A Monument for Peace

Total Page:16

File Type:pdf, Size:1020Kb

A Monument for Peace A Monument for Peace A Monument for Peace by W.M. Akers In December, 1864, the Civil War was nearly over. The armies of the Union had conquered most of the South, but the fighting was not finished. Hoping to reverse the war's course, the Confederate general John Bell Hood marched his army toward Nashville. The capital of Tennessee, Nashville, had been under Union control since 1862. Capturing it, Hood hoped, could save the Confederacy. th It was freezing cold when the battle started on December 15 . The Confederate troops were outnumbered. They fought in ragged uniforms,th sometimes without shoes. Against the superior Union army, they had no hope. On December 16 , Hood was defeated. The war was over. The Union won the Civil War four months later. Although the Southern states returned to the Union, the country remained divided. Fifty years later, most of the war's veterans were dead. Around the country, towns and cities had begun building monuments in their memory. In the North, monuments were built to honor the Union. In the South, monuments honored the Confederacy. Even though the states were united again, no one built a monument to both sides. In 1914, Mrs. James E. Caldwell and her group, the Ladies Battlefield Association, began raising ReadWorks.org · © 2013 ReadWorks®, Inc. All rights reserved. A Monument for Peace money to build a monument for those who died in the Battle of Nashville. They hired Italian sculptor Giuseppe Moretti to design a statue. They raised money by hosting balls and asking local businesses for donations. By 1927, they had enough, and the monument was completed. Moretti's statue showed a young man standing between two horses. Behind it, a tall white obelisk was built, with an angel at the top. "No guns, no swords, no trappings of war mar the peace-like beauty," Mrs. Caldwell said. It was not a war monument, but a peace monument. The structure was special because it honored all those who died in the war-no matter which side they fought for. Built less than a decade after World War I, it was also dedicated to the American soldiers of that conflict. In 1974, a tornado knocked the 40-foot-tall obelisk to the ground, where it shattered to pieces, along with the angel at its top. Moretti's sculpture was damaged, but it was repaired. The city did not have the money, however, to build a new column. A few years later, an interstate was built beside the monument, blocking it from view, and making it hard for anyone to get to it. For two decades, the monument was alone-out of sight and nearly forgotten by the public. In 1992, the Tennessee Historical Commission chose a new location for the monument, inside a small park near the original battlefield. Again, fundraising was necessary-to move the statue and construct a new obelisk. The original statue cost $30,000 in 1927. To move and restore it would cost much more-some estimate more than $500,000. But after seven years of work, the money was collected, and the statue was rededicated-with a brand new obelisk to go with it. Finally, Mrs. Caldwell's monument was whole again, and the message of peace could be seen once more. ReadWorks.org · © 2013 ReadWorks®, Inc. All rights reserved. A Monument for Peace - StepRead2 A Monument for Peace by W.M. Akers (Adapted by ReadWorks) In December 1864, the Civil War was almost over. The Union Army of the North had defeated most of the South. But the fighting was not over. A general in the Confederate Army of the South had not given up. He took his soldiers to Nashville. It was the capital of Tennessee and had been taken over by the North two years before. The general hoped to take the city back. He thought that if he did, the South could be saved. The Battle of Nashville started on December 15. The weather that day was very cold. Soldiers for the South were fighting in torn uniforms. Some of them did not have shoes. Also, the North had more soldiers there than they did. There was no way they could win. On December 16, they lost the battle. Four months later, the North won the Civil War. Fifty years after the war ended, most of the soldiers who had fought in it were dead. Cities across the United States began to build structures to remember and honor the war's soldiers. Such structures are known as monuments. The North built monuments for soldiers in the Union Army. The South built monuments for soldiers in the Confederate Army. But no one built a monument for soldiers on both sides. The South had become part of the United States again, but not everyone in the country felt ReadWorks.org · © 2013 ReadWorks®, Inc. All