Relevant bibliographies by topics / National Museum of African-American History and Culture

Academic literature on the topic 'National Museum of African-American History and Culture'

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Published: 26 July 2024
Last updated: 27 July 2024

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Journal articles on the topic "National Museum of African-American History and Culture"

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Weiss, Nancy E. "Lifting Every Voice Throughout the Nation." Public Historian 40, no. 3 (August 1, 2018): 142–62. http://dx.doi.org/10.1525/tph.2018.40.3.142.

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The National Museum of African American History and Culture Act authorized the Institute of Museum and Library Services (IMLS) to establish grant programs for museums of African American history and culture. Through its Museum Grants for African American History and Culture program, IMLS helps these museums improve operations, enhance stewardship of collections, engage in professional development, and attract new professionals to the field. The Act has fostered a national ecosystem that leverages the collective resources of the National Museum and African American museums throughout the United States to preserve and share the strength and breadth of the African American experience.
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Towle, Ashley. "National Museum of African American History and Culture." American Journalism 34, no. 1 (January 2, 2017): 119–20. http://dx.doi.org/10.1080/08821127.2016.1275249.

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Miles, Tiya. "Review: National Museum of African American History and Culture." Public Historian 39, no. 2 (May 1, 2017): 82–86. http://dx.doi.org/10.1525/tph.2017.39.2.82.

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Curtis, Ariana A. "Afro-Latinidad in the Smithsonian’s African American Museum Spaces." Public Historian 40, no. 3 (August 1, 2018): 278–91. http://dx.doi.org/10.1525/tph.2018.40.3.278.

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The nearly fifty-year gap between the establishment of Smithsonian’s Anacostia Community Museum (ACM) and the National Museum of African American History and Culture (NMAAHC) created a difference in the museums’ central narratives about Blackness and the inclusion of Afro-Latinidad. The Anacostia emerged in 1967 as part of the Black museum movement. It has historically framed Blackness as DC-based African Americanness with periodic inclusion of Afro-Latinidad. The first object in the collection of the NMAAHC is from Ecuador, signaling an inclusive representation of Black identities that foundationally includes Afro-Latinidad.
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Laberenne, Rebecca, Guy J. P. Nordenson, Erich Oswald, and Ninoslav Krgovic. "Superstructure of the National Museum of African American History and Culture." Structural Engineering International 27, no. 3 (August 2017): 454–61. http://dx.doi.org/10.2749/222137917x14881938991366.

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Melish, Joanne Pope, Marcia Chatelain, and Hasan Kwame Jeffries. "Smithsonian National Museum of African American History and Culture, Washington, D.C." Journal of American History 104, no. 1 (June 2017): 145–61. http://dx.doi.org/10.1093/jahist/jax009.

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Bunch, Lonnie G. "The National Museum of African American History and Culture: The Vision." Journal of Museum Education 42, no. 1 (January 2, 2017): 8–12. http://dx.doi.org/10.1080/10598650.2016.1265850.

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Rice, Faun. "National Museum of African American History and Culture: A New Integration?" Curator: The Museum Journal 60, no. 2 (April 2017): 249–58. http://dx.doi.org/10.1111/cura.12195.

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Matthews, Dyese L. "A Look at the Black Fashion Museum Collection and Designer Peter Davy, National Museum of African American History and Culture, DC, online exhibition, available since 1 June 2017." Critical Studies in Fashion & Beauty 13, no. 1 (June 1, 2022): 185–92. http://dx.doi.org/10.1386/csfb_00043_5.

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Mikešová, Pavla. "Museums and Their International Audiences." Muzeum: Muzejní a vlastivedná práce 55, no. 2 (June 1, 2017): 42–44. http://dx.doi.org/10.1515/mmvp-2017-0046.

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Abstract The National Museum, the Centre for Presenting Cultural Heritage in cooperation with the Náprstek Museum of Asian, African and American Cultures, held on the 24th and the 25th October 2017 a specialised seminar entitled “Museums and Their International Audiences” focusing on the work of the museum staff with foreigners who are living in the Czech Republic and foreign visitors. The seminar presented innovative projects from the environments of museums and galleries that present the culture and the history of foreigners and national minorities who are living in the Czech Republic, it dealt with the role of museums in the field of integration of foreigners and with possibilities of cooperation with the non-profit sector in this area. On the second day of the seminar a specific intercultural skills training was held.
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Dissertations / Theses on the topic "National Museum of African-American History and Culture"

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Webb, Brittany. "Materializing Blackness: The Politics and Production of African Diasporic Heritage." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/504409.

