The Last Residence of African-American Activist Paul Robeson Kelli R

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Theses (Historic Preservation) Graduate Program in Historic Preservation

January 2005 Interpretation & Design: The Last Residence of African-American Activist Paul Robeson Kelli R. Coles University of Pennsylvania

Follow this and additional works at: http://repository.upenn.edu/hp_theses

Coles, Kelli R., "Interpretation & Design: The Last Residence of African-American Activist Paul Robeson" (2005). Theses (Historic Preservation). 22. http://repository.upenn.edu/hp_theses/22

Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment for the Requirements of the Degree of Master of Science in Historic Preservation 2005. Advisor: Randall F. Mason

This paper is posted at ScholarlyCommons. http://repository.upenn.edu/hp_theses/22 For more information, please contact [email protected]. Interpretation & Design: The Last Residence of African-American Activist Paul Robeson

Comments Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment for the Requirements of the Degree of Master of Science in Historic Preservation 2005. Advisor: Randall F. Mason

This thesis or dissertation is available at ScholarlyCommons: http://repository.upenn.edu/hp_theses/22 ȱ

INTERPRETATIONȱ&ȱDESIGN:ȱTHEȱLASTȱRESIDENCEȱOFȱ AFRICANȬAMERICANȱACTIVISTȱPAULȱROBESONȱ ȱ KelliȱRacineȱColesȱ ȱ AȱTHESISȱ ȱ inȱ ȱ HistoricȱPreservationȱ ȱ PresentedȱtoȱtheȱFacultiesȱofȱtheȱUniversityȱofȱPennsylvaniaȱinȱ PartialȱFulfillmentȱofȱtheȱRequirementsȱforȱtheȱDegreeȱofȱ ȱ MASTERȱOFȱSCIENCEȱINȱHISTORICȱPRESERVATIONȱ ȱ 2005ȱ ȱ ȱ ȱ ______ȱȱȱȱȱȱȱȱȱȱȱȱ______ȱ AdvisorȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱReaderȱ RandallȱF.ȱMasonȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱGailȱWinklerȱ AssociateȱProfessorȱofȱArchitectureȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱLecturerȱinȱHistoricȱPreservationȱ ȱ ȱ ȱ ______ȱ ProgramȱChairȱ FrankȱG.ȱMateroȱ AssociateȱProfessorȱofȱArchitectureȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ DEDICATIONȱ ȱ ȱ I’dȱlikeȱtoȱdedicateȱthisȱtoȱmyȱfamilyȱandȱfriends.ȱThankȱyouȱforȱallȱtheȱsupport.ȱȱ Iȱloveȱyouȱall!ȱȱ ȱ Thisȱisȱjustȱtheȱbeginningȱofȱmyȱjourneyȱintoȱlearningȱaboutȱandȱeducatingȱothersȱ onȱtheȱconnectionȱofȱAfricanȬAmericanȱhistoricȱinteriorsȱtoȱhistory.ȱ

ȱ ȱ ȱ

ii ȱ ȱ ȱ ACKNOWLEDGEMENTȱ

ToȱRandyȱMasonȬȱThankȱyouȱforȱbeingȱanȱ“advisor”ȱandȱallȱthatȱitȱentails,ȱallȱtheȱ hoursȱspentȱreadingȱdraftȱafterȱdraftȱandȱtheȱconstructiveȱcriticismȱwhenȱtheȱ writingȱwasȱjustȱnotȱquiteȱright.ȱȱ ȱ ToȱGailȱWinklerȬȱIȱamȱespeciallyȱgratefulȱforȱyouȱmeticulouslyȱeditingȱmyȱ writingȱ(especiallyȱmyȱgrammar!)ȱIȱreallyȱneededȱyourȱeyes.ȱThankȱyouȱforȱallȱ yourȱsuggestionsȱandȱassistance,ȱnotȱjustȱinȱwritingȱmyȱthesis,ȱbutȱinȱtheȱcareerȱ opportunitiesȱIȱhaveȱwithȱmyȱparticularȱinterests.ȱIȱknewȱthereȱwasȱaȱreasonȱwhyȱ IȱcameȱtoȱUniversityȱofȱPennsylvaniaȱalthoughȱitȱwasȱunclearȱtoȱmeȱatȱfirst,ȱIȱamȱ soȱgladȱtoȱhaveȱmadeȱyourȱacquaintance.ȱ ȱ ToȱMs.ȱFrancesȱAulston,ȱProfessorȱCharlesȱBlockson,ȱMarkȱUeland,ȱEmanualȱ Kelly,ȱParkȱRangerȱLeoȱBlake,ȱandȱParkȱRangerȱJoanneȱSchillizziȬȱThankȱyouȱallȱ forȱgrantingȱmeȱanȱopportunityȱtoȱspeakȱwithȱyou.ȱIȱhopeȱthisȱisȱwillȱbeȱofȱsomeȱ assistanceȱtoȱtheȱfutureȱdecisionȬmakingȱprocessȱofȱtheȱPaulȱRobesonȱHouse.ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ

iii ȱ ȱ ȱ ȱ ȱ

TABLEȱOFȱCONTENTSȱ

List of Figures…..v

Introduction…..1

Chapter One: The Man…..5

Chapter Two: The Historic House Museum…..10

Chapter Three: The Rehabilitation Plan for the Paul Robeson House…..17

Chapter Four: Interpreting Paul Robeson in the House Museum…..25

Chapter Five: Developing a Conservation Plan…..39

Figures…..46

Bibliography…..65

Index…..69ȱ ȱ

iv LISTȱOFȱFIGURESȱ ȱ 1.ȱ PosingȱasȱtheȱcharacterȱJimȱHarrisȱinȱtheȱEugeneȱO’NeilȱplayȱAllȱGod’sȱ ChillunȱGotȱWings,ȱCircaȱ1926.ȱȱ ȱ ȱ 2.ȱRobesonȱasȱaȱmemberȱofȱtheȱ1916ȱRutgersȱCollegeȱbasketballȱteam.ȱȱ ȱ ȱ 3.ȱ RobesonȱasȱaȱmemberȱofȱtheȱCapȱandȱSkullȱHonorȱSocietyȱatȱRutgersȱ College,ȱ1919.ȱ ȱ ȱ 4.ȱ PaulȱandȱEssieȱembarkingȱforȱNewȱYorkȱfromȱEnglandȱinȱ1933ȱforȱtheȱ filmingȱofȱTheȱEmperorȱJones.ȱ ȱ ȱ 5.ȱ EnglishȱflyerȱadvertisingȱPaul’sȱrecordings.ȱCircaȱ1930’s.ȱȱ ȱ ȱ 6.ȱ PaulȱwithȱJohnȱOliverȱGoldenȱandȱhisȱdaughter,ȱLillie,ȱinȱKislovodsk,ȱ USSR,ȱJulyȱ1937.ȱ ȱ ȱ 7.ȱ PaulȱjoinsȱtwoȱAfricanȬAmericanȱmembersȱofȱtheȱAbrahamȱLincolnȱ Battalion,ȱInternationalȱBrigadeȱforȱtheȱSpanishȱRevolutionaryȱArmy.ȱ ȱ ȱ 8.ȱ PaulȱandȱEssieȱwithȱIndianȱstudentsȱinȱLondon,ȱ1936.ȱ ȱ ȱ 9.ȱ PaulȱandȱPaul,ȱJr.ȱatȱaȱVOKSȱ(AllȱUnionȱSocietyȱforȱCulturalȱExchange)ȱ receptionȱinȱMoscow,ȱMayȱ1937.ȱ ȱ ȱ 10.ȱTheȱPaulȱRobesonȱHouseȱandȱWestȱPhiladelphiaȱCulturalȱAllianceȱOffice.ȱ ȱ ȱ

v 11.ȱExistingȱNorthȱandȱSouthȱElevationsȱofȱtheȱPaulȱRobesonȱHouseȱandȱ WPCAȱOffice.ȱ ȱ ȱ 12.ȱExistingȱEastȱandȱWestȱElevationsȱofȱtheȱPaulȱRobesonȱHouseȱandȱWPCAȱ Office.ȱ ȱ ȱ 13.ȱ“FromȱTheseȱRoots”ȱexhibitȱpanels,ȱfirstȱfloorȱofȱtheȱPaulȱRobesonȱHouse.ȱ ȱ ȱ 14.ȱAnotherȱviewȱofȱtheȱfirstȱfloorȱlookingȱbackȱtowardsȱentrance.ȱ ȱ ȱ 15.ȱ–ȱ17.ȱRobeson’sȱBedroomȱ ȱ ȱ 18.ȱMiddleȱroom/exhibitȱspaceȱonȱtheȱsecondȱfloorȱofȱtheȱPaulȱRobesonȱ House.ȱ ȱ ȱ 19.ȱFrontȱroom/WPCAȱmeetingȱspaceȱonȱtheȱsecondȱfloorȱofȱtheȱPaulȱRobesonȱ House.ȱ ȱ ȱ 20.ȱProposedȱExhibitȱDesignȱPlansȱ ȱ ȱ 21.ȱPerspectiveȱDrawingȱofȱtheȱproposedȱEntranceȱGalleryȱofȱtheȱCulturalȱ Center.ȱ ȱ ȱ 22.ȱProposedȱPlansȱforȱtheȱBasementȱandȱFirstȱFloorȱofȱtheȱPaulȱRobesonȱ HouseȱandȱCulturalȱCenter.ȱ ȱ ȱ 23.ȱProposedȱPlansȱforȱtheȱSecondȱandȱThirdȱFloorsȱofȱtheȱPaulȱRobesonȱ HouseȱandȱCulturalȱCenter.ȱ ȱ ȱ

vi 24.ȱPaulȱRobesonȱsittingȱinȱtheȱlivingȱroomȱofȱtheȱHouse.ȱ ȱ ȱ 25.ȱTheȱBurraȱCharterȱProcess:ȱSequenceȱofȱInvestigations,ȱDecisionsȱ&ȱ Actions.