rights reserved. A Monument for Peace - StepRead2 united. Then a group of women started collecting money for a new monument. They wanted one for the people who died in the Battle of Nashville. They started collecting money in 1914. They collected it by having parties and asking for money from businesses. By 1927 they had enough money to pay for the monument. The monument was made by an artist. One part of it was a statue of a young man. He was standing between two horses. Behind him was a tall, pointed column. On top of the column was an angel. There were no guns, swords, or anything else that would ruin the peacefulness of the monument. It was not a war monument. It was a peace monument. The monument was special because it was for soldiers from both the North and the South. It was also for American soldiers who had fought in World War I. In 1974, a tornado hit the monument. It knocked over the column and the angel on top. They were broken to pieces. The statue of the young man with the horses was damaged too. The city was able to fix the statue, but it didn't have enough money to pay for a new column. A few years later, a highway was built next to the monument. The highway made it hard for people to see and get to the monument. For twenty years, the monument was out of sight. People almost forgot about it. In 1992, the state government decided that the monument should be moved. The government wanted to move the monument to a park. The park was near the place where the Battle of Nashville was fought. Once again, money had to be collected. The money was needed to move the statue and build a new column. Building the monument had cost a lot in 1927. Moving and fixing it would cost even more. Collecting the money took seven years. After those seven years, the statue was moved, and a new column was built. Finally, the monument was whole again. Its message of peace could be seen once more. ReadWorks.org · © 2013 ReadWorks®, Inc. All rights reserved. ReadWorks Vocabulary - monument monument mon·u·ment Definition noun 1. something built in memory of a person, event, or special act. There are many famous monuments in Washington, D.C. Advanced Definition noun 1. something made or erected in commemoration of an event, achievement, or person. 2. something maintained in the public interest for its aesthetic or historical significance. 3. an outstanding or exceptional example. a monument of great research Spanish cognate monumento: The Spanish word monumento means monument. These are some examples of how the word or forms of the word are used: 1. Recently, historian David McCullough wrote a book about John Adams. He says that a monument should be built to honor Adams. "There is no other American... with the exception of George Washington, who did more toward winning the Revolution and establishing [our] form of government than John Adams," McCullough said. 2. Money from the exhibition will go toward protecting Egypt's historic sites, including the Great Pyramids at Giza and the Sphinx. Zahi Hawass, the head of Egyptian antiquities, said those sites and others in Egypt are literally crumbling. He hopes to raise about $10 million. "These monuments will be gone in 100 years if we don't raise the money to restore them," he told The New York Times. 3. Later cases addressed whether the Ten Commandments could be displayed in other public places, such as on the grounds of government buildings. In 2005, the 5th U.S. Circuit Court of Appeals ruled that a monument listing the Ten Commandments on Texas Capitol grounds did not violate the Constitution. That same year, though, the 6th U.S. Circuit Court of Appeals said a monument listing the Ten Commandments at the Kentucky Capitol had to be removed. 4. Archaeologists (the folks who study the past by recovering fossil remains, monuments, etc.) have found buttons from many ancient civilizations. The Indus Valley people used them, as did the ancient Egyptians and the ancient Chinese. ReadWorks.org · © 2020 ReadWorks®, Inc. All rights reserved. Definitions and sample sentences within definitions are provided by Wordsmyth. © 2015 Wordsmyth. All rights reserved. ReadWorks Vocabulary - obelisk obelisk ob·e·lisk Advanced Definition noun 1. a tall stone shaft with four inclined sides and a pyramid-shaped point at the top. 2. in printing, a symbol resembling a cross, used mainly as a reference mark; dagger. Spanish cognate obelisco: The Spanish word obelisco means obelisk. These are some examples of how the word or forms of the word are used: 1. But after seven years of work, the money was collected, and the statue was rededicated-with a brand new obelisk to go with it.
