Events, warm and fuzzy, highly entertaining, song and dance, one day festivals, period. Isnt it funny how when you want to do africanAmerican History, . E can do a oneday festival not caucasian history . The department had a longrange plan. They were going to build a visiting center one day, that was going to be stateoftheart, and there would be some exhibits in their exclusively in there, exclusively dedicated to telling the story of slavery. Includeld africanAmerican History, without even slightly changing the tour. In 1988. Ill in focus, what they didnt understand was that Lessons Learned during the Civil Rights Movement should have conveyed to policymakers that expected automatic deference and acceptance of the status quo representations of africanAmerican History and culture, like slavery itself, had passed irrevocably into history. Thatd passed the point africanamericans would say, if you think thats the best thing, thats what we are going to do. Please. [laughter] durant puther will an addict of integration. Le. Nt to see things who my obligation to the past and the present generations was to eliminate the states option of ignoring the existence of over 800 men, women, and children who lived and died on somerset place, hundreds of whose bodies are still in on the ground interrred on the grounds. ,espite implementation delays accompanying the doggedly uncompromising administrative resistance to the very concept of mainstreaming and painting the history of slaveowners and enslaved people on one canvas, i knew that reconstructing permanent representative homes and other relevant structures in the former Slave Community was the only logical strategy to eliminate permanently the options of symbolic annihilation, and that would 15year thus began a journey, guided by my personal affirmation. When your purpose is noble, when your goals benefit mankind, all that you need to achieve them will be available to you. What you said . [laughter] that doesnt mean [inaudible] among the Resources Available to me, first of all were legislators. You cultivate relationships with the legislators who sign on the dotted line for the money to do whatever you want to do. Carolinauded the north black legislative caucus. Also available where a stunning of who id be afraid would leave out a stunning array of historians and archaeologists and volunteers from a nonprofit. The first thing i had to do was to form a nonprofit, because if i had to go to the state to ask for any penny, we would be broke and doing nothing right now. The other thing i advise anybody to do is, first get some money. Former nonprofit, so you dont have to form a nonprofit, so you dont have to, depend upon the state or taxpayers for everything you do. Today, after many seasons of ok, imsearch almost through. [laughter] after funding and research, andrset place has integrity intelligence and historical legitimacy. People embrace humanity of people they once only knew as slaves. In the reconstructed home of sookie davis, they are reintroduced to and enslaved grandmother. They learn how she struggled with all of lifes challenges. They are lewiss home, introduced to an african woman brought to that plantation along with 79 others, directly from africa in 1786. At the hospital, they learn about the economic aspects of plantation life. We will skip that. We will get there. I have to say, adding to the of somersetrtrait place are the stocks and the jails. Visitors now tour the once offlimits domestic dependencies, and at the plantars home they are no longer planters home they are no longer exposed to the elitist white male tour. Instead, they learn how he balanced all his privileges. As peter would has said peter wood has said, somerset place has changed the interpretive paradigm. One of the largest plantations in North Carolina is a educatele site used to citizens about the social history of africanamericans. At somerset, a paradigm shift has moved to the interpretive history from exclusivity to inclusivity, from invisibility to visibility, from the anemic tour of the Community Narrative to the historically integrated t our. [applause] and now, Dolores Hayden will help us understand why looking at the challenge of place with a lot of her work. Dolores, if you would . Lonnie. Thank you, i am honored to be here. It has been a remarkable couple of days. I have learned a great deal. Shapes of called the time. Outside the doors of history it reveals the shape of political and Economic Life to those who can decode the landscapes. Preservation has been a field dominated by architects and architectural historians, who favor places owned by the wealthy and designed by celebrated architects. But urban vernacular buildings offer the possibility of interpreting everyday life and labor in american cities. Decades,past four neglect of social history and preservation has generated some protest. People have asked, where are the sites of native american or africanamerican or latino or Asian American history . People have asked, where are the workers landmarks . Where is womens history . Why are the few women honored almost never women of color . I think one could ask, where are the slave markets, kitchenette buildings, and alley dwellings to show future generations how space was divided to enforce White Supremacy . We could also ask, where are the rare neighborhoods whose diverse residents challenged the stereotypes of racial and economic segregation . The politics of identity, however they are defined run race, gender, class, sexual orientation, or neighborhood, are inescapable, when dealing with urban environments. Architectural scholars have not, have often not given enough weight to political issues. While historians have sometimes ignored space, yet it is the volatile competition of politics and space that makes urban environments a rich source that can eliminate many of the questions raised by other panelists in the last two days. Sometimes special history can fill silences in the archive. To study race and capitalism, for example, look at how bulldozers