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• W2904232447 abstract "Reviewed by: From Storefront to Monument: Tracing the Public History of the Black Museum Movement by Andrea A. Burns Zanice Bond FROM STOREFRONT TO MONUMENT: Tracing the Public History of the Black Museum Movement. By Andrea A. Burns. Amherst and Boston: University of Massachusetts. 2013. In 2016, the Smithsonian's National Museum of African American History and Culture, located on the National Mall in Washington, DC, opened its doors to an enthusiastic [End Page 125] public. This spectacular museum is a part of a rich legacy of African American museums that often began with little to no funding in small neighborhood buildings. The radical social and political changes of the 1960s that gave rise to the Black Power Movement also fostered another site of black empowerment: the new black neighborhood museum (4-7). In From Storefront to Monument: Tracing the Public History of the Black Museum Movement, Andrea A. Burns examines the Black Museum Movement primarily through the history of the DuSable Museum, in Chicago, the International Afro-American Museum (now the Charles H. Wright Museum of African American History) in Detroit; the Anacostia Neighborhood (now Community) Museum in Washington, D.C.; and the American Museum of Philadelphia, opened in Pennsylvania in 1976. Burns analyzes archival materials that foreground the complexities and tensions that surfaced among museum administrators, community leaders, and residents during the Black Museum Movement while contextualizing the shifts in geography and politics that made African American museums dynamic sites of knowledge. Burns's introduction centers around a meeting of individuals in New York discussing how traditional museums would remain relevant in the midst of the black freedom struggle. June Jordan rejected any compromise equivalent to the nigger room in a traditional museum.This meeting became an important part of an ongoing conversation about African American museums and their roles in society (1-2).Who will tell African American stories? Which will become a part of our national narrative? Where will these stories be told, and who will access and interpret them? The book includes origin stories of the three aforementioned museums established in the 1960s. Burns, for example, chronicles the programmatic shifts in Chicago's DuSable Museum. In 1961, the exhibits were initially non-confrontational, designed without yet challeng[ing] traditional representations. … Curators used what Burns calls a 'we, too, were here' approach so that black contributions became a more surface part of the national narrative. Then exhibitions began to revise misinformation and became quite political as with sculptor Bob James's dioramas in 1968 (73-74). In chapter three, Burns includes a poignant example ofbottom-up leadership at the Anacostia Museum. Local children, afraid of rats in their schools, inspired The Rat exhibit which addressed a bonafide social problem while teaching local children about rats (93-96). Burns has presented a well-research and insightful study that recognizes the vital role of the Black Museum Movement in producing a robust public history. The text would be appropriate for undergraduate courses in Museum studies, African American history, or American studies and would also be an excellent resource for individuals who wish to establish community museums or understand the historic significance and inner workings of museums. Zanice Bond Tuskegee University Copyright © 2018 Mid-America American Studies Association" @default.
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• W2904232447 title "From Storefront to Monument: Tracing the Public History of the Black Museum Movement by Andrea A. Burns" @default.
• W2904232447 doi "https://doi.org/10.1353/ams.2018.0034" @default.
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