vii Introductionȱ ȱ TheȱinterpretationȱofȱanȱAfricanȬAmericanȱculturalȱsiteȱrequiresȱsensitivityȱ toȱbothȱtheȱsubjectȱandȱtheȱvisitorsȱwhenȱtellingȱtheȱstoryȱofȱanȱoftenȱtumultuousȱ journeyȱthroughȱpain,ȱtribulation,ȱandȱfinallyȱonȱsomeȱoccasions,ȱvictory.ȱTheȱ

PaulȱRobesonȱHouseȱinȱtheȱWalnutȱHillȱsectionȱofȱPhiladelphia,ȱseeksȱtoȱtellȱtheȱ storyȱofȱthisȱRenaissanceȱman,ȱwhileȱinspiringȱadultsȱandȱchildrenȱthroughȱ interpretation.ȱTheȱculturalȱsignificanceȱofȱtheȱPaulȱRobesonȱHouseȱisȱwhatȱ makesȱitȱsuchȱaȱpowerfulȱsiteȱforȱAfricanȬAmericansȱandȱallȱpeopleȱwhoȱholdȱtheȱ rightȱforȱfreedomȱandȱequalityȱasȱdearȱtoȱtheirȱheartsȱasȱtheyȱdoȱtheirȱownȱ freedom.ȱȱTheȱpurposeȱofȱthisȱstudyȱisȱtoȱgiveȱsuggestionsȱsoȱthatȱallȱtheȱ possibilitiesȱofȱinterpretationȱofȱPaulȱRobesonȱandȱtheȱRobesonȬForsytheȱHouseȱ canȱbeȱfullyȱexhaustedȱandȱanȱevocativeȱinterpretiveȱplanȱbeȱdeveloped.ȱȱ

TheȱattemptȱtoȱcomprehensivelyȱstudyȱandȱinterpretȱAfricanȬAmericanȱ historyȱisȱaȱrecentȱdevelopmentȱinȱtheȱfieldȱofȱpreservation.ȱWithȱnewȱ scholarship,ȱhistorians,ȱteachers,ȱandȱmembersȱofȱgrassrootsȱorganizations,ȱareȱ bringingȱtoȱtheȱlightȱtheȱmyriadȱofȱwaysȱAfricanȬAmericanȱhistoryȱisȱanȱintrinsicȱ partȱofȱgeneralȱAmericanȱhistory.ȱȱTodayȱatȱhistoricȱsitesȱaroundȱtheȱcountry,ȱ interpretation,ȱdefinedȱasȱ“…theȱtranslationȱofȱtheȱtechnicalȱorȱunfamiliarȱ languageȱofȱtheȱenvironmentȱintoȱlayȱlanguage,ȱwithȱnoȱlossȱinȱaccuracy,ȱinȱorderȱ

1 toȱcreateȱandȱenhanceȱsensitivity,ȱawareness,ȱunderstanding,ȱappreciation,ȱandȱ commitment…”ȱ1ȱisȱtheȱwayȱbyȱwhichȱthisȱhistoryȱisȱbeingȱtold.ȱȱInterpretationȱisȱ atȱtheȱcenterȱofȱaȱsiteȱmanagementȱplanȱatȱanȱhistoricȱsite,ȱdeterminingȱtheȱ outcomeȱofȱmanyȱaspectsȱofȱaȱplan,ȱincludingȱtheȱinteriorȱandȱexhibitȱdesigns.ȱ

InterpretationȱworksȱhandȬinȬhandȱwithȱdesignȱinȱhistoricȱplacesȱtoȱachieveȱtheȱ goalȱofȱmakingȱhistoryȱthoughtȱprovokingȱandȱofȱvalueȱforȱtheȱstakeholdersȱofȱ theȱsite.ȱȱ

ThisȱthesisȱwillȱanalyzeȱtheȱAprilȱ2004ȱproposedȱrestorationȱandȱ interpretiveȱplansȱforȱtheȱPaulȱRobesonȱHouse,ȱcomparingȱthemȱtoȱthreeȱotherȱ historicȱhouseȱmuseumsȱforȱfurtherȱinsightȱintoȱtheȱinterpretiveȱplans.ȱ2ȱ

FollowingȱTilden’sȱsuggestions,ȱthisȱthesisȱwillȱanalyzeȱhowȱsuccessfullyȱtheȱ plansȱȱ“…revealȱmeaningsȱandȱrelationshipsȱthroughȱtheȱuseȱofȱoriginalȱobjects,ȱ byȱfirsthandȱexperience,ȱandȱbyȱillustrativeȱmedia,ȱratherȱthanȱsimplyȱtoȱ communicateȱfactualȱinformation.”ȱ3ȱȱȱ

1 Paul H. Risk, “Interpretation: A Road to Creative Enlightenment,” Cultural Resource Management, Volume 17, No.2 (date unknown), 37-40. 2 This thesis is a continuation of a paper by a fellow student at the University of Pennsylvania on the current exhibition panels and tour at the Paul Robeson House. In this report, the exhibition panels and tour were found to be, “informative…not interpretive” and also “inflexible and generic.” For these reasons, this thesis is looking at the proposed rehabilitation and interpretive plans of the site. (Han Li, Interpretation of the Paul Robeson House Museum, HSPV 606- Historic Site Management, Spring 2004, Professor Randall Mason, Personal Communication, 6 May 2004, 6.) 3 Freeman Tilden, Interpreting Our Heritage, Chapel Hill: University of North Carolina Press, 1977, 8.

2 Theȱthreeȱotherȱsitesȱusedȱforȱcomparisonȱinȱthisȱstudyȱwereȱchosenȱ becauseȱofȱtheirȱdistinctiveȱinterpretiveȱplans.ȱTheȱEdgarȱAllenȱPoeȱHouseȱinȱ

Philadelphia,ȱownedȱbyȱtheȱNationalȱParkȱService,ȱhasȱanȱinterpretiveȱplanȱ unlikeȱmanyȱotherȱhistoricȱhouseȱmuseumsȱdueȱtoȱourȱlackȱofȱknowledgeȱonȱhowȱ

EdgarȱandȱSarahȱAllenȱPoeȱlivedȱinȱtheȱ18thȱcentury.ȱTheȱsecondȱsite,ȱTheȱDr.ȱ

MartinȱLutherȱKingȱHouseȱinȱAtlanta,ȱGeorgia,ȱhasȱaȱhistoricȱfurnishingsȱplanȱ includedȱinȱitsȱinterpretiveȱplan,ȱandȱcontainsȱmanyȱartifactsȱpresentȱinȱtheȱhouseȱ thatȱwouldȱhaveȱbeenȱthereȱwhenȱDr.ȱKingȱresidedȱthereȱasȱaȱchild.ȱThisȱsiteȱisȱ underȱtheȱauspicesȱofȱtheȱKingȱCenter,ȱbeganȱinȱ1964ȱbyȱCorettaȱScottȱKingȱtoȱ commemorateȱtheȱlifeȱandȱlegacyȱofȱherȱhusband.ȱLastly,ȱtheȱWaltȱWhitmanȱ

House,ȱownedȱbyȱtheȱNewȱJerseyȱStateȱParksȱandȱForestryȱDivision,ȱisȱaȱsmallȱ historicȱhouseȱmuseumȱwithȱseveralȱhistoricalȱdocumentsȱtoȱassistȱinȱinterpretingȱ theȱinteriorȱandȱanȱinvolvedȱfriendsȱorganization.ȱTheseȱthreeȱsitesȱhaveȱveryȱ differentȱissues,ȱconcernsȱandȱwaysȱofȱproblemȱsolving,ȱpresentingȱtheȱWestȱ

PhiladelphiaȱCulturalȱAllianceȱwithȱvariousȱsolutionsȱforȱmanagingȱtheȱ interpretationȱofȱtheȱPaulȱRobesonȱHouse.ȱ

ChapterȱOneȱofȱthisȱThesisȱisȱaȱshortȱbiographyȱofȱPaulȱRobeson.ȱTheȱ significanceȱofȱtheȱhouseȱliesȱinȱtheȱWestȱPhiladelphiaȱCulturalȱAliance’sȱdesireȱ toȱeducateȱtheȱworldȱcommunityȱonȱtheȱsymbolicȱimportanceȱofȱPaulȱRobeson’sȱ

3 lifeȱandȱlegacy.ȱChapterȱTwoȱaddressesȱtheȱhistoryȱofȱtheȱhouseȱandȱtheȱ acquisitionȱofȱtheȱhouseȱbyȱitsȱcurrentȱowners,ȱtheȱWestȱPhiladelphiaȱCulturalȱ

Alliance.ȱTheȱmissionȱandȱgoalsȱofȱtheȱWPCAȱwillȱbeȱmentionedȱasȱpartȱofȱtheȱ house’sȱsignificanceȱinȱcontemporaryȱsociety.ȱChapterȱThreeȱwillȱdescribeȱandȱ analyzeȱtheȱMasterȱPlanȱforȱtheȱPaulȱRobesonȱHouse.ȱTheȱchapterȱwillȱincludeȱ theȱplanningȱprocessȱforȱtheȱmasterȱplan,ȱtheȱplanȱforȱrehabilitationȱandȱ interpretation,ȱandȱtheȱstaffingȱissueȱandȱdesiredȱpositionsȱforȱtheȱWestȱ