Recommended publications
  • December 1999 of Trappe, Collegeville, Perkiomen Valley, Inc
    The Chronicle A Publication of The Historical Society December 1999 of Trappe, Collegeville, Perkiomen Valley, Inc. Volume XXVIII, No. 5 Wa shington AnniversaryEx hibit The President's Message The 200th Anniversary of the death of President George Washington in Decem­ In teresting happenings are in progress at the Dewees Tavern ber 1799 will be observed at the Dewees and the Muhlenberg House. We have had a number of tour Museum, 301 W. Main Street, Trappe, groups visit us and a number are scheduled. We welcome them. beginningon Sunday, December 5th. The Our maintenance costs continue so we must ask our visitors exhibit will include prints of personages from the American Revolution who were and supporters fo r contributionsfrom time to time. involved with Washington and the We are gratefulfo r the Century Club support over the past Muhlenbergs. A unique reverse painting nine years, but some have neglected to keep up with their of Wakefield, the birthplace of Washing­ commitment. We plan to send letters of reminder. ton, on loan from the Rev. Robert Home, We would like to purchase two five-plated stoves fo r.the first will be shown. Anantique print ofWash­ floor cooking fireplaces. The cost is $7, 000 apiece. Ifanyo ne ington in his Masonic regalia will be a cares to donate one, or both, or a fraction of one, give me a call part of the exhibit. Muhlenberg House will not be open on December 5th. and we 'I/ negotiate. Furnishing the Muhlenberg House is One of the bicentennial (1932) framed important, but there is no rush to get it done.
    [Show full text]
  • Virtual and Physical Environments in the Work of Pipilotti Rist, Doug Aitken, and Olafur Eliasson
    Virtual and Physical Environments in the work of Pipilotti Rist, Doug Aitken, and Olafur Eliasson A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree MASTER OF ART in the Art History Program of the College of Design, Architecture, Art, and Planning April 2012 by Ashton Tucker B.A., Bowling Green State University College of Arts and Sciences Committee Chair: Morgan Thomas, Ph.D. Reader: Kimberly Paice, Ph.D. Reader: Jessica Flores, M.A. ABSTRACT The common concerns of artists Pipilotti Rist (b. 1962), Doug Aitken (b. 1968), and Olafur Eliasson (b. 1967) are symptomatic of key questions in contemporary art and culture. In this study, I examine key works by each artist, emphasizing their common interest in the interplay of virtual space and physical space and, more generally, their use of screen aesthetics. Their focus on the creative interplay of virtuality and physicality is indicative of their understanding of the fragility and uncertainty of physical perception in a world dominated by screen-based communication. In chapter one, I explore Pipilotti Rist’s Pour Your Body Out (7354 Cubic Meters) and argue that the artist creates work where screen based projection and installation are interrelated elements due to her interest in creating spaces that engage the viewer both physically and virtually. In chapter two, I discuss Doug Aitken’s work and argue that he democratizes the viewing experience in a more radical way than Pipilotti Rist. In the final chapter, I discuss the work of Olafur Eliasson as it relates to California Light and Space art and the phenomenological aspects of the eighteenth-century phantasmagoria.
