black high school in Indianapolis, was founded in 1998 to preserve the school’s rich history.  Despite being next to the Crispus Attucks High School’s gym and auditorium, I never noticed that the museum was there.  The museum is attached to the school, on its south side, closest to the sporting fields.  Equipped with my phone to take pictures, a pen, and my notebook, I walked up to the door of the museum.

The exterior of the museum features this painting that places Crispus Attucks, with the “CA” at the top, with a grander narrative of African and African-American history as displayed through the African imagery present.

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Sides, Strategy and Slavery in the Civil War

by Elizabeth Mejía-Ricart 

What is it like to be part of the losing side? For the German nation, for instance, it means conciliating with its problematic past and honoring those that were hurt by their actions in the wake of WWII. However, in other communities, like Richmond, having a controversial history still presents a challenge, which in most cases leads to defensiveness and denial. In particular, this inquiry guided me throughout the exhibit of the American Civil War Museum at Tredegar during my visit on Wednesday, June 21. In a chronologically organized presentation, the institution displayed the evolution of the Civil War, giving a particular emphasis to the significance and strategic use of slavery throughout the process. Still, the overarching theme displayed a rather interesting comparison between the North and the South, emphasizing non-apparent similarities between both sides of the dispute.

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Saved?: Preserving Society Hill and Old Philadelphia

BlogPost3.Photo1_Lim_062217By Karissa Lim

The Philadelphia History Museum is a two-level city history museum, claiming to be “your gateway into Philadelphia’s past!”. It has a daunting task before it: telling the history of the city of Philadelphia. The museum uses its exhibits to proudly show us where the city has been and question where it will go. Though its story was one of Philadelphian pride, the museum did not shy away from acknowledging tensions, such as those between races and citizens and government. The exhibit on preserving historic sites in Philadelphia, “Saved! Preserving Old Philadelphia: 85 Years of The Philadelphia Society for the Preservation of Landmarks,” used unique storytelling and interactive methods to describe the challenges in preserving Philadelphia’s history.

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