PhiladelphiaȱCulturalȱAlliance.ȱChapterȱFourȱwillȱbeȱanȱanalysisȱandȱcomparisonȱ ofȱtheȱthreeȱcaseȱstudiesȱtoȱtheȱcurrentȱissuesȱatȱtheȱPaulȱRobesonȱHouse.ȱInȱ conclusion,ȱChapterȱFiveȱwillȱbeginȱtheȱprocessȱofȱwritingȱaȱconservationȱplanȱforȱ theȱPaulȱRobesonȱHouse.ȱTheȱprocessȱbyȱwhichȱtheȱBurraȱCharterȱstatesȱtoȱ implementȱaȱconservationȱplanȱforȱaȱculturalȱheritageȱsiteȱisȱusedȱtoȱbeginȱtheȱ planȱbyȱidentifyingȱpotentialȱvaluesȱforȱtheȱsite,ȱidentifyingȱstakeholders,ȱ gatheringȱsourcesȱandȱpeopleȱtoȱcontact,ȱandȱinȱdraftingȱaȱstatementȱofȱ significance.ȱTheȱ“SWOT”ȱȬstrengths,ȱweaknesses,ȱopportunities,ȱandȱthreatsȱȬȱ analysis,ȱdevelopmentȱofȱpotentialȱpoliciesȱforȱtheȱsite,ȱidentifyingȱofȱspecificȱ actionsȱforȱtheȱfuture,ȱimplementingȱthoseȱactions,ȱandȱthenȱmonitoringȱandȱ reviewingȱtheȱplanȱandȱtheirȱactionsȱperiodically,ȱwillȱalsoȱbeȱexplainedȱforȱtheȱ site.ȱTheȱWestȱPhiladelphiaȱCulturalȱAllianceȱdoesȱwriteȱaȱStrategicȱPlanȱforȱtheirȱ

4 organization,ȱnowȱtheyȱmustȱalsoȱconsiderȱtheȱmission,ȱgoals,ȱandȱfutureȱofȱtheirȱ projectȬȱtheȱPaulȱRobesonȱHistoricȱHouseȱMuseumȱandȱCulturalȱCenter.ȱ

ChapterȱOne:ȱTheȱManȱ ȱ Scholar,ȱathlete,ȱartist,ȱandȱactivistȱPaulȱLeroyȱRobesonȱwasȱbornȱinȱ1896ȱ inȱPrinceton,ȱNewȱJersey,ȱtoȱformerȱslaveȱandȱAMEȱpreacherȱWilliamȱDrewȱ

Robesonȱandȱhisȱwife,ȱMariaȱLouiseȱBustillȱRobeson.ȱHeȱwasȱtheȱyoungestȱofȱ sevenȱchildren,ȱtwoȱofȱwhomȱdiedȱinȱinfancy.ȱPaulȱRobesonȱattendedȱRutgersȱ

College,ȱnowȱRutgersȱUniversity,ȱonȱscholarship,ȱbecameȱaȱdebatingȱchampion,ȱ andȱplayedȱonȱtheȱfootball,ȱbaseball,ȱbasketballȱandȱtrackȱteams.ȱByȱtheȱtimeȱofȱ hisȱgraduationȱinȱ1919ȱasȱvaledictorianȱofȱhisȱclass,ȱheȱhadȱearnedȱfifteenȱvarsityȱ letters,ȱwasȱtwiceȱhonoredȱasȱanȱAllȬAmericanȱinȱfootball,ȱandȱhadȱbeenȱelectedȱ toȱPhiȱBetaȱKappa.ȱHeȱwentȱonȱtoȱearnȱhisȱlawȱdegreeȱfromȱColumbiaȱUniversity,ȱ andȱlaterȱhonoraryȱdegreesȱfromȱRutgersȱUniversity,ȱHamiltonȱCollege,ȱ

MorehouseȱCollege,ȱHowardȱUniversity,ȱMoscowȱConservatoryȱforȱMusic,ȱandȱ

HumboldtȱUniversityȱinȱBerlin.ȱWhileȱinȱNewȱYorkȱCityȱattendingȱColumbiaȱ

UniversityȱLawȱSchoolȱandȱexperiencingȱHarlemȱfirsthand,ȱPaulȱmetȱandȱ marriedȱEslandaȱCardozoȱGoodeȱofȱWashington,ȱDC.ȱSheȱwasȱheadȱhistologicalȱ chemistȱinȱtheȱSurgicalȱPathologicalȱLaboratoryȱofȱPresbyterianȱHospital,ȱandȱtheȱ firstȱBlackȱpersonȱtoȱholdȱsuchȱaȱhighȱpositionȱinȱtheȱhospital.ȱ

5 WhileȱinȱLawȱSchool,ȱRobesonȱmadeȱhisȱtheatricalȱdebutȱatȱtheȱurgingȱofȱaȱ friend,ȱDoraȱColeȱNorman,ȱinȱtheȱleadȱroleȱofȱSimonȱtheȱCyrenianȱstagedȱbyȱ

AmateurȱPlayersȱatȱtheȱHarlemȱYMCA.ȱNormanȱwasȱenthralledȱbyȱRobeson’sȱ deepȱbassȱvoiceȱandȱhisȱnaturalȱpresence,ȱwhileȱRobesonȱwasȱflatteredȱbyȱtheȱ offer.4ȱȱTwoȱyearsȱlater,ȱDoraȱNormanȱrequestedȱRobesonȱagain;ȱthisȱtimeȱforȱaȱ playȱsheȱwasȱproducingȱentitledȱTaboo.ȱEslandaȱRobesonȱencouragedȱhimȱtoȱtakeȱ theȱpart,ȱandȱsuggestedȱheȱquitȱhisȱpartȬtimeȱjobȱasȱpostalȱclerkȱandȱdeferȱhisȱlawȱ studiesȱtoȱtheȱsummer.ȱThisȱbeganȱhisȱcareerȱonstageȱandȱhisȱfameȱinȱEurope.ȱ

Regardlessȱofȱhisȱnascentȱfame,ȱRobesonȱstillȱfinishedȱhisȱlawȱdegree.ȱAfterȱ graduationȱinȱ1923,ȱheȱbeganȱworkingȱatȱaȱmajorȱWallȱStreetȱlawȱfirmȱonlyȱtoȱbeȱ disappointedȱafterȱseveralȱencountersȱwithȱracism.ȱWithinȱtheȱfirstȱyear,ȱRobesonȱ decidedȱtoȱquitȱandȱpursueȱsingingȱandȱactingȱwithȱtheȱfullȱsupportȱofȱhisȱwife.ȱȱ

ItȱwasȱRobesonȱwhoȱintroducedȱspiritualsȱtoȱtheȱconcertȱstageȱandȱwasȱ acclaimedȱinȱAmericaȱandȱEnglandȱforȱhisȱrenditionȱofȱ“Ol’ȱManȱRiver”ȱinȱ

Showboat.ȱHeȱstarredȱinȱtwelveȱfilmsȱinȱHollywoodȱandȱLondonȱandȱwasȱ praisedȱforȱhisȱroleȱasȱOthelloȱinȱEnglandȱandȱinȱAmericaȱwhereȱheȱwasȱtheȱfirstȱ

BlackȱmanȱtoȱplayȱOthelloȱonȱBroadway.ȱRobesonȱalsoȱmasteredȱtwentyȱ languagesȱandȱreceivedȱmuchȱrecognitionȱforȱspeakingȱoutȱagainstȱracism,ȱ

4 Paul Robeson Jr., The Undiscovered Paul Robeson: An Artist Journey, 1898-1939, New York: John Wiley & Sons, Inc., 2001, 55.

6 fascism,ȱlynchings,ȱandȱunjustȱactsȱbyȱpeopleȱandȱgovernmentsȱaroundȱtheȱ world.ȱInȱtheȱend,ȱRobesonȱwasȱacknowledgedȱandȱhonoredȱaroundȱtheȱworldȱ butȱnotȱinȱhisȱownȱcountryȱwhereȱforȱmanyȱyearsȱhisȱnameȱwasȱnotȱmentionedȱinȱ theȱcurriculumȱofȱmostȱschools.ȱW.E.B.ȱDuboisȱwroteȱofȱRobeson,ȱ“Hisȱvoiceȱisȱ knownȱinȱEurope,ȱAsia,ȱandȱAfrica,ȱinȱtheȱWestȱIndiesȱandȱSouthȱAmericaȱandȱinȱ theȱislandsȱofȱtheȱseas.ȱChildrenȱonȱtheȱstreetsȱofȱPekingȱandȱMoscow,ȱCalcuttaȱ andȱJakartaȱgreetȱhimȱandȱsendȱhimȱtheirȱlove.ȱOnlyȱinȱhisȱnativeȱlandȱisȱheȱ withoutȱhonorȱandȱrights.”ȱ5

ThereȱareȱvariousȱexplanationsȱforȱwhyȱRobesonȱisȱrarelyȱacknowledgedȱ inȱhisȱownȱcountry.ȱSomeȱbelieveȱtheȱUnitedȱStatesȱHouseȱCommitteeȱonȱUnȬ

AmericanȱActivitiesȱtargetedȱRobesonȱduringȱtheȱMcCarthyȱeraȱbecauseȱheȱwasȱ anȱAfricanȱAmericanȱmanȱwhoȱspokeȱoutȱagainstȱracismȱandȱtheȱtreatmentȱofȱ

AfricanȱAmericanȱpeopleȱinȱAmerica.ȱOthersȱbelieveȱitȱhadȱnothingȱtoȱdoȱwithȱ hisȱrace,ȱbutȱwithȱhisȱoutwardȱacceptanceȱandȱapprovalȱofȱCommunismȱasȱtheȱ kindȱofȱgovernmentȱpeopleȱofȱcolorȱneededȱtoȱreceiveȱjusticeȱandȱsocialȱequality.ȱ