    [Show full text]
  • Peace Trail on the National Mall
    PEACE TRAIL ON THE NATIONAL MALL Making Peace Possible Learn more about the United States Institute of Peace at www.usip.org PEACE TRAIL ON THE NATIONAL MALL Introduction The northwest corner of the National Mall could be considered the “War and Peace Corner” of our nation’s capital. It is home to this country’s most famous veterans memorials, which draw tens of millions of visitors each year. It is also home to the headquarters of the United States Institute of Peace (USIP), and to other symbols and sites with peace themes, which, while generally less prominent, offer an important and complementary narrative. The following Peace Trail on the National Mall is the result of a collaboration between USIP and colleagues at the Guild of Professional Tour Guides of Washington, D.C. and at the National Park Service. Anchored at USIP and tracing a path to a dozen other key sites in the vicinity, it brings a “peace lens” to the experience of visiting the National Mall. It may be used as a self-guided walking tour or a reference guide, elevating stories of key figures, institutions, and moments in history that demonstrate America’s enduring commitment to peace. 1 M HA EDWARD R MURROW H ST NW 66 Decatur House Von Steuben PARK LAFAYETTE Kosciuszko NEW US Court of George New Executive PARK Appeals and Washington H ST NW Office Bldg Baruch Bench Jackson US Court University of Claims Renwick Gallery 24TH ST NW Rochambeau Treasury Annex Lafayette Juarez Blair-Lee House Closed roads G ST NW Eisenhower 14TH ST NW Executive Department Office of the F ST NW
    [Show full text]
  • Cultural Heritage Preservation: the Past, the Present and the Future
    CULTURAL HERITAGE PRESERVATION: THE PAST, THE PRESENT AND THE FUTURE AND THE PRESENT THE PAST, PRESERVATION: HERITAGE CULTURAL Cultural Heritage Preservation: The Past, the Present and the Future “Heritage comes in many shapes—in tangible forms such as sites, build- ings, landscapes, or as intangibles, like memories, emotions, values and customs—as does the use of heritage, ranging from the purpose of build- ing nations to marketing places. Heritage usually represents a phenomenon within a traditional historical discourse but have lately, more and more, Cultural Heritage Preservation: come to take in peripheral appearances; often emanating from groups at the fringes of that traditional discourse as well. The use of heritage occurs The Past, the Present and the Future in different arenas and takes on significance as a vehicle for political, cultural and entrepreneurial purposes, as well as educational and emancipatory, to name just a few. How to interpret heritage in order to understand its meaning to different groups is therefore a very important task.” This anthology describes heritage preservation, development and manage- Tomas Nilson & Kristina Thorell (eds.) ment from different theoretical views and disciplines. It integrates per- spectives from history, human geography, archaeology, social anthropology THORELL (EDS.) NILSON & KRISTINA TOMAS and heritage conservation. The texts revolve around different dimension of culture and heritage via examples from varying contexts and locations. Forskning i Halmstad nr 24 Halmstad University ISBN 978-91-87045-94-3 (printed) ISBN 978-91-87045-95-0 (pdf) Halmstad University Press Mailing address: P.O. Box 823 SE-301 18 Halmstad Halmstad 2018 Telephone: +46 35-16 71 00 E-mail: [email protected] www.hh.se Forskning i Halmstad nr 24 CULTURAL HERITAGE PRESERVATION: THE PAST, THE PRESENT AND THE FUTURE FORSKNING I HALMSTAD NR.
    [Show full text]
  • Genocide-Holodomor 1932–1933: the Losses of the Ukrainian Nation”
    TARAS SHEVCHENKO NATIONAL UNIVERSITY OF KYIV NATIONAL MUSEUM “HOLODOMOR VICTIMS MEMORIAL” UKRAINIAN GENOCIDE FAMINE FOUNDATION – USA, INC. MAKSYM RYLSKY INSTITUTE OF ART, FOLKLORE STUDIES, AND ETHNOLOGY MYKHAILO HRUSHEVSKY INSTITUTE OF UKRAINIAN ARCHAEOGRAPHY AND SOURCE STUDIES PUBLIC COMMITTEE FOR THE COMMEMORATION OF THE VICTIMS OF HOLODOMOR-GENOCIDE 1932–1933 IN UKRAINE ASSOCIATION OF FAMINE RESEARCHERS IN UKRAINE VASYL STUS ALL-UKRAINIAN SOCIETY “MEMORIAL” PROCEEDINGS OF THE INTERNATIONAL SCIENTIFIC- EDUCATIONAL WORKING CONFERENCE “GENOCIDE-HOLODOMOR 1932–1933: THE LOSSES OF THE UKRAINIAN NATION” (October 4, 2016, Kyiv) Kyiv 2018 УДК 94:323.25 (477) “1932/1933” (063) Proceedings of the International Scientific-Educational Working Conference “Genocide-Holodomor 1932–1933: The Losses of the Ukrainian Nation” (October 4, 2016, Kyiv). – Kyiv – Drohobych: National Museum “Holodomor Victims Memorial”, 2018. x + 119. This collection of articles of the International Scientific-Educational Working Conference “Genocide-Holodomor 1932–1933: The Losses of the Ukrainian Nation” reveals the preconditions and causes of the Genocide- Holodomor of 1932–1933, and the mechanism of its creation and its consequences leading to significant cultural, social, moral, and psychological losses. The key issue of this collection of articles is the problem of the Ukrainian national demographic losses. This publication is intended for historians, researchers, ethnologists, teachers, and all those interested in the catastrophe of the Genocide-Holodomor of 1932–1933. Approved for publication by the Scientific and Methodological Council of the National Museum “Holodomor Victims Memorial” (Protocol No. 9 of 25 September 2018). Editorial Board: Cand. Sc. (Hist.) Olesia Stasiuk, Dr. Sc. (Hist.) Vasyl Marochko, Dr. Sc. (Hist.), Prof. Volodymyr Serhijchuk, Dr. Sc.