battered american urban landscapes in the 1950s and 1960s, when people of color were the most frequent victims, losing businesses, homes, and communities to highways and urban renewal. Lookplore race and power, at how affluent white buyers displaced longtime residents of color from older buildings and neighborhoods, amplifying the damage from demolitions and amplifying the damage from discrimination. Forging the priorities preservation and commemoration is not simply a matter of acknowledging the losses from from clearance andrification, gentrification. Fews not enough to add a africanamerican, latino american, or native american projects. Or a few womens projects. The intersections of multiple identities need to be addressed. In 1983, i founded a nonprofit in los angeles called the power of place. It would define a new urban approach to civilization. It crosses boundaries of class, gender, and age. Ad prod itinerary of urban broad itinerary of urban neighborhoods can revealed urban growth. I proposed such an itinerary in downtown l. A. To represent the work of children, native american men, africanamerican, latino, white. It included commercial flower fields, fabrication factories, as well as sites for midwives and firefighters. I was inspired at the time by such asistory projects, a project on chinese laundry workers. I was in search for a way to represent cultural citizenship. An identity formed not from legal membership but cultural belonging. Landscape historian, i proposed such a itinerary as a more inclusive way of understanding history. Later, i would say that the tower of place, the power of ordinary urban landscapes to hold citizens memory, to hold shared territory remains untapped for most working people. To capture the power of place requires claiming the urban landscape as an expression of material history. In finding ways to interpret older patterns of matter in the city life. Students,cla grad many of whom are active in the , we ran public history workshops where we discussed the remembrance with retirees. D i would say, how can we fail to nudge the numbers in los angeles at that time . Mid1980s, 98 of the official landmark celebrated anglo American History, and 96 mens history. Ethnicnered with uclas Study Centers as well as community institutions. That is when i met lonnie, the head of the california afroamerican museum. The power of place created a walking tour of downtown neighborhoods. Existingrpreted landmarks to cover after the, womens, and labor history. We proposed new landmarks and wrote the designations for various locations and we added public art. Mason, and efrin i commit an africanamerican midwife and former slave was the subject of one of the first public art projects. She was a pioneer, a single parent head of family. Recognizable. Come fromdeed mississippi, walking behind the wagon train of her mormon master with her three children. To earn freedom for a group of slaves in los angeles. An artist helped recover the memory of her life as a midwife who delivered hundreds of babies and one is with the and was one of the founders of the first africanamerican episcopal church. Some of you may have seen the wall on spring street. Our next project involves three organizers. They came from russia, guatemala, and mexico to los angeles. As immigrants, their stories were familiar. As working women they made the story of Community Building far more complex and contentious. Details from that decade can be found in my book. The Archival Research took a few years. There were projects we were able to do and some we could not. Also tried to show some of the efforts and remembrance of the groups who follow this. 30 years later i can report there are many new activist groups in l. A. There are many new landmarks available. Many projects of labor history have succeeded. Presenting the urban context has become much easier because today tose places can be marked restore Public Meeting through digital maps and technologies that reconstructed the spatial history on portable devices. Now that ifforts admire, there is a peoples guide to los angeles. Another group i admire, the los angeles urban rangers, includes environmental historians jenny price and kathy, and their colleagues. They appear in costume similar to National Park rangers performing in art museums and the urban landscape. 2016 is a 50th anniversary of the Historic Preservation act. As well as dozens of proposals to make the process of preservation more inclusive. Recent textbooks on preservation include very little besides the discussion of architectural styles. It takes political, historical, and spatial imagination to locate where urban livelihood can be preserved and interpreted to project their most enduring meanings for the city as a whole. Thank you. [applause] let me turn to david white. Thank you lonnie. We have all expressed our gratitude. I will add to that that i am humbled to have any place on any one of these panels. I didnt drive anybody. Ody. Didnt bribe anyb [laughter] anyway. I used to write a lot about memory, and every conference i was a last speaker, and i was supposed to say, how is it remembered . But thankfully there is another panel taking up that fast question. God im not on that one. Practicala very descriptive thing the middle of my brief remarks, and then frame it with a thing i usually do. Baldwin was a public historian. We know him as a great other many other things. A great intellectual. The written voice of the Civil Rights Movement in so many ways. But he was a public historian. His subject so often was the nature of history. In 1961, interview zillions of interviews as you know. You can pull a lot of them up on youtube. He was one of the great interviewers ever but having a tough time handling baldwin who as we know is not an easy interview. Baldwin was shooting from the hip, angry as the dickens. He said americans have no sense of history. He answered every question before it was asked. Settle, mr. T him to baldwin, what do you mean by sense of history . In the interview, baldwin