WhenȱquestionedȱbyȱtheȱCommitteeȱonȱwhyȱheȱdidȱnotȱstayȱinȱRussia,ȱwhereȱheȱ andȱhisȱfamilyȱlivedȱforȱonlyȱtwoȱyears,ȱRobesonȱfamouslyȱreplied,ȱ“Becauseȱmyȱ fatherȱwasȱaȱslaveȱandȱmyȱpeopleȱdiedȱtoȱbuildȱthisȱcountry,ȱandȱIȱamȱgoingȱtoȱ

5 Paul Robeson, Here I Stand, Boston: Beacon Press, 1958, xxvi.

7 stayȱrightȱhereȱandȱhaveȱaȱpartȱofȱit,ȱjustȱlikeȱyou.ȱAndȱnoȱfascistȬmindedȱpeopleȱ willȱdriveȱmeȱfromȱit.ȱIsȱthatȱclear?”ȱ6ȱWhenȱheȱwasȱquestionedȱonȱhisȱcommentsȱ atȱtheȱWorldȱPeaceȱConferenceȱinȱParisȱinȱ1949,ȱRobesonȱattemptedȱtoȱclearȱupȱ hisȱstatementȱonȱAfricanȱAmericanȱpeople’sȱinvolvementȱinȱAmerica’sȱwarȱ againstȱtheȱSovietȱUnionȱbyȱstating:ȱȱ

Iȱ didȱ say,ȱ inȱ passing,ȱ thatȱ itȱ wasȱ unthinkableȱ toȱ meȱ thatȱ aȱ peopleȱ wouldȱ takeȱ upȱ armsȱ inȱ theȱ nameȱ ofȱ anȱ Eastland7ȱ toȱ goȱ againstȱ anybody,ȱ andȱ gentlemen,ȱ Iȱ stillȱ sayȱ that.ȱ Iȱ thoughtȱ itȱ wasȱ healthyȱ forȱAmericansȱtoȱconsiderȱwhetherȱorȱnotȱNegroesȱshouldȱfightȱforȱ peopleȱ whoȱ kickȱ themȱ around…Iȱ standȱ hereȱ strugglingȱ forȱ theȱ rightsȱofȱmyȱpeopleȱtoȱbeȱfullȱcitizensȱinȱthisȱcountry.ȱTheyȱareȱnotȬȱ inȱMississippi.ȱTheyȱareȱnotȬȱinȱMontgomery.ȱThatȱisȱwhyȱIȱamȱhereȱ today…Youȱ wantȱ toȱ shutȱ upȱ everyȱ coloredȱ personȱ whoȱ wantsȱ toȱ fightȱforȱtheȱrightsȱofȱhisȱpeople!ȱ8 ȱ

FollowingȱhisȱappearanceȱbeforeȱtheȱHouseȱCommitteeȱonȱUnȬAmericanȱ

ActivitiesȱRobesonȱwasȱunableȱtoȱearnȱaȱlivingȱwithinȱtheȱUnitedȱStatesȱor,ȱwithȱ hisȱpassportȱrevokedȱforȱsixȱyears,ȱtoȱworkȱabroad.ȱLloydȱBrown,ȱhisȱbiographer,ȱȱ summedȱtheȱsituationȱasȱfollows:ȱȱ

Thoughȱ heȱ wasȱ banishedȱ asȱ aȱ performingȱ artistȱ andȱ deniedȱ hisȱ rightsȱ asȱ aȱ citizen,ȱ Robesonȱ wasȱ neverȱ chargedȱ withȱ anyȱ illegalȱ action;ȱ heȱ wasȱ neverȱ arrestedȱ orȱ putȱ onȱ trial.ȱ Butȱ hisȱ persecutorsȱ madeȱnoȱbonesȱaboutȱwhyȱheȱwasȱbeingȱpunished;ȱRobeson,ȱtheyȱ said,ȱ wasȱ aȱ dangerousȱ Red.ȱ Robeson,ȱ theyȱ said,ȱ wasȱ aȱ dangerousȱ Black.ȱ Thatȱ madeȱ himȱ twiceȱ asȱ badȱ asȱ anyoneȱ elseȱ inȱ theȱ ‘Fearfulȱ

6 Robeson, Here I Stand, 48. 7 Eastland is another name Robeson used for the United States in this passage. 8 Robeson, Here I Stand, 42.

8 Fifties,’ȱ whenȱ Communismȱ atȱ homeȱ andȱ abroadȱ wasȱ saidȱ toȱ beȱ aȱ clearȱandȱpresentȱdangerȱtoȱtheȱAmericanȱWayȱofȱLife.ȱ9 ȱ

WhenȱinȱJulyȱofȱ1958,ȱRobesonȱwasȱgrantedȱhisȱpassportȱandȱtheȱrightȱtoȱtravelȱ heȱresumedȱhisȱcareerȱabroad.ȱDueȱtoȱhisȱstruggleȱwithȱacuteȱdepressiveȱ symptomsȱandȱaȱrecentȱdiagnosisȱofȱhavingȱaȱheartȱ“insufficiency,”ȱaȱslightlyȱ enlargedȱliver,ȱsecondaryȱcolitisȱwithȱincipientȱulceration,ȱandȱPaget’sȱdisease,ȱ10ȱ heȱtemporarilyȱretiredȱinȱ1963ȱandȱreturnedȱtoȱhisȱhomeȱinȱNewȱYorkȱCity.ȱȱ

Whenȱhisȱwife,ȱEslanda,ȱdiedȱinȱ1966,ȱRobesonȱbeganȱstayingȱwithȱhisȱsonȱPaulȱ

Robeson,ȱJr.ȱandȱhisȱfamily.ȱDuringȱthatȱsummer,ȱRobesonȱvisitedȱhisȱsister,ȱ

MarianȱRobesonȱForsytheȱandȱherȱdaughter,ȱPaulinaȱinȱPhiladelphia.ȱHisȱsonȱ broughtȱhimȱbackȱtoȱNewȱYorkȱatȱtheȱendȱofȱtheȱsummer,ȱbutȱduringȱtheȱfallȱofȱ

1966,ȱRobesonȱreturnedȱtoȱPhiladelphiaȱtoȱliveȱwithȱhisȱsister.ȱ“Paulȱhadȱmissedȱ herȱandȱtheȱwarm,ȱhappyȱsurroundingsȱofȱherȱhome,”ȱexplainedȱCharlotteȱ

TurnerȱBell,ȱRobeson’sȱpianoȱaccompanist,ȱinȱherȱbook,ȱPaulȱRobeson’sȱLastȱDaysȱ inȱPhiladelphia.ȱ11ȱThisȱisȱtheȱhomeȱbeingȱrestoredȱtodayȱasȱtheȱhomeȱwhereȱPaulȱ

Robeson,ȱathlete,ȱlawyer,ȱsinger,ȱlinguist,ȱsocialȱactivist,ȱandȱmisunderstoodȱbutȱ genuineȱAmericanȱhero,ȱspentȱtheȱlastȱtenȱyearsȱofȱhisȱlife.ȱ

9 Robeson, Here I Stand, xxvi. 10 Martin Duberman, Paul Robeson: A Biography, New York: Knopf Press, 1988, 517. Paget’s disease is further described in the book as a condition of unknown etiology and no psychiatric import, involving an abnormal amount of bone deformation and known to be fairly commonplace. The slightly enlarged liver and secondary colitis with incipient ulceration is stated to be possible reactions to anti-depression drugs Robeson was prescribed and taken off of soon after the diagnosis. 11 Charlotte Turner Bell, Paul Robeson’s Last Days in Philadelphia, Dorrance Publishing Co., 1986, 4.ȱ

9 ȱ ȱ ȱ

ChapterȱTwo:ȱTheȱHistoricȱHouseȱMuseumȱ ȱ TheȱPaulȱRobesonȱHouseȱwasȱbuiltȱbyȱE.ȱAllenȱWilsonȱatȱ4951ȱWalnutȱ

StreetȱinȱtheȱWalnutȱHillȱsectionȱofȱWestȱPhiladelphiaȱinȱ1911.ȱ12ȱȱItȱisȱwhereȱ

RobesonȱspentȱtheȱlastȱtenȱyearsȱofȱhisȱlifeȱwhenȱheȱretiredȱtoȱPhiladelphiaȱtoȱliveȱ withȱhisȱsister,ȱMarianȱRobesonȱForsythe,ȱandȱhisȱniece,ȱPaulina,ȱwhoȱtookȱcareȱ ofȱhim.ȱHeȱspentȱmuchȱofȱhisȱretirementȱenjoyingȱPhiladelphiaȱwhileȱalsoȱ entertainingȱandȱcounselingȱfriendsȱwhoȱwouldȱvisitȱhimȱfromȱtimeȱtoȱtime.ȱ

Robesonȱdiedȱinȱ1976,ȱfollowedȱbyȱhisȱsisterȱinȱ1977,ȱwhoȱleftȱ4951ȱWalnutȱStreetȱ toȱherȱdaughter.ȱPaulinaȱForsytheȱownedȱtheȱhouseȱuntilȱ1994ȱwhenȱsheȱdecidedȱ toȱsellȱtheȱproperty.ȱ13ȱȱThereȱwereȱseveralȱorganizationsȱthatȱwereȱinterestedȱinȱ theȱhouse,ȱbutȱonlyȱoneȱwouldȱacquireȱtheȱhouseȱwhereȱPaulȱRobesonȱspentȱtheȱ lastȱtenȱyearsȱofȱhisȱlife.ȱȱ

TheȱWestȱPhiladelphiaȱCulturalȱAllianceȱ(WPCA)ȱhadȱbeenȱestablishedȱinȱ

1984,ȱ“toȱstimulateȱcommunityȱparticipationȱinȱtheȱartsȱbyȱcultivatingȱanȱinterestȱ in,ȱunderstandingȱof,ȱandȱappreciationȱforȱtheȱartsȱinȱtheȱgreaterȱPhiladelphiaȱ

12 Frances Aulston, Personal Interview, 24 July 2004 and 4 February 2005. 13 Department of Records - City of Philadelphia, Philadox, Accessed on March 30, 2005.