    [Show full text]
  • Foundation Document Overview, the White House
    NATIONAL PARK SERVICE • U.S. DEPARTMENT OF THE INTERIOR Foundation Document Overview The White House and President’s Park Washington, D.C. Contact Information For more information about The White House and President’s Park Foundation Document, contact: [email protected] or (202)208-1631 or write to: President’s Park, 1100 Ohio Drive, SW, Washington, D.C. 20242 Purpose The purpose of the PRESIDENT’S PARK is to: • Preserve the cultural resources of the White House—its architecture, artifacts, landscape design, gardens and grounds, and the surrounding parklands—in ways that foster and preserve dignity and respect for the office of the presidency, while still allowing for their use. • Provide a dignified transition area from an urban environment to the White House environs. • Interpret the history and significance of the presidency, the White House, and President’s Park, including their relationship to the American public, our republican form of government, and the growth of Washington, D.C. • Preserve existing historic memorials as examples of memorial art. • Provide a large open area associated with the White House for freedom of public expression and assembly activities, as well as for public use and enjoyment. The purpose statements are reprinted from the Comprehensive Design Plan for the White House and • Protect and enhance views to and from the President’s Park (2000). White House and provide a setting for viewing the White House. • Preserve Lafayette Park as open public space in The purpose of THE WHITE HOUSE is to: the foreground of the White House, as a setting for passive activities (reflecting, observing, • Provide a residence that offers privacy, making a personal connection with the protection, and recreational opportunities for presidency), First Amendment activities within the first family.
    [Show full text]
  • From Cultural Heritage to the Confederacy Maliha Ikram
    Northwestern Journal of Law & Social Policy Volume 14 | Issue 1 Article 2 Fall 2018 Long-Term Preservation of Public Art: From Cultural Heritage to the Confederacy Maliha Ikram Recommended Citation Maliha Ikram, Long-Term Preservation of Public Art: From Cultural Heritage to the Confederacy, 14 Nw. J. L. & Soc. Pol'y. 37 (2018). https://scholarlycommons.law.northwestern.edu/njlsp/vol14/iss1/2 This Article is brought to you for free and open access by Northwestern Pritzker School of Law Scholarly Commons. It has been accepted for inclusion in Northwestern Journal of Law & Social Policy by an authorized editor of Northwestern Pritzker School of Law Scholarly Commons. Copyright 2018 by Northwestern University School of Law Volume 14 (Fall 2018) Northwestern Journal of Law and Social Policy Long-Term Preservation of Public Art: From Cultural Heritage to the Confederacy Maliha Ikram* ABSTRACT Fifty years ago, in the city of Idyllic Isle, America,1 an artist created a sculpture for the city. The artist’s focus was on remedying the sordid history of Idyllic Isle, a city that was not always so peaceful. Long ago, the city was overrun with racism, hateful propaganda advancing minority oppression, government corruption, and disregard for its coastal environment. Over the years, the city improved, but still had not reached its potential. The artist decided that he wanted to erect a sculpture on the publicly-owned land overlooking the city’s coastal waters. The government agreed that he could place the statue on the land as he wished, since there were no other plans for the land and the government wanted to rehabilitate it into a park space for its citizens.