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Anthropology
Ph.D.
"Materializing Blackness: The Politics and Production of African Diasporic Heritage” examines how intellectual and civic histories collide with the larger trends in the arts and culture sector and the local political economy to produce exhibitions at the African American Museum in Philadelphia (AAMP) and structure the work that museum exhibitions do to produce race visually for various audiences. Black museums are engaged in the social construction of race through their exhibitions and programs: selecting historical facts, objects and practices, and designating them as heritage for and to their audiences. In tracking this work, I am interested in 1) the assemblages of exhibits that are produced, as a function of 2) the internal logics of the producing institutions and 3) larger forces that structure the field as a whole. Looking at exhibits that engage Blackness, I examine how heritage institutions use art and artifacts to visually produce race, how their audiences consume it, and how the industry itself is produced as a viable consumptive market. Undergirded by the ways anthropologists of race and ethnicity have been explored and historicized race as a social construction I focus on an instantiation of the ways race is constructed in real time in the museum. This project engages deeply with inquiries about the social construction of race and Blackness, such as: how is Blackness rendered coherent by the art and artifacts in exhibitions? How are these visual displays of race a function of the museums that produce them and political economy of the field of arts and culture? Attending to the visual, intellectual, and political economic histories of networks of exhibiting institutions and based on ethnographic fieldwork in and on museums and other exhibiting institutions, this dissertation contextualizes and traces the production and circulation of the art and artifacts that produce the exhibitions and the museum itself as a way to provide a contemporary concrete answer. Overall “Materializing Blackness” makes the case for history and political economy as ghosts of production that have an outsized impact on what we see on exhibition walls, and are as important to the visual work as a result. Further it takes the Black museum as a site of anthropological engagement as a way to see the conjuncture of the aesthetic and the political, the historical and the material in one complicated node of institution building and racecraft in the neoliberal city.
Temple University--Theses
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Edmundson, Joshua R. "THE ONE EXHIBITION THE ROOTS OF THE LGBT EQUALITY MOVEMENT ONE MAGAZINE & THE FIRST GAY SUPREME COURT CASE IN U.S. HISTORY 1943-1958." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/399.

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The ONE Exhibition explores an era in American history marked by intense government sponsored anti-gay persecution and the genesis of the LGBT equality movement. The study begins during World War II, continues through the McCarthy era and the founding of the nation’s first gay magazine, and ends in 1958 with the first gay Supreme Court case in U.S. history. Central to the story is ONE The Homosexual Magazine, and its founders, as they embarked on a quest for LGBT equality by establishing the first ongoing nationwide forum for gay people in the U.S., and challenged the government’s right to engage in and encourage hateful and discriminatory practices against the LGBT community. Then, when the magazine was banned by the Post Office, the editors and staff took the federal government to court. As such, ONE, Incorporated v. Olesen became the first Supreme Court case in U.S. history that featured the taboo subject of homosexuality, and secured the 1st Amendment right to freedom of speech for the gay press. Thus, ONE magazine and its founders were an integral part of a small group of activists who established the foundations of the modern LGBT equality movement.
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Lamont, Sarah. "Deconstructing the Dichotomy: Muslim American University Students' Perceptions of Islam and Democracy." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1336083346.

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Meldon, Perri. "Interpreting Access: A History of Accessibility and Disability Representations in the National Park Service." 2019. https://scholarworks.umass.edu/masters_theses_2/787.

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This thesis illustrates the accomplishments and challenges of enhancing accessibility across the national parks, at the same time that great need to diversify the parks and their interpretation of American disability history remains. Chapters describe the administrative history of the NPS Accessibility Program (1979-present), exploring the decisions from both within and outside the federal agency, to break physical and programmatic barriers to make parks more inclusive for people with sensory, physical, and cognitive disabilities; and provide a case study of the Home of Franklin D. Roosevelt National Historic Site (HOFR) in New York. The case study describes the creation of HOFR as a house museum and national historic site, with a particular focus on the history of the site’s accessibility features; considers existing barriers; and makes recommendations for programmatic changes to improve the experience for disabled and nondisabled visitors. By collaborating with and learning from nearby organizations by and for people with disabilities, HOFR can serve as a model for other historic house museums in how to effectively interpret “disability stories.” Contemplating how the National Park Service has interpreted the histories and heritage of other historically marginalized communities through theme studies, on-site interpretation, and public history scholarship yields lessons for how best to interpret disability history and depict nuanced representations of the varied disability communities living in the U.S. The inclusion of “disability stories” and representation of people with disabilities in the past will help foster deeper connections with and welcome diverse visitors to the parks.
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Brink, Linda Eugen. "Die lewe, werk en invloed van F.V. Engelenburg in Suid-Afrika (1889 – 1938) / Linda Eugéne." Thesis, 2015. http://hdl.handle.net/10394/16537.