10 region”ȱandȱwasȱtheȱorganizationȱthatȱacquiredȱtheȱsite.ȱ14ȱȱTheȱWPCAȱwasȱatȱtheȱ timeȱlookingȱforȱadministrativeȱspaceȱasȱitȱwasȱoutgrowingȱaȱsmallȱofficeȱinȱtheȱ basementȱofȱtheȱCommunityȱEducationȱCenter.ȱTyreeȱJohnson,ȱwriterȱforȱtheȱ

WestȱSideȱWeeklyȱandȱfriendȱofȱFrancesȱAulston,ȱtheȱdirector,ȱknewȱofȱtheȱ organization’sȱdesireȱtoȱmoveȱandȱinformedȱtheȱWPCAȱtheȱ4951ȱWalnutȱStreetȱ propertyȱwasȱforȱsale.ȱTheȱWPCAȱhadȱaȱfocusȱstudyȱconducted,ȱspeakingȱtoȱ colleagues,ȱneighbors,ȱandȱartistsȱinȱtheȱareaȱaboutȱtheȱpossibilityȱofȱbuyingȱandȱ managingȱtheȱsite.ȱTheȱstudyȱdeterminedȱthereȱwasȱaȱgreatȱinterestȱinȱtheȱWPCAȱ acquiringȱtheȱsiteȱandȱturningȱitȱintoȱanȱ“artsȱmecca,”ȱaȱculturalȱdestination,ȱaȱ placeȱtoȱhaveȱ“artistsȱempowered,ȱtheȱcommunityȱengaged,ȱandȱartsȱfoster,”ȱasȱ

Ms.ȱAulstonȱsoȱeloquentlyȱexplainedȱit.ȱ15ȱȱItȱappearedȱaȱperfectȱmatchȱtoȱblendȱanȱ organizationȱthatȱaimedȱtoȱincreaseȱtheȱvisibilityȱofȱculturalȱinstitutions,ȱadvocateȱ forȱtheȱarts,ȱandȱbringȱartsȱintoȱtheȱcommunityȱofȱWestȱPhiladelphia,ȱwithȱtheȱ homeȱofȱoneȱtheȱmostȱhighlyȱacclaimedȱsinger,ȱactor,ȱandȱCivilȱRightsȱActivist.ȱ

Ms.ȱAulstonȱusedȱherȱlifeȱsavingsȱofȱ$7,000ȱand,ȱwithȱtheȱassistanceȱofȱ$30,000ȱinȱ creativeȱfundraisingȱbyȱtheȱWPCA,ȱputȱtheȱdownȱpaymentȱonȱtheȱhouseȱinȱ1994.ȱ

Inȱtheȱsameȱyear,ȱtheȱelderlyȱwomanȱwhoȱownedȱ4949ȱWalnutȱStreet,ȱMs.ȱEvelynȱ

Bennett,ȱdiedȱleavingȱtheȱfirstȱrightȱofȱrefusalȱonȱtheȱhouseȱtoȱtheȱWPCA,ȱwhichȱ humblyȱacceptedȱtheȱofferȱbyȱherȱtwoȱsons.ȱTheȱWPCAȱtookȱoutȱaȱbridgeȱloanȱ

14 West Philadelphia Cultural Alliance, The Robeson House, http://www.wpcalliance.org. 15 Aulston, Personal Interview, 24 July 2004 and 4 February 2005.

11 fromȱCoreStatesȱBankȱinȱ1994ȱtoȱpayȱforȱtheȱhomes.ȱHoweverȱwhenȱtheȱbankȱ mergedȱwithȱtwoȱotherȱbanks,ȱtheȱloanȱwasȱsoldȱtoȱaȱloanȱcompanyȱatȱ11.5ȱ%ȱ interestȱrates.ȱFortunately,ȱtheȱWPCAȱwasȱableȱtoȱrefinanceȱwithȱtheȱbankȱandȱ nowȱholdsȱaȱmortgageȱatȱ7%ȱinterest.ȱTodayȱtheȱorganizationȱstrugglesȱtoȱpayȱtheȱ loanȱandȱutilitiesȱonȱbothȱhomes,ȱthatȱaveragesȱ$3,000ȱaȱmonth,ȱbutȱremainsȱ gratefulȱforȱtheȱopportunityȱtoȱownȱsuchȱaȱculturallyȱsignificantȱsiteȱinȱWestȱ

Philadelphia.ȱ16

WhenȱtheȱWPCAȱacquiredȱtheȱhouses,ȱtheȱinteriorȱwalls,ȱfloors,ȱandȱ windows,ȱandȱtheȱexteriorsȱwereȱstabilizedȱsoȱthatȱtheȱWPCAȱcouldȱoccupyȱtheȱ structures.ȱWhenȱtheȱWPCAȱacquiredȱtheȱhousesȱinȱ1994,ȱtheȱmissionȱforȱtheȱ organizationȱwasȱtoȱuseȱtheȱRobesonȱHouseȱtoȱ“educateȱtheȱAmericanȱpeopleȱ andȱinternationalȱaudienceȱaboutȱtheȱimportanceȱandȱvalueȱofȱhistoricȱ preservationȱforȱtheȱbenefitȱofȱfutureȱgenerations,ȱusingȱtheȱlifeȱandȱlegacyȱofȱ

PaulȱRobesonȱasȱtheȱfocalȱpoint.”ȱ17ȱȱTheȱWPCAȱbelievesȱtheȱPaulȱRobesonȱHouseȱ fitsȱitsȱownȱcorporateȱmissionȱbyȱ1)ȱpromotingȱincreasedȱethnic/culturalȱtoleranceȱ amongȱmultiȬcultural,ȱracialȱandȱethnicȱresidentsȱofȱtheȱcommunity;ȱ2)ȱ supportingȱtheȱdevelopmentȱandȱmarketingȱofȱlocalȱartists;ȱandȱ3)ȱservingȱasȱanȱ

16 Aulston, Personal Interview, 24 July 2004 and 4 February 2005. 17 West Philadelphia Cultural Alliance, Keeper of Culture, handout, 2005.

12 advocateȱforȱtheȱpowerȱofȱtheȱartsȱtoȱpromoteȱsocialȱchangeȱandȱeconomicȱ development.18

Sinceȱ1994,ȱtheȱWPCAȱhasȱstruggledȱtoȱmeetȱitsȱmissionȱbecauseȱofȱtheȱ lackȱofȱprofessionalȱknowledgeȱinȱdevelopment,ȱeducation,ȱandȱcuratorialȱ services.ȱHowever,ȱthereȱhaveȱbeenȱsmallȱsuccesses.ȱTheȱWPCAȱdidȱhaveȱaȱstateȱ historicȱmarkerȱplacedȱoutsideȱtheȱhomeȱbyȱtheȱPennsylvaniaȱHistoricalȱMuseumȱ

Commissionȱinȱ1991.ȱItȱreceivedȱfundingȱfromȱtheȱDelawareȱRiverȱPortȱ

Authority,ȱtheȱPennsylvaniaȱDepartmentȱofȱCommunityȱandȱEconomicȱ

Development,ȱtheȱPennsylvaniaȱHistoricalȱandȱMuseumȱCommission,ȱandȱtheȱ

WilliamȱPennȱFoundationȱforȱanȱorganizationalȱplan.ȱTheȱWPCAȱreceivedȱ fundingȱforȱanȱhistoricalȱassessmentȱfromȱtheȱPreservationȱAlliance.ȱTheyȱ receivedȱfundingȱfromȱtheȱCulturalȱFacilitiesȱFundȱandȱSamuelȱS.ȱFelsȱFundȱforȱ

Facilities/MuseumȱPlan/RFPȱforȱArchitects.ȱFinally,ȱinȱ1998,ȱtheȱWPCAȱreceivedȱ fundingȱfromȱtheȱPhiladelphiaȱFoundationȱtoȱdesignȱaȱstrategicȱplanȱforȱtheȱ organization.ȱȱ

Inȱ1998,ȱseveralȱarchitectureȱfirmsȱincludingȱKelly/MaielloȱandȱUelandȱ

JunkerȱMcCauleyȱNicholsonȱ(UJMN)ȱsentȱinȱresponsesȱtoȱtheȱrequestȱforȱ

18 West Philadelphia Cultural Alliance, Keeper of Culture.

13 proposalsȱsentȱoutȱbyȱWPCA.ȱKelly/MaielloȱArchitects,ȱtheȱlargestȱminorityȬ ownedȱfirmȱinȱPhiladelphia,ȱwonȱtheȱbid.ȱHowever,ȱrecognizingȱthatȱtheȱhouseȱ lackedȱanȱinterpretiveȱplanȱandȱthatȱthereȱwasȱnoȱmentionȱofȱoneȱinȱtheȱRFP,ȱ

