Lively Commemorations Coupled with Stark Realities of the Past

Showcasing local Richmond artifacts, the Black History Museum and Cultural Center of Virginia mediates a tension between the saddened, broad, recurring narrative of slavery, and the chronicled, but rarefied, story of Richmond’s productive and bustling black community of the Jackson Ward. Overall, this museum and cultural center celebrates Richmond’s black community and its successes while at the same time, reveals the many obstacles affecting this community’s triumphant narrative. Ultimately, the message that I came away with was that although there is much to be celebrated about black history, the somber realities of slavery must never be forgotten.

            Founded in 1981, this unique historic home is situated right in the center of Richmond’s historic Jackson Ward, a noteworthy historic black community where many black businesses were first owned and operated. For visitors trying to locate the museum, there are limited street signs, and the building appears to be disguised as a private residence, even requiring visitors to ring a doorbell for entry. As I approached the museum, I rang the doorbell and was quickly greeted by a friendly man named Marcus. He welcomed me in and gave me a few brochures explaining the museum’s purpose and physical layout. According to the brochure, this museum represents “a celebration of the human spirit and a testament to what people can achieve when they are faced with adversity.” I was immediately seated in a small, private booth, and Marcus turned on a short film about the history of the Jackson Ward, which emphasized the location as one of the first historic settlements for blacks south of D.C.

After this film was over, I began the tour of the first exhibit, entitled, “Banks, Boutiques & The Deuce: the Legacy of Jackson Ward.” This exhibit celebrates the area of the Jackson Ward by commemorating it as a flourishing, “city within a city.”  In fact, today, it is remembered as the “birthplace of black capitalism.”  This exhibit demonstrates how the black economic force has shaped the city of Richmond today, by tracing visitors back to the time period of this bustling city through its showcase of historic artifacts, business licenses, contracts, and certificates.

Ultimately, the artifacts were engaging, however, this exhibit lacked cohesion and polish. The physical layout of the museum was awkward and did not assertively suggest for visitors to go one way or the other, but more so, allows them to shyly choose. This lack of assertiveness could cause some confusion for some visitors. Additionally, this exhibit was deficient in its efforts to offer an abundance of detailed historical information in accompaniment with the artifacts and paintings showcased.  Many of the artifacts had small placards, but ultimately, these artifacts were lacking in detailed historical information. It is important to reveal the story behind each and every artifact on display so visitors can confirm the legitimacy of the museum. Visitors want to know what is special about a particular artifact. Furthermore, the museum cannot assume that all visitors have an in depth background knowledge of prominent people in black history, and so, when a particular person is showcased, this exhibit should emphasize historical biographies, especially with regards to people like Maggie Walker, Abraham Skipwith, and Neverett Alexander Eggleston, Sr.

The exhibit continues around the loop, and ends abruptly, exiting visitors into the gift shop.  I then proceeded up the curved staircase to view the second exhibit, entitled, “Shackles.” This exhibit looks at black history in a different manner, illuminating the negative effect of slavery by tracing these consequences to present day. As visitors proceed forward at the top of the steps, they must enter four different rooms, each with a different word painted over the doorway. The first is, the “door of no return,” leading visitors into a bare room with placards telling a brief story about the history of slavery. Next, visitors are lead through the door entitled, “emancipation,” another bare room with placards tracing the history of freedom from slavery. Then visitors walk through, “find a way or make one,” another bare room telling stories of successful locals who have overcome the obstacles of slavery, and have made successful lives for themselves. And lastly, visitors walk through the “door of return,” which leads into a section linking African pasts and its current connections. Even though this exhibit had very few artifacts, the aesthetics of the bare rooms, the powerful words above each doorway, and the important quotations above each fireplace demanded a compelling introspection from me. Although it saddened me, this exhibit was successful in urging me to think and reflect about the past, and even though the exhibit was bare, this bareness points to the powerfulness of words. 

            As I humbly retreated back down the stairs in reflection of history’s past events, I continued to the basement to gaze at oil paintings done by a father/son duo. This last part of the museum and cultural center represents a continued celebration for contemporary achievements. This, I thought, was a nice way to wrap up the tour, because it neutralizes the sour feelings visitors may have as they leave the “Shackles” exhibit, and thus offers a positive outlook for visitors to leave with.

Overall, this museum and cultural center, in its three exhibits, both celebrates the successes in black history and commemorates the struggles of black history. This is a place that speaks directly to the visitor, without regards to his or her racial or ethnic background. This is a museum that successfully urges visitors to reflect on the past, relish in the present, and look forward to the future.