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This dissertation is a historical biography of F.V. Engelenburg (1863-1938) and covers the period from 1889 to 1938, when Engelenburg lived and worked in South Africa. The study situates Engelenburg in the historical landscape of the Zuid-Afrikaansche Republiek during the late nineteenth and early twentieth century. The focus is mainly on Engelenburg’s journalistic career at De Volksstem, but attention is also given to his many other interests, including the development and promotion of Afrikaans and the Afrikaans academic culture, especially in the northern parts of South Africa. His work pertaining to the development of architecture, literature, aviation, the visual and performing arts, history, libraries, museums and educational institutions comes under the spotlight. His private life is considered as well in order to portray his versatility as a person. The chapters have been subdivided to highlight the variety of matters he was involved in, and a chronological approach has been followed as is customary in a biography. The study is based on archival research. In particular, Engelenburg’s private collections were used, as well as the private collections of some of his contemporaries. Engelenburg assumes a central place in the biography, with special focus on how he perceived and experienced conditions and everyday life in South Africa from the point of view of his transnational European background. His role as influential opinion-maker and political commentator on local and international politics is highlighted. His ties with political leaders and his involvement in government affairs are emphasised. The study also refers to his continued contact with his motherland, the Netherlands, and with the Dutch language. After the Anglo- Boer War, he realised that the languages of the future in South Africa would be Afrikaans (not Dutch), alongside English. His continuing support for Afrikaans as a language of instruction in schools and universities and the development of the Afrikaans literature, as well as his support for the standardization of Afrikaans helped to establish Afrikaans as an official language alongside English and Dutch in South Africa. Engelenburg’s active contribution to the work of the Zuid-Afrikaanse Akademie voor Taal, Lettere en Kuns (now the Suid- Afrikaanse Akademie vir Wetenskap en Kuns), helped to put the organization on a sound footing for future development. The Akademie can be seen as a living monument to his work in South Africa.
PhD (History)--North-West University, Vaal Triangle Campus, 2015.
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Khan, Khatija Bibi. "Post 9/11 constructions of Muslim identities in American black popular music." Thesis, 2010. http://hdl.handle.net/10500/3606.

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The aim of this study was to critically explore the constructions of Muslim identities in selected Black African American popular music composed before and after the 11th of September 2001. This study is interdisciplinary because it used popular culture theories developed by Hall, Strinati, Storey and Gilroy’s concept of the Black Atlantic. Postcolonial literary theories of Bhabha, Spivak and Fanon were also used. The study demonstrated that the content and style of the lyrics by Public Enemy, Talib Kweli, Paris, Lupe Fiasco, Kanye West, Scarface, Miss Eliot, Missundastood, Erykah Badu and KRS-One have been influenced by Islam’s religious versions of the Nation of Islam, Five Percenters or Nation of Gods and Earths and Sunny Islam. Individual singers also manipulated the spiritual symbols and cultural resources made available to them in the Islam religion. Black African American singers more or less share common historical experiences, but they constructed and depicted Muslim identities differently because of their class, generational and gender backgrounds. Chapter one introduced the area of study, justified it and adopted an eclectic theoretical approach in order to account for the diverse constructions of Muslim identities in the songs composed by black African American hip hop singers. Chapter two provided an extended review of literature for the study. Chapter three explored the influence of the Nation of Islam on the singers and its creative manipulation by the black singers. Chapter four explored religious hybridity because the lyrics draw from Islam and Christian eschatological values. Chapter five used lyrics by three black female singers and revealed how they reconfigured differently, Black Muslim identities in a musical industry predominantly patronised by male singers. Chapter six explored the use of language in signifying different meanings of Muslim-ness in order to arrive at different definitions of pan Black Islamic musical consciousness. Chapter seven concluded the study by summarising the central argument of the study which was that black African American singers have referenced cultural symbols from Islam and in the process manipulated Islam’s religious metaphors to suggest different and alternative models for the black communities in the United States of America.
English Studies
D. Litt. et Phil.
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Khan, Khatija Bibi. "Post 9/11 constructions of Muslims identities in the American black popular music." Thesis, 2010. http://hdl.handle.net/10500/3606.