UJMNȱhadȱincludedȱanȱinterpretiveȱplanȱinȱtheȱtheirȱproposal.ȱMarkȱUelandȱsawȱ thisȱasȱanȱexcellentȱopportunityȱtoȱtellȱtheȱstoryȱofȱaȱmanȱthatȱfewȱknowȱmuchȱ about.ȱWhile,ȱtheȱexistingȱexhibitionȱwasȱinformative,ȱitȱleftȱmuchȱtoȱbeȱdesiredȱ inȱtheȱwayȱofȱinterpretation.ȱHeȱaddsȱthatȱtheȱhouseȱlooksȱlikeȱanyȱotherȱrowȱ houseȱinȱWestȱPhiladelphia,ȱbutȱwhatȱmakesȱthisȱhouseȱunique,ȱUelandȱbelieves,ȱ isȱitsȱconnectionȱtoȱPaulȱRobesonȱwhoseȱstoryȱshouldȱbeȱtold.ȱ19ȱThereforeȱUJMNȱ addedȱaȱproposalȱforȱexhibitȱdesignȱtoȱtheirȱresponse;ȱFranȱAulstonȱofȱWPCAȱ wasȱintriguedȱbyȱtheȱideaȱofȱaȱnewȱexhibitȱdesignȱandȱcontactedȱUJMN.ȱȱ

TheȱhouseȱreceivedȱaȱSaveȱAmerica’sȱTreasureȱgrantȱforȱrestorationȱinȱ1999ȱ withȱtheȱhelpȱofȱCongressmanȱChakaȱFattahȱandȱSenatorsȱArlenȱSpecterȱandȱRickȱ

Santorum.ȱWithȱthisȱgrantȱtheyȱwereȱableȱtoȱhireȱKelly/MaielloȱArchitectsȱandȱ

UelandȱJunkerȱMcCauleyȱNicholsonȱtoȱprepareȱaȱmasterȱplanȱforȱbothȱ architecturalȱrestorationȱandȱinterpretiveȱplanningȱinȱtheȱfallȱofȱ2003.ȱTheȱfirmsȱ areȱindividuallyȱcontractedȱwithȱWPCA,ȱbutȱhaveȱagreedȱtoȱworkȱinȱcloseȱ coordinationȱthroughoutȱtheȱplanningȱprocessȱtoȱ“insureȱthatȱtheȱproductsȱofȱ

19 MarkȱUeland,ȱPersonalȱInterview,ȱ31ȱJanuaryȱ2005.

14 theirȱrespectiveȱdesignȱeffortsȱwillȱmeshȱseamlesslyȱasȱtheȱclientȱintends.”ȱ20ȱȱTheȱ masterȱplanȱthatȱisȱbeingȱanalyzedȱinȱthisȱthesisȱcombinesȱtheȱworkȱofȱbothȱfirms.ȱ

Inȱ2002,ȱtheȱhouseȱwasȱplacedȱonȱtheȱNationalȱRegisterȱofȱHistoricȱPlacesȱ andȱisȱcurrentlyȱeligibleȱforȱNationalȱLandmarkȱstatus.ȱItȱwasȱaddedȱtoȱtheȱ

NationalȱTrustȱforȱHistoricȱPreservation’sȱ2004Ȭ2005ȱlistȱofȱRestoreȱAmericaȱsites,ȱ withȱtheȱaddedȱbonusȱofȱaȱ$100,000ȱgrant,ȱaȱcommercialȱonȱtheȱHouseȱandȱGardenȱ networkȱtoȱbeȱairedȱinȱtheȱSpringȱofȱ2005,ȱandȱstoryȱonȱtheȱHouseȱandȱGardenȱ website.ȱȱ

CurrentlyȱtheȱPaulȱRobesonȱHouseȱMuseumȱisȱopenȱforȱtoursȱwhichȱ includeȱaȱtenȱpanelȱexhibitionȱdesignedȱbyȱFrankȱStephensȱwithȱhistorianȱCharlesȱ

Blocksonȱservingȱasȱcurator,ȱgivingȱaȱnarrativeȱofȱRobeson’sȱlifeȱstoryȱandȱaȱ collageȱofȱphotosȱofȱRobesonȱasȱaȱchild,ȱathlete,ȱscholar,ȱactor,ȱsinger,ȱandȱsocialȱ activist.ȱ21ȱȱTheȱexhibitȱboardsȱareȱinformativeȱbutȱhaveȱbeenȱfoundȱtoȱbeȱ

“inflexibleȱandȱgeneric…honestlyȱrepresentingȱRobeson’sȱlifeȱbutȱwithoutȱanȱ

20 Kelly/Maiello & Ueland Junker McCauley Nicholson, Master Plan: The Rehabilitation Plan for the Paul Robeson House, April 2004, 5. 21 Charles Blockson holds a large collection of African and Caribbean American historical photos, documents, books, and memorabilia now at Temple University in Philadelphia. He also befriended Paul Robeson while he was in Philadelphia.

15 attemptȱtoȱprovokeȱtheȱinterestsȱofȱvisitorsȱofȱvariousȱbackgroundsȱandȱagendasȱ whenȱvisitingȱtheȱsite.”ȱ22ȱȱ(SeeȱFiguresȱ13ȱȬȱ18)ȱ

ȱ SinceȱacquiringȱtheȱRobesonȱHouseȱinȱ1994,ȱtheȱWPCAȱhasȱbeenȱunableȱtoȱ devoteȱaȱsubstantialȱamountȱofȱtimeȱtoȱinterpretationȱdueȱtoȱaȱlackȱofȱknowledgeȱ andȱtheȱpreoccupationȱwithȱfundingȱtoȱmaintainȱtheȱhouses.ȱThisȱisȱevidentȱinȱ theȱtenȬpanelȱexhibitȱthatȱisȱdidactic,ȱbutȱleavesȱlittleȱroomȱforȱprovocation.ȱAȱ culturalȱheritageȱsiteȱhonoringȱaȱmanȱwithȱgreatȱaccomplishmentsȱmustȱbeȱ interpretedȱtoȱeducate,ȱbutȱalsoȱtoȱmoveȱpeopleȱofȱallȱagesȱtoȱconsiderȱtheȱimpactȱ hisȱachievementsȱhaveȱhadȱonȱtheȱopportunitiesȱandȱprivilegesȱweȱhaveȱtoday.ȱ

TheȱWPCAȱdoesȱseeȱtheȱimportanceȱinȱdesigningȱanȱattractiveȱexhibitȱspaceȱforȱ theȱhistoricȱhouseȱmuseumȱbyȱhiringȱUJMN.ȱHowever,ȱasȱitȱwillȱbeȱdiscussedȱinȱaȱ laterȱchapter,ȱtheȱWPCAȱhasȱnotȱconsideredȱtheȱnearȱfuture.ȱNeitherȱanȱ interpretiveȱplanȱbasedȱonȱthoroughȱbackgroundȱresearchȱforȱtheȱRobesonȱHouseȱ norȱtheȱconservationȱofȱtheȱhistoricȱhouseȱmuseumȱonceȱtheȱstructureȱisȱ rehabilitatedȱhasȱbeenȱaddressedȱinȱtheȱAprilȱ2004ȱplans.ȱ

22 Han Li, Interpretation of the Paul Robeson House Museum. Personal Communication.

16 ChapterȱThree:ȱTheȱRehabilitationȱPlanȱofȱtheȱPaulȱRobesonȱHouseȱ

Inȱ1998,ȱtheȱPaulȱRobesonȱHouseȱwasȱawardedȱaȱSaveȱAmerica’sȱTreasuresȱ grantȱtoȱengageȱanȱarchitectȱforȱtheȱrestorationȱofȱ4949ȱandȱ4951ȱWalnutȱStreet.ȱ

Withȱtheȱgrant,ȱtheȱWPCAȱretainedȱKelly/MaielloȱArchitectsȱandȱUelandȱJunkerȱ

McCauleyȱNicholson,ȱanȱexhibitȱdesignȱfirm,ȱtoȱcreateȱanȱhistoricȱhouseȱmuseum,ȱ gallery,ȱvisitorȱcenter,ȱandȱculturalȱcenterȱinȱanȱeffortȱtoȱfulfillȱtheȱfundamentalȱ purposeȱofȱtheȱorganization.ȱTheȱfirmsȱconsultedȱwithȱtheȱWPCAȱandȱotherȱ stakeholdersȱincludingȱPaulȱRobesonȱJr.,ȱCharlesȱBlockson,ȱandȱhistorianȱClaudeȱ

Lewisȱ23ȱȱtoȱdevelopȱtheȱprogramȱforȱtheȱPaulȱRobesonȱHouseȱandȱ4949ȱWalnutȱ

Street.ȱTheȱMasterȱPlanȱwasȱsubmittedȱinȱAprilȱ2004ȱcontainingȱtenȱsectionsȱ addressingȱtheȱcomponentsȱthatȱshapeȱtheȱplanȱincluding:ȱ“Planȱforȱtheȱ

RehabilitationȱofȱtheȱPaulȱRobesonȱHouse”ȱwhichȱincludesȱtheȱdescriptionȱofȱtheȱ planȱandȱarchitecturalȱdrawings;ȱ“RestoringȱtheȱHouseȱInterior,”ȱ“TheȱVisitorȱ

Experience,”ȱtheȱ“NewȱExhibits,”ȱandȱ“Staffing”ȱwhichȱexplainsȱtheȱareasȱinȱ whichȱtheȱWPCAȱisȱlackingȱprofessionalȱexpertise.ȱȱ

TheȱMasterȱPlanȱattemptsȱtoȱaddressȱtheȱsignificanceȱofȱtheȱPaulȱRobesonȱ

Houseȱandȱprovideȱanȱinterpretiveȱplanȱbutȱfallsȱshortȱbyȱnotȱfirstȱidentifyingȱ

23 Claude Lewis is an historian and journalist for the Philadelphia Inquirer. He was asked by the WPCA to write the “Understanding Paul Robeson” piece for the Master Plan.