    [Show full text]
  • Open Or Right-Click to Download PDF File
    . -. '~~~'", ' '" ". , I . OPPERt· MERION TOWNSHIP. WINTERING 1777/78 THE 'HISfORy'OF. J .. PETER MUHLENBERG'S HEADQUARTERS:.:" BY .', . Beth Ann Twiss ~.. ,'. t': ~ WINTERING 1777/78 The History of Peter Muhlenberg's Headquarters Beth Ann Twiss History 300D Honors Thesis / Penn TABLE OF CONTENTS, Page 1. ARRIVAL AT VALLEY FORGE • 1 II. HISTORY OF MOORE HOUSE 5 \11. PETER MUHLENBERG'S WINTER 18 IV. CONCLUSION . 23 APPENDIX A. MOORE FAMILY TREE 25 APPENDIX B.. PLk~S 27 APPENDIX C. PICTURES 34 APPENDIX D.MAP 40 BIBLIOGRAPHY . 42 .--. I. ARRIVAL AT VALLEY FORGE On October 29, 1777, orders were issued to the Continental 1 Army to be ready at a moment's notice to march to winter quarters. Despite continual repetition of these orders, the troops did not leave that day or the next day. Not until November 11 did the Army begin to move north and west out· of the immediate Philadelphia area. It crossed the Schuylkill River at Swedesford, spent the night on the Gulph Hills, and finally arrived at its. destination~ Valley Forge, on December 12. The choice of Valley Forge for winter quarters had not been an unanimous decision of the officers; rather, it was a compromise. General George Washington wished to go to Wilmington~ Delaware in order that the Army could conduct guerrilla warfare against the BritishJwho were entrenched in Philadelphia. However, Brigadier-general Peter Muhlenberg suggested Reading, Pennsylvania to Washington in a letter of December 1.2 While Muhlenberg agreed tha tit would be beneficial to "annoy" the enemy, 3 he thought that other disadvantages outweighed this small gain.
    [Show full text]
  • Strategic Plan 2013—2018 Contents Looking Ahead 2 Mission 3 Our Strengths 4 Our Values 5 Love History
    National Museum of American History Strategic Plan 2013—2018 Contents Looking Ahead 2 Mission 3 Our Strengths 4 Our Values 5 Love History. Moving Foward 6 Priority 1 6 Use History. Priority 2 9 Priority 3 9 Make History. Priority 4 10 Funding the Plan 12 Coda 15 A Tagline to Remember 16 Milestones 17 Credits 21 Mission Through incomparable collections, rigorous research, and dynamic public outreach, we explore the infinite richness and complexity of American history. We help people understand the past in order to make sense of the present and Looking Ahead shape a more humane future. The National Museum of American History, with more than three million artifacts and documents, is our nation’s largest institution devoted to American history. Almost five million people come here annually, and many millions more visit us online. How do we best share an understanding of what makes America … America? “America” is far more than a geographic location. It is also an idea and an experiment that has reverberated through the centuries—grounded in freedom, possibility, and opportunity, tempered by conflict, and strengthened by dissent and difference. Much of the enduring power of “America” lies in the continuous testing of its ideals. At the National Museum of American History, we draw our inspiration from this majestic idea. Over the next decade, we will use our unparalleled collections to tell an inclusive, respectful, and compassionate story of all the peoples in America who were here, who came here, and who were brought here. We will tell an overarching American story—interweaving multiple stories of perseverance, triumph, and optimism with those of struggle.