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The aim of this study was to critically explore the constructions of Muslim identities in selected Black African American popular music composed before and after the 11th of September 2001. This study is interdisciplinary because it used popular culture theories developed by Hall, Strinati, Storey and Gilroy’s concept of the Black Atlantic. Postcolonial literary theories of Bhabha, Spivak and Fanon were also used. The study demonstrated that the content and style of the lyrics by Public Enemy, Talib Kweli, Paris, Lupe Fiasco, Kanye West, Scarface, Miss Eliot, Missundastood, Erykah Badu and KRS-One have been influenced by Islam’s religious versions of the Nation of Islam, Five Percenters or Nation of Gods and Earths and Sunny Islam. Individual singers also manipulated the spiritual symbols and cultural resources made available to them in the Islam religion. Black African American singers more or less share common historical experiences, but they constructed and depicted Muslim identities differently because of their class, generational and gender backgrounds. Chapter one introduced the area of study, justified it and adopted an eclectic theoretical approach in order to account for the diverse constructions of Muslim identities in the songs composed by black African American hip hop singers. Chapter two provided an extended review of literature for the study. Chapter three explored the influence of the Nation of Islam on the singers and its creative manipulation by the black singers. Chapter four explored religious hybridity because the lyrics draw from Islam and Christian eschatological values. Chapter five used lyrics by three black female singers and revealed how they reconfigured differently, Black Muslim identities in a musical industry predominantly patronised by male singers. Chapter six explored the use of language in signifying different meanings of Muslim-ness in order to arrive at different definitions of pan Black Islamic musical consciousness. Chapter seven concluded the study by summarising the central argument of the study which was that black African American singers have referenced cultural symbols from Islam and in the process manipulated Islam’s religious metaphors to suggest different and alternative models for the black communities in the United States of America.
English Studies
D. Litt. et Phil.
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Books on the topic "National Museum of African-American History and Culture"

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Institution, Smithsonian, ed. The National Museum of American History: Science, technology, and culture. Washington, D.C: Smithsonian Institution, 1988.

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National Museum of the American Indian (U.S.). Smithsonian, Native American history and culture. [United States]: Smithsonian Institution, 2001.

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US GOVERNMENT. An Act to Establish the National Museum of African American History and Culture Plan for Action Presidential Commission to Develop a Plan of Action for the Establishment and Maintenance of the National Museum of African American History and Culture in Washington, D.C., and for Other Purposes. [Washington, D.C: U.S. G.P.O., 2002.

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Friedel, Robert D. A material world: An exhibititon at the National Museum of American History : Smithsonian Instititution. Washington D.C: Smithsonian Institution, 1988.

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M, Kendrick Kathleen, and National Museum of American History (U.S.), eds. Legacies: Collecting America's history at the Smithsonian. Washington, D.C: Published by Smithsonian Institution Press in association with the National Museum of American History, 2001.

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Kendrick, Kathleen M. Smithsonian treasures of American history. New York, NY: Collins, 2006.

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Memorials, United States Congress House Committee on House Administration Subcommittee on Libraries and. Establishment of an African-American Heritage Memorial Museum: Hearing held before the Subcommittee on Libraries and Memorials of the Committee on House Administration, U.S. House of Representatives, One Hundred First Congress, first session, September 21, 1989, Washington, DC. Washington: U.S. G.P.O., 1990.

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United States. Congress. House. Committee on House Administration. Subcommittee on Libraries and Memorials. Establishment of an African-American Heritage Memorial Museum: Hearing held before the Subcommittee on Libraries and Memorials of the Committee on House Administration, U.S. House of Representatives, One Hundred First Congress, first session, September 21, 1989, Washington, DC. Washington: U.S. G.P.O., 1990.

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Smithsonian Folklife Festival (2007 Washington, D.C.). The 2007 Smithsonian Folklife Festival: Mekong River, connecting cultures; Northern Ireland at the Smithsonian; Roots of Virginia Culture. Washington: Smithsonian Institution Center for Folklife and Cultural Heritage, 2006.

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W, Rendell Kenneth, and National Heritage Museum (Lexington, Mass.), eds. The western pursuit of the American dream: Exhibition, National Heritage Museum, 2004-2005 : selections from the collection of Kenneth W. Rendell. Natick, MA: Historical Publications, 2004.

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Book chapters on the topic "National Museum of African-American History and Culture"

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Olsen, Clare, and Sinéad Mac Namara. "National Museum of African American History and Culture." In Collaborations in Architecture and Engineering, 37–61. 2nd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003018179-5.

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Hanks, Laura Hourston. "National Museum of African American History and Culture, Washington, DC, USA." In New Museum Design, 139–56. Abingdon, Oxon ; New York : Routledge, 2020.: Routledge, 2021. http://dx.doi.org/10.4324/9780429435591-8.