17 stakeholdersȱandȱtheȱvaluesȱtheyȱholdȱforȱtheȱhouse.ȱ24ȱTheseȱstepsȱareȱfirstȱtakenȱ inȱaȱvaluesȬbasedȱconservationȱplan.ȱ25ȱConsequently,ȱtheȱplanȱprovidesȱ insufficientȱinformationȱtoȱinterpretȱtheȱlifeȱofȱPaulȱRobeson,ȱasȱtheȱorganizationȱ desiresȱtoȱdo.ȱForȱexample,ȱmostȱofȱtheȱoriginalȱcontentsȱofȱtheȱhomeȱhaveȱ disappearedȱandȱresearchȱisȱneededȱtoȱinterpretȱtheȱhomeȱsharedȱbyȱMarianȱ

RobesonȱForsytheȱandȱherȱdaughter,ȱduringȱtheȱlastȱtenȱyearsȱofȱPaulȱRobeson’sȱ life.ȱTheȱAprilȱ2004ȱMasterȱPlanȱacknowledgesȱthatȱonlyȱpreliminaryȱresearchȱhasȱ beenȱdoneȱbutȱasȱofȱFebruaryȱ2005,ȱoralȱhistoriesȱhadȱstillȱnotȱbeenȱconducted.ȱ26ȱ

OneȱalsoȱwondersȱaboutȱtheȱimpactȱRobesonȱhadȱonȱhisȱpredominantlyȱAfricanȱ

Americanȱneighborhood;ȱthereȱhaveȱnotȱbeenȱanyȱdocumentedȱinterviewsȱwithȱ

Robeson’sȱneighbors.ȱFrancesȱAulston,ȱofȱtheȱWPCAȱhasȱspokenȱtoȱseveralȱofȱtheȱ neighborsȱaboutȱtheirȱencountersȱwithȱRobesonȱbutȱnothingȱhasȱbeenȱformallyȱ documented.ȱVeryȱlittleȱofȱtheȱinterpretativeȱplanȱcontainedȱinȱtheȱMasterȱPlanȱ addressesȱeitherȱtheȱsiteȱasȱaȱwholeȱorȱitsȱcontextȱinȱWestȱPhiladelphia.ȱȱ

24 A stakeholder is any person or entity that stands to gain or lose from the success or failure of an historic site. (Jonathan Boutelle, “Understanding Organizational Stakeholders for Design Success,” Boxes and Arrows, 6 May 2004, http://www.boxesandarrows.com/archives/understanding_organizational_stakeholders_for_design_success. php) 25 Values-based planning takes a holistic view of a site, and its objective is always the conservation and communication of those values that make the site significant. The management process begins with an examination of the values attributed to the site and is carried out through consultations with the stakeholders at the site. Once the values are identified—and thus the significance of the site is established—the aim of management becomes their conservation through policy and action. (Marta De La Torre, “Values and Site Management: New Case Studies,” Getty Conservation Institute, Newsletter 16.2, Summer 2001, http://www.getty.edu/conservation/publications/newsletters/16_2/news_in_cons2.html.) 26 Oral histories will be addressed in further detail in Chapter Four.

18 PlanȱforȱRehabilitationȱ

Kelly/Maielloȱwasȱretainedȱtoȱprovideȱtheȱarchitecturalȱandȱengineeringȱ servicesȱandȱwasȱresponsibleȱforȱtheȱprojectȱmanagementȱforȱtheȱrehabilitationȱofȱ theȱhouses.ȱKelly/Maielloȱbeganȱtheȱrestorationȱprocessȱbyȱsurveyingȱtheȱsiteȱandȱ preparingȱexistingȱconditionsȱdrawingsȱforȱtheȱsite.ȱ(SeeȱFiguresȱ11ȱ–ȱ12.)ȱȱTheȱ firmȱmetȱwithȱWPCAȱtoȱdiscussȱcurrentȱprogrammingȱneedsȱforȱtheȱ organization,ȱtheȱpreviousȱconceptualȱplanȱforȱtheȱhousesȱpreparedȱinȱ1999,ȱandȱ whatȱtheyȱdesiredȱforȱtheȱhistoricȱhouseȱmuseum.ȱKelly/MaielloȱandȱWPCAȱthenȱ hadȱaȱwalkȱthroughȱmeetingȱwithȱstaffȱfromȱtheȱPennsylvaniaȱHistoricalȱ

MuseumȱCommissionȱ(PHMC),ȱtoȱdetermineȱwhetherȱaccessȱfromȱ4949ȱtoȱ4951ȱ

WalnutȱStreetȱwasȱphysicallyȱpossibleȱandȱsensitiveȱtoȱtheȱhistoricȱfabric.ȱForȱ handicappedȬaccessibilityȱanȱelevatorȱisȱtoȱbeȱaddedȱatȱtheȱrearȱofȱ4949ȱWalnutȱ

Streetȱandȱtheȱporchȱfloorsȱwillȱbeȱraisedȱtoȱallowȱaccessȱfromȱhouseȱtoȱhouseȱviaȱ theȱfrontȱdoor.ȱEmergencyȱlightsȱandȱsignsȱthatȱareȱnonȬobtrusiveȱtoȱtheȱinteriorȱ ofȱtheȱhouseȱalsoȱmustȱbeȱfoundȱforȱbothȱhouses.ȱ27

Theȱplanȱexplainsȱthatȱbecauseȱtheȱ4951ȱWalnutȱStreetȱisȱonȱtheȱNationalȱ

RegisterȱofȱHistoricȱPlacesȱtheȱworkȱbeingȱdoneȱmustȱcomplyȱwithȱTheȱSecretaryȱ

27 Emanual Kelly, Personal Interview, 16 February 2005.

19 ofȱInteriorȱStandardsȱforȱTreatmentȱofȱHistoricȱProperties.ȱȱTheȱplanȱlastlyȱnotesȱthatȱ thisȱappliesȱonlyȱtoȱ4951ȱWalnutȱStreetȱandȱnotȱ4949ȱWalnutȱStreet.ȱȱ

Theȱbuildingsȱhaveȱremainedȱessentiallyȱunchangedȱsinceȱtheȱtimeȱthatȱ

Robesonȱlivedȱinȱtheȱhouseȱwithȱhisȱsisterȱandȱniece.ȱȱTheȱrehabilitationȱplanȱforȱ theȱhousesȱconsistsȱofȱinteriorȱandȱexteriorȱrepairȱwork,ȱincludingȱrepairingȱtheȱ frontȱporches,ȱreconstructionȱofȱtheȱslateȱmansardȱroof,ȱrestoringȱtheȱexistingȱ doors,ȱrehabilitatingȱtheȱwindowsȱandȱaddingȱaȱnewȱstairȱandȱelevatorȱtoȱtheȱ backȱofȱ4949ȱtoȱprovideȱaȱsecondȱmeansȱofȱegressȱtoȱallȱfloorsȱasȱrequiredȱbyȱlawȱ andȱhandicappedȱaccessibilityȱtoȱbothȱbuildings.ȱAȱpaintȱanalysisȱwasȱnotȱ conductedȱonȱtheȱhouse,ȱbutȱhasȱbeenȱscheduledȱtoȱprovideȱaȱmatchȱtoȱtheȱ existingȱcolor.ȱHowever,ȱinȱinterpretingȱtheȱsite,ȱtheȱcolorȱofȱinteriorȱandȱexteriorȱ ofȱtheȱhouseȱwhenȱRobesonȱlivedȱthereȱwouldȱbeȱmoreȱaccurateȱaȱmatch.ȱThereȱ wereȱpatchesȱofȱoriginalȱwallpaperȱinȱtheȱhouseȱandȱthisȱhasȱbeenȱscheduledȱtoȱ matchȱtheȱoriginalȱasȱcloselyȱasȱpossible.ȱ“Asȱcloselyȱasȱpossible”ȱwasȱnotȱclearlyȱ defined,ȱthereforeȱitȱmayȱmeanȱtheyȱareȱgoingȱtoȱreproduceȱitȱexactlyȱorȱfindȱaȱ patternȱ“offȱtheȱshelf”ȱthatȱisȱcloseȱtoȱtheȱoriginal,ȱthenȱdocumentȱandȱarchiveȱtheȱ originalȱpattern.ȱAccordingȱtoȱtheȱplanȱtheȱfirstȱtwoȱfloorsȱofȱ4951ȱWalnutȱwillȱbeȱ restoredȱtoȱtheȱperiodȱ1965Ȭ1976ȱwhenȱRobesonȱlivedȱinȱtheȱhouse.ȱTheȱfirstȱfloorȱ ofȱ4949ȱwillȱbeȱmadeȱintoȱaȱreceptionȱarea,ȱgallery,ȱandȱgiftȱshop.ȱTheȱsecondȱ

20 floorȱofȱ4949ȱwillȱbeȱforȱlectures,ȱexhibits,ȱandȱotherȱWPCAȱevents.ȱPublicȱ restroomsȱwillȱbeȱplacedȱinȱtheȱbasementȱofȱ4949ȱWalnutȱStreet,ȱalongȱwithȱ conventionalȱandȱarchivalȱstorageȱspace.ȱTheȱthirdȱfloorȱofȱ4951ȱWalnutȱwillȱ remainȱaȱseparateȱresidence,ȱasȱitȱwasȱwhenȱRobesonȱlivedȱthereȱandȱisȱcurrentlyȱ forȱanȱartistȱinȱresidence.ȱTheȱWPCAȱofficesȱwillȱbeȱlocatedȱonȱtheȱsecondȱandȱ thirdȱfloorsȱofȱ4949ȱWalnutȱStreet.ȱ(SeeȱFiguresȱ21ȱȬȱ24)ȱȱ

PlanȱforȱInterpretation/Exhibitȱ

UelandȱJunkerȱMcCauleyȱNicholsonȱwasȱretainedȱtoȱprepareȱaȱconceptualȱ planȱforȱtheȱnewȱpermanentȱexhibitionȱspace.ȱUJMNȱbeganȱtheȱprojectȱbyȱ conductingȱseveralȱmeetingsȱwithȱtheȱWPCA,ȱCharlesȱBlockson,ȱPaulȱRobesonȱJr.ȱ andȱhisȱwifeȱMarilyn,ȱandȱHenryȱForner,ȱChairmanȱofȱtheȱBoardȱforȱtheȱPaulȱ