doesnt brief, quiet moment and says, well, you read something that you felt only happened to you. You discover that happened 100 years ago to dostoevsky. This is a great liberation for a suffering, struggling person who always thinks he is alone. I have always loved that definition. It means you are not alone. It is especially important for young people. Speaker got him settled and said, what you mean by sense of tragedy . Baldwin was quiet for five seconds and then said, george, im had glad you used the word tragedy. It is not a word americans like. Answer, people think tragedy is a sense of embroidery, something irrelevant that you can take or leave. In fact, it is a necessity. That is what the spirituals are all about. The ability to look on things as they are and survive your losses. Or even not survive him. To know that your losses are coming. To know they are coming is the only possible insurance that you have, i think insurance that you will survive them. A sense of history and a sense of tragedy is not always plentiful in america. It is in this room, god knows. I will get my practical descriptive part. The talk about what public history is in front of this guy. Its always somehow where history and memory meet. Research andhere mythology return to that word that came up the first night, that troublesome word. It is where research and collide. Allied here that conference i am certain some of you were at. There was a conference at the atman Historical Institute least 15 years ago. Which in memory means it was 20. [laughter] ago, thatmet 15 years means it was 1996. Panel was three brilliant people examining in great detail how race is fiction that biologically it does not mean anything. It is a social instruction. This went on for an hour and a half with brilliant people mailing this. Mintz was the commentator. He taught us so much about how our cultures transformed across the atlantic she got up and i dont remember what he said but i never forgot the moment. Said, these papers are terrific and brilliant. Building has a beautiful building with these wideopen windows and sid pointed out the windows and said, but the trouble is nobody Walking Around out there believes any of this. Ive always member that as the definition of public history. What we are doing in here is very important, but they dont believe that. We have to get to them. Another quick story. Lois horton was there. I dont ever who else. This was about 1999. We are all consultants on the new museum of cincinnati. We to go out and create and to dream and imagine and then they turned it over to a design team and they did what they wanted. But thats all right. Our job that weekend on a saturday, each of us, jim horton organized us as usual. Our job was to sit at a big with members of the board of this museum for two hours and run a discussion. Entirelywas africanamerican. I had the architect of the museum, i School Superintendent and a famous civil rights lawyer. It was one of the toughest teaching moments of my life. Said what should this be and why do you want to tell the story of the underground railroad and slavery to a person, they all talked about in one way or another how they wanted their children to walk out of the Museum Feeling better. They wanted a progressive vision. They didnt want the story of shame, they wanted progress. They wanted people to walk out and feel good. There was one person at my table who had not said a word and it was fred shuttlesworth. Everybody knows who he was. He was living in cincinnati and was retired. He had not said a word and i think two hours. So i did my teacher really thing. Reverend, what do you think . And he gave a one sentence answer and forgive me those of you who heard me use this before. He given one sentence answer and ive only used this twice. It like it wasll it can never be as it ought to momentt was a poignant because everyone at the table kind of you know. Gee whiz. I asked him to repeat it and he did. And thankfully we were saved by lunch. He was telling us a lot and from ixperience progress never really got to ask you much about that moment except im sure what was going on inside of tell it like it was. The quick descriptive part. Then i will and with douglas. Ago, on theears back of an envelope and starbucks, bonnie and i conceived together along with a provost at you and with Richard Rabinowitz who directs it for us to the public history institute. Lonnie was more than hehusiastic to support this, still finds more than half of it. Somebody in your office knows still funds more than half of it. \ yeah, you do. [laughter] somebody in your office knows about this. No one in the profession knows lonnies largess. Every summer we bring about 16 public historians to all corners of the country doing with anything in that Africanamerican Community they can be local interpreters or Museum Directors and between the National Park service or etc. We bring them to yell for a week. Its like a boot camp for public historians. We are up to 86 different individuals who participated in it and im proud to say that some of our alums are here. Im sure there are more than i am even aware of. But aaron bryant was here who was with the institute in 2013. Others who areed alums of this institute. We have evolved no less than 13 different institutions. In the first two years, institutions had to apply. Effect eight in halls and three people from your staff. The second two years we changed that. As public historians you to calm and be treated like an intellectual for a week which most of these people never get to do. They get to read books they are assigned to read and they attend lectures. Probably forgetting someone from outside. Leslie harris theres been a lecture every year we done it. Kristi kaufmann who runs the richmond civil war museum. Rexx alice came one year. Each year we done it with at least three staff. Who come and participate in the full week. I will say one other quick thing about it. What we do now as a curricular approach we select the institutions bring their projects and th