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A Fool's Errand: Creating the National Museum of African American History and Culture in the Age of Bush, Obama, and Trump

Book by Lonnie G. Bunch III · 8 quotes · History, Museums, African Americans

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A Fool's Errand: Creating the National Museum of African American History and Culture in the Age of Bush, Obama, and Trump Quotes

“Museums alone cannot ease the tensions that come from the debates surrounding the fluidity of national identity in the twenty-first century. Nor can any cultural institution solve the problems of poverty, racial injustice, and police violence. But museums can contribute to understanding by creating spaces where debates are spirited but reasoned. Where contemporary challenges are addressed through contextualization and education.”

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Book:A Fool's Errand: Creating the National Museum of African American History and Culture in the Age of Bush, Obama, and Trump
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“President Bush, whose early affirmation of the need for the [Smithsonian National Museum of African American History and Culture] to have a home on the National Mall was significant, and the first lady were genuinely interested and soon became invested in the success of the museum. President Bush had placed African Americans like Colin Powell and Condoleeza Rice in sensitive senior positions that had been unobtainable in earlier administrations. And he genuinely hoped that his actions might address the problem of the lack of diversity within the Republican Party. I also believe, whether directly or indirectly, that the destruction that accompanied Hurricane Katrina, the high percentage of African Americans who perished as a result of the storm and the inadequate response by his administration, informed his attitudes towards the museum.”

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Book:A Fool's Errand: Creating the National Museum of African American History and Culture in the Age of Bush, Obama, and Trump
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“One can tell a great deal about a country by what it remembers. By what graces the wall of its museums. And what monuments have privileged placement in parks or central traffic intersections. And what holidays and patriotic songs are the bane and balm to generations of school children. Yet one learns even more about a nation by what it forgets. What moments of evil, disappointment, and defeat are downplayed or eliminated from the national narratives. Often in the United States the issues of race and the centrality of African American culture are given short shrift in textbooks, popular chronicles, and national memories.”

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“This process taught us to test and challenge the prevailing wisdom about the paucity of African American artifacts. What we discovered was a paucity of effort and creativity rather than a scarcity of collections. I hope that our efforts will spur other institutions to embrace community-driven collecting and commit the resources to look inside the basements and garages for material that was once deemed less important to the interpretive agenda of museums. Not every cultural organization will discover items from Harriet Tubman, Nat Turner, or Marian Anderson, but every museum that makes the effort will find discover items from Harriet Tubman, Nat Turner, or Marian Anderson, but every museum, but every museum that makes the effort will find objects that document the lives, the work, the resiliency, and the dreams of their community.”

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Book:A Fool's Errand: Creating the National Museum of African American History and Culture in the Age of Bush, Obama, and Trump
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“Usually Americans have traditionally viewed questions of race as ancillary episodes, interesting but often exotic eddies outside the mainstream of the American experience. Thus, it was important for the [Smithsonian National Museum of African American History and Culture] to demonstrate through its interpretive frameworks that issue of race shaped all aspects of American life: from political discourse to foreign affairs to western expansion to cultural production.... It was also essential that the stories of the museum featured reflect the tension between moments of pain and episodes of resiliency. This must not be a museum of tragedy, but a site where a nation's history is told with all its contradictions and complexity.”

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“I had always believed that the [Smithsonian National Museum of African American History & Culture] should be a safe haven that helps Americans wrestle with and better understand the difficult current issues of race, justice, and equality. In essence, the museum is a bully pulpit that provides NMAAHC with the opportunity and responsibility to clarify and contextualize concerns that often divide or perplex the American public.... I think it is important for NMAAHC, for the Smithsonian, to engage in the public square in a manner that brings reason, knowledge, and contextualization to the contemporary challenges faced by America. Actions like this are not without risk to an institution that operates within a federal umbrella. Yet I believe that museums like NMAAHC have an obligation to use their expertise, their platform, to contribute to the greater good of a nation.”

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“I hope that the [Smithsonian National Museum of African American History & Culture] never retreats from embracing controversy and, no matter how multifaceted or incendiary the issue, NMAAHC will strive to help the public find contextualization and common ground in a safe and civil environment. I trust that the museum will always be a bully pulpit where boldness and innovation are more than just words. And to use that platform to combat the creeping sense of selective historical amnesia that limits America's ability to understand its past, and itself. I hope that NMAAHC will always celebrate its diverse staff in ways that nurture, protect, and challenge. And it is my hope that the museum will prod and remind other cultural entities, both within and outside of the Smithsonian, that the ultimate goal is to make a people, make a country better.”

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“As I conceptualized the National Museum of African American History and Culture, I knew it had to fulfill Mamie Mobley's charge: to be a place that carried the burden of history and the weight of memory, regardless of how painful or difficult it was. At the core of the museum, therefore, would be a commitment to remember.”

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