    [Show full text]
  • Art Theft, Art Vandalism, and Guardianship in U.S. Art Institutions
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2018 Art theft, art vandalism, and guardianship in U.S. art institutions. Katharine L. Salomon University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Criminology and Criminal Justice Commons, and the Fine Arts Commons Recommended Citation Salomon, Katharine L., "Art theft, art vandalism, and guardianship in U.S. art institutions." (2018). Electronic Theses and Dissertations. Paper 3028. https://doi.org/10.18297/etd/3028 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. ART THEFT, ART VANDALISM, AND GUARDIANSHIP IN U.S. ART INSTITUTIONS By Katharine L. Salomon B.A, Transylvania University, 1990 M.S., University of Louisville, 2008 A Dissertation Submitted to the Faculty of the School of Interdisciplinary and Graduate Studies of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Interdisciplinary Studies School of Interdisciplinary and Graduate Studies University of Louisville Louisville, KY
    [Show full text]
  • IMAGES of SLAVERY, IMAGES of OURSELVES: the Public History of Slavery and Regional Identities
    IMAGES OF SLAVERY, IMAGES OF OURSELVES: The Public History of Slavery and Regional Identities A SENIOR THESIS by Siena Faughnan Bryan Rommel-Ruiz and Carol Neel, Advisors Presented to The Faculty of the Department of History In Partial Fulfillment of the Requirement for the Degree Bachelor of Arts The Colorado College Colorado Springs, Colorado April/ 2016 Faughnan 1 Slavery is one of the most enduring and significant stains on the historical conscience of the United States. It has been extensively studied in academia, however representations of slavery are conspicuously absent from museums, memorials, and other public sites. This paper will explore the absences and incompleteness of slavery in America’s public history by analyzing the historical development of sites representing slavery. Through historic plantation museums, Civil War memorials, and Lincoln statues, a larger narrative is revealed which is deeply uncomfortable with the implications of slavery on regional identities. Debates around the proper display and characterization of slavery are actually indicative of larger questions of Northern and Southern identity and these regions’ need for a historical record which cleanly aligns with their own self-image. For this reason, engaging with the history of slavery, especially in a public and highly visible manner such as exhibition or monument-building, remains a highly controversial undertaking. Neither the South nor the North has been able to directly confront and reconcile slavery with a celebratory narrative of their pasts. Historian Michael Kammen said, “Historians become notably controversial when they do not perpetuate myths, when they do not transmit the received and conventional wisdom, when they challenge the comforting presence of a stabilized past.”1 Depicting slavery fully and truthfully disrupts a stabilized regional, but it is necessary and vital work to confront the racial exclusion of the past and present.
    [Show full text]
  • History Comes Alive at the Buttonwoods Museum!
    Tour the War Monuments of Haverhill, Massachusetts Museum History comes alive at the Buttonwoods Museum! Buttonwoods From Native American settlement to Merrimack River, the American Revolution present, the Buttonwoods Museum tells in Haverhill, Haverhill’s shoe industry, and the story of life in the Merrimack Valley. graveyard history at nearby Pentucketthe Visit the 1710 John Ward House, the Burial Ground. 1814 Duncan House and the 1850 We offer programming for seniorof citizens, Daniel Hunkins Shoe Shop. Experience Scout groups, preschool age children our hands-on education programs that (ages 2-5), and students in public, private, make this unique history come alive for and home schools (both field trips and families, seniors, and students! in-school visits). We also liven up school Our programs are diverse, affordable, vacations through our public Past Finders and customizable. We use crafts, games, program, which includes February & April lectures, hearth cooking, scavenger hunts, vacation workshops,Property plus a summer By Michael Auger and more to help visitors engage with program that has been going strong for the past. Topics include early American more than 21 years! life, Native American tribes along the We look forward to your visit! For more information, go to buttonwoods.org or call 978-374-4626! The Buttonwoods Museum Mission To collect and preserve the history and culture of Greater Haverhill, while educating the public through on-site and outreach programs. Our Purpose The Haverhill Historical Society (HHS) was established in 1897 and opened the Buttonwoods Museum in 1904. The economic, social and cultural history of the Merrimack Valley is embodied in the Museum site and buildings, placed on the National Historic Register in 2005.
    [Show full text]