Sc African American Calendar 2023

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Sc African American Calendar 2023

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The late Boston architect Henry Cobb designed the museum. The windows of the long, narrow, simple building are decorated inside and out with artificial shutters and brown coverings made of ipe, a strong and dense wood of Central and South America. | Photo: Ruth Smith

Nine major galleries, a special exhibition space, and a genealogy center are taking shape at the International African American Museum (IAAM) to present the broad history of the forced migration of Africans to America.

The IAAM galleries explore the realities of the slave trade and life on plantations, while showcasing the skills and culture of people of African descent and their contribution to the country’s development.

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But the public will have to wait until Jan. 21, 2023, to visit the museum being built on the site of Gadsden’s Wharf, a 19th-century slave trading port on the Cooper River. The museum was expected to be completed by March 2022, but then the opening was pushed back to this summer and pushed back again.

The delays and changes pushed the museum’s cost from $75 million to nearly $100 million, said Jack O’Toole, a spokesman for the city of Charleston. The city owns the building and leases it to IAAM for $1 a year.

The Charleston City Council is expected to approve the latest construction changes Tuesday, which will add an additional $338,000 to the museum’s costs. The total cost of the museum increased due to the delay and change of materials related to the epidemic. Although the board votes on the changes, the IAAM pays for them. The city has pledged $12.5 million in property taxes to pay for the design, engineering and architectural oversight of the museum. After the museum opens, O’Toole said the city will maintain the museum’s African Ancestors Memorial Garden, an ethnobotanical garden with native plants from West Africa, the Caribbean and the Low Countries. Sweet grass is the most famous native plant in the garden.

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Dr. Tonya M. Matthews previously served as director of the Center for Innovative STEM Education at Wayne State University in Detroit | Courtesy of IAAM

Dr. Tonya M. Matthews, the museum’s president and CEO, said the city negotiated a “guaranteed maximum rate” for the construction budget during the museum’s planning. The project, like most construction projects, was affected by unexpected costs caused by the pandemic.” The epidemic also affected the museum’s ongoing operating costs, he said. “We have carefully managed our budget and expenses and continue to do so,” he said. Once open, the operating budget is expected to be $8 million to $10 million a year, Matthews said.

The museum has received more than $100 million from state and local governments, companies, nonprofits and individuals. Aircraft manufacturer The Boeing Company made a second $1 million donation to the museum last week. The money provides free admission to at-risk children.

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In his 2000 State of the City address, then-Mayor Joseph P. Riley Jr. announced plans to build the museum. The next year, a site across from the South Carolina Aquarium was chosen. But three years later, plans changed and the city paid $3.5 million for the Gadsden Pier.

Tide Tribute, a shallow outdoor reflecting pool, will contain water that rises and falls, covering silhouettes that resemble bodies packed into a slave ship. The pool adjoins the concrete outline of Gadsden’s Wharf, where 700 enslaved people froze to death in 1806. | Photo by Herb Fraser

When the IAAM opens, its story begins outside, with two unfinished black granite walls commemorating the more than 700 Africans who froze to death on the wharf in 1806. The memorial walls fit into the concrete contour on the ground of the shelter, where the slaves died during an unexpected freeze. A series of human figures seem to represent them as if they were emerging from the ground. On the blackened walls is a quote from the late Maya Angelou: “And yet I rise.”

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In fact, the long, narrow museum, supported 13 feet off the ground by 18 cylindrical columns, appears to rise from the ground where the slaves died. Matthews said that understanding why the building was erected mitigates previous criticism that the museum is visually unimpressive on paper. “The design of this building gave rise to the African Ancestral Memorial Garden below,” he said, relaying

Exclusive tour of the museum. He explained that in the garden, the art installations occupy an area that has essentially become the first floor of the museum, a plan he inherited when he was elected head of the museum in March 2021.

According to Matthews, the museum’s location in the former slave port shows that “the greatest gift we have as African Americans is our ability to experience trauma and joy at the same time.”

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Under the museum, a wide staircase leads to the center of the atrium with a skylight of the building and a glazed entrance. The steps provide a space for social events in a shaded, amphitheater-like space with cool, flowing breezes. In the eastern part of the building, in the galleries overlooking the Cooper River, the main exhibitions are organized by geography and culture. At the west end, overlooking the Concord Street football field, the galleries are arranged in chronological order.

In addition to the memorial wall, another ceremonial presentation will take place in the building’s harbor, in two small adjoining mini-galleries located within the larger Atlantic Worlds gallery.

The black walls of the mini-gallery at the port of departure are lined with the names and ages of young Africans, including 7-year-old Houa, 14-year-old Lome and 22-year-old Halem. They were among the prisoners released after the capture of illegal slave ships. in the early to mid-1800s, after many countries, including Great Britain and the United States, outlawed the transatlantic slave trade. The Africans’ names, ages, and other details became part of legal documents that were later used to develop a database on the slave trade.

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In the mini-gallery of the Port of Arrival opposite, the black walls are covered with the Americanized names of the prisoners, such as Solomon, Venus and Poor Man. “Those names are a little easier to find in slave records and plantation records,” Matthews said.

Three of the nine galleries talk about race, culture and religion. Slavery is told through rice in the Carolina Gold Gallery. The Carolina Connections gallery features scenes from contemporary South Carolina and other African American locations throughout the state. The Gullah Geechee Gallery maintains a replica house of praise with the sounds of worship at the Johns Island Moving Star Hall House of Praise on River Road. In the west part of the museum, the Family History Center staff helps visitors trace their ancestry. The staff also guides visitors to DNA testing to find their African roots through science.

Picking his way around construction debris, Matthews said the museum works with other museums and historic sites to avoid competing with them. “Even in a museum this big, we can only tell part of the story,” he said.

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Oakland landscape architect Walter Goode designed the African Ancestral Memorial Garden, which surrounds the museum on an elevated

Ironically, the museum that tells the story of slavery is located in a neighborhood where black Charlestonians were displaced by gentrification. “I’m still learning that conversation as a freshman in Charleston,” said Matthews, a Washington native. The entire city has undergone a demographic change, he said. “If a museum can have an impact, it’s decontextualizing conversations in a way that makes you think about what’s next,” he explained.

The museum currently has 27 employees, and that number is expected to increase to 40 when it opens, Matthews said. Some people have questioned the museum’s staff, saying they haven’t hired enough local people.

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“We are proud to be an organization that can recruit national talent and gives us the opportunity to help our community retain and develop local talent,” he said. “42% of our team is from the Lowcountry – and when we include local non-South Carolina employees, we’re at 58%. In addition, we have employees who have been in our region for many years and have also visited and work in the museum. We have some team members whose roles and backgrounds are far away, but all but two now live in the Charleston area.”

On Friday, Matthews was one of the speakers at the Association of African American Museums conference in Miami. “The burden we carry? Critical race theory and its role