RobesonȱFoundation.ȱ28ȱPreliminaryȱresearchȱbyȱtheȱfirmȱwasȱconductedȱbyȱ readingȱfourȱbooksȱonȱPaulȱRobeson,ȱincludingȱPaulȱRobeson’sȱautobiography,ȱ

HereȱIȱStand;ȱTheȱUndiscoveredȱPaulȱRobeson:ȱAnȱArtist’sȱJourneyȱ1898Ȭ1939ȱbyȱPaulȱ

Robeson,ȱJr.;ȱPaulȱRobeson’sȱLastȱDaysȱinȱPhiladelphiaȱbyȱCharlotteȱTurnerȱBell;ȱandȱ

PaulȱRobeson:ȱTheȱGreatȱForerunnerȱbyȱTheȱEditorsȱofȱFreedomways.ȱTheȱ

28 The Paul Robeson Foundation, located in New York City, was established in 1996 as a not-for-profit tax exempt organization with a mission to preserve and extend Robeson's rich legacy of humanism, civil rights activism, and excellence in scholarship, athletics and the arts. The Foundation supports and encourages academic, cultural and social initiatives that promote his profound human values in the United States and abroad. (The Paul Robeson Foundation, About the Foundation, http://peacehawks.com/robeson_site)

21 interpretiveȱorȱexhibitȱdesignȱplanȱforȱtheȱPaulȱRobesonȱHouseȱisȱnotȱcomplete,ȱ dueȱtoȱtimeȱconstraintsȱandȱlimitedȱresources,ȱpeople,ȱorȱfinance,ȱnothingȱofȱanyȱ substanceȱhasȱbeenȱaccomplishedȱtoȱdateȱotherȱthanȱwhatȱisȱbrieflyȱoutlinedȱinȱ theȱplan.ȱ

TheȱWPCA’sȱmissionȱisȱtoȱpreserveȱtheȱhouseȱforȱtheȱfutureȱandȱtoȱeducateȱ theȱpublicȱonȱtheȱlifeȱworksȱofȱPaulȱRobesonȱbyȱ“engagingȱtheȱmindsȱandȱhearts”ȱ ofȱvisitors.ȱUJMNȱhopesȱtoȱfulfillȱtheȱmissionȱbyȱemployingȱaȱvarietyȱofȱmedia;ȱ whileȱtheȱfirmȱassumesȱthatȱmanyȱvisitorsȱknowȱlittleȱaboutȱRobeson,ȱitȱ acknowledgesȱaȱfewȱvisitorsȱmayȱbeȱfamiliarȱwithȱRobeson.ȱȱ

UJMNȱplansȱtoȱuseȱtheȱexistingȱexhibitȱpanels,ȱdesignedȱbyȱFrankȱ

Stephensȱ29ȱandȱcurator,ȱCharlesȱBlockson,ȱasȱaȱtravelingȱexhibitȱonȱRobesonȱasȱ originallyȱintended.ȱPresumably,ȱwhenȱmoreȱinformationȱhasȱbeenȱgatheredȱonȱ

Robeson,ȱtheseȱboardsȱwillȱhaveȱtoȱbeȱupdated.ȱAȱnewȱexhibitȱonȱtheȱfirstȱfloorȱofȱ theȱhouseȱwillȱbeȱanȱintroductionȱtoȱRobeson.ȱUJMNȱrevealsȱtheȱpurposeȱofȱtheȱ reinterpretationȱofȱtheȱhouseȱisȱtoȱallowȱvisitorsȱtoȱexperienceȱtheȱhouseȱasȱ

Robesonȱwouldȱhave.ȱUJMNȱplansȱtoȱrestoreȱtheȱinteriorȱtoȱhowȱitȱlookedȱwhenȱ

Robesonȱlivedȱinȱtheȱhouseȱbasedȱonȱtheȱcollectiveȱmemoriesȱofȱfriendsȱandȱ

29 Frank Stephens is Philadelphia artist. In the past, he has worked with Charles Blockson and Frances Aulston designing exhibits for the Free Library of Philadelphia.

22 familyȱwhoȱvisitedȱandȱaȱcoupleȱphotographsȱknownȱtoȱexist.ȱTheȱoriginalȱ furnishingsȱofȱtheȱhouseȱhaveȱbeenȱlost;ȱthereforeȱoralȱhistoryȱwillȱhaveȱtoȱbeȱ reliedȱonȱforȱinteriorȱinterpretation.ȱȱ

FrancesȱAulston,ȱofȱtheȱWPCAȱhasȱspokenȱtoȱaȱfewȱpeopleȱandȱhasȱbeenȱ toldȱStrawbridgeȱ&ȱClothier’sȱmahoganyȱfurnitureȱpopularȱinȱtheȱ1960’sȱandȱ

1970’s,ȱOrientalȱrugs,ȱcrystalȱchandeliers,ȱandȱaȱrockingȱchairȱwasȱpresentȱinȱtheȱ firstȱfloorȱofȱtheȱhouse.ȱ30ȱȱItȱisȱunclearȱwhetherȱallȱtheȱfurnitureȱwasȱfromȱ

Strawbridgeȱ&ȱClothier.ȱFurthermore,ȱinȱtheȱinterviewȱwithȱMarkȱUelandȱfromȱ

UJMN,ȱthereȱwasȱnoȱmentionȱofȱfurtherȱresearchȱintoȱthisȱfurniture,ȱsuchȱasȱ attemptingȱtoȱidentifyȱitemsȱinȱadvertisementsȱfromȱtheȱtimeȱperiod.ȱThisȱwouldȱ beȱoneȱofȱtheȱnextȱstepsȱforȱUJMN,ȱifȱitȱhasȱnotȱbeenȱdoneȱtoȱdate.ȱWhereȱthereȱ areȱstillȱmissingȱpiecesȱinȱtheȱinterpretation,ȱfurnishingsȱandȱfinishesȱwillȱbeȱ chosenȱbasedȱonȱwhatȱwasȱfoundȱatȱtheȱtimeȱinȱmiddleȱclass,ȱAfricanȬAmericanȱ homes.ȱFurtherȱdetailsȱwereȱnotȱgivenȱonȱhowȱthisȱdeterminationȱwouldȱbeȱ made,ȱleavingȱoneȱtoȱhopeȱUJMNȱplansȱtoȱextensivelyȱresearchȱorȱrelyȱonȱpastȱ research,ȱifȱthereȱisȱany,ȱonȱhowȱmiddleȱclassȱAfricanȱAmericanȱhomesȱinȱ

Philadelphiaȱorȱaȱveryȱsimilarȱcityȱlookedȱinȱtheȱ1960’sȱandȱ1970’s.ȱTheȱvisitorȱ experienceȱinȱtheȱhouseȱisȱveryȱimportantȱforȱinterpretation.ȱTheȱintentȱisȱtoȱhaveȱ

30 Aulston, Personal Interview, 24 July 2004 and 4 February 2005.

23 visitorsȱfeelȱasȱifȱtheyȱwereȱguestsȱinȱtheȱRobesonȬForsytheȱhouse.ȱTheȱ interpretationȱofȱRobeson’sȱlegendaryȱachievementsȱisȱintendedȱtoȱbeȱcentralȱtoȱ theȱplanȱandȱtheȱvisitorȱexperience.ȱȱ

Staffingȱ

TheȱWPCAȱdesiresȱtoȱincreaseȱtheȱpaidȱandȱvolunteerȱstaffȱatȱtheȱRobesonȱ

House.ȱCurrently,ȱtheȱstaffȱincludesȱaȱdirector,ȱanȱaccountant,ȱaȱreceptionist,ȱaȱ custodian,ȱtwoȱclericalȱtraineesȱandȱfiveȱvolunteersȱfromȱtheȱNationalȱCaucusȱofȱ theȱBlackȱAged.ȱTheȱWPCAȱhopesȱtoȱaddȱaȱdevelopmentȱpositionȱandȱaȱ curator/educatorȱpositionȱasȱsoonȱasȱfinanciallyȱpossible.ȱTheyȱconsiderȱitȱ

“criticalȱtoȱtheȱvitalityȱofȱWPCA,”ȱaccordingȱtoȱtheȱplan,ȱtoȱhireȱfullȱtimeȱstaffȱ personsȱtoȱfillȱtheseȱpositionsȱimmediately.ȱInȱtheȱplan,ȱtheȱpositions,ȱDirectorȱofȱ

Developmentȱ&ȱOutreachȱandȱEducator/Curator,ȱwouldȱbeȱpaidȱbyȱincludingȱinȱ theȱcurrentȱcapitalȱcampaignȱadditionalȱfundingȱforȱoperatingȱcostsȱtoȱcreateȱanȱ operatingȱendowmentȱfund,ȱtheȱincomeȱfromȱwhichȱwillȱbeȱappliedȱtoȱincreaseȱ staffȱcosts.ȱ

ȱ ȱ

24 ChapterȱFour:ȱInterpretingȱPaulȱRobesonȱinȱtheȱHouseȱMuseumȱ ȱ Theȱmanagementȱofȱaȱculturalȱheritageȱsiteȱcanȱbeȱanȱonerousȱtaskȱwhenȱ thereȱisȱnotȱaȱconservationȱplanȱtoȱfollow.ȱTheȱconservationȱplanȱidentifiesȱtheȱ place,ȱitsȱassociations,ȱandȱinformationȱaboutȱtheȱplaceȱsufficientȱtoȱunderstandȱ significance