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Brock, Claire. "Photograph of the Taylor Lane Hospital Operating Room (Dated 1899), Dr Matilda A. Evans Collection, National Museum of African American History and Culture." In Women in Medicine in the Long Nineteenth Century, 109–14. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003265252-8.

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"Art and Museum Life." In Speechifying, 177–206. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478027188-009.

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The speeches in this chapter reflect on Johnnetta Betsch Cole's contributions to the world of art and museums after becoming director of the Smithsonian National Museum of African Art in 2009. In her 2012 commencement speech at the Duke Ellington School of the Arts, she highlights the importance of the arts for society. In her 2008 speech to the National Museum of African American History and Culture, she offers a feminist analysis of how gender is treated in opening exhibitions at museums. In her 2015 keynote address at the American Alliance of Museums Annual Meeting, she urges museum professionals to work toward greater diversity in staff, exhibitions, educational programs, and visitors. And in her 2012 speech at Clark Atlanta University, she brings attention to the works of African American art housed at HBCUs like Hampton, Clark Atlanta, Fisk, Lincoln, and Howard universities, interrogating crucial questions of “ownership” of these art collections.
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"National Museum of African American History and Culture Plan for Action Presidential Commission Act (28 December 2001)." In African American Studies Center. Oxford University Press, 2009. http://dx.doi.org/10.1093/acref/9780195301731.013.33532.

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"National Organizations." In Interpreting African American History and Culture at Museums and Historic Sites, edited by Max A. van Balgooy, 199–200. Rowman & Littlefield Publishers, 2014. http://dx.doi.org/10.5771/9780759122802-199.

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Jules-Rosette, Bennetta, and J. R. Osborn. "Reaching Out." In African Art Reframed, 94–120. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043277.003.0004.

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This chapter examines strategies of museum outreach and museum education in the public sphere. It contrasts the mythos and chronos of museum narratives through a content, architectural, and design analysis of the Smithsonian National Museum of African American History and Culture. Case studies of youth interactions explore the ways that museums extend their educational mission. The control that museums seek to establish within their exhibtionary complexes often moves out of their control when diverse publics are involved, and expanded audiences stake their own claims on the representation of heritage. This process has contrasting political implications for diverse populations. Curatorial narratives, the mythos of museum histories, catalogues, outreach programs, and various technological interventions have been deployed to address the communicative gaps between curators and their audiences.
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Holloway, Jonathan Scott. "Epilogue." In African American History: A Very Short Introduction, 116—CEP22. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/actrade/9780190915155.003.0008.

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Abstract The epilogue echoes the opening refrains of the book’s introduction: that the history of the United States is rife with paradoxes and often shattering juxtapositions when viewed through the lens of the black experience. Despite decades of civil rights gains and social progress, Black Lives Matter—a grassroots effort to call attention to civil rights denied—emerged. The openings of the National Memorial for Peace and Justice in Alabama and the Smithsonian’s National Museum of African American History and Culture were powerful reminders that at least some in the country were ready to reckon with the complexity of the American past, if only to secure a freer future.
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Simko, Christina. "Finding a Way Forward." In National Memories, 65–86. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197568675.003.0005.

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Abstract The way that nations commemorate their pasts has profound implications for the futures they are able to imagine and, ultimately, enact. This chapter compares three temporalities—ways of mapping the relationships among past, present, and future—that compete for predominance in U.S. memory today. Former President Donald Trump’s “Make America Great Again” slogan revived a nostalgic temporality grounded in monumental images of the nation’s past, such as South Dakota’s Mount Rushmore. By contrast, his predecessor, Barack Obama, advanced a progressive retelling of U.S. history, a narrative reinforced in the National Museum of African American History and Culture in Washington, DC. Finally, the nonprofit Equal Justice Initiative (EJI) rose to prominence with a traumatic narrative, articulated at the National Memorial for Peace and Justice in Montgomery, Alabama, and in public interviews and appearances by EJI founder Bryan Stevenson. Both progressive and traumatic narratives offer crucial resources for responding to the resurgence of White nationalism. Whereas progressivism provides the uplift and inspiration that have often sustained successful social movements, an emphasis on trauma is a crucial antidote for the distortions of nostalgia, bringing the ongoing legacies of past violence clearly into view.
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Sodaro, Amy. "“Feeling Truth”: Objects, Embodiment, and Temporality in the National Museum of African American History and Culture (Washington, DC) and the Legacy Museum (Montgomery, Alabama)." In Museums, Narratives, and Critical Histories, 25–44. De Gruyter, 2024. http://dx.doi.org/10.1515/9783110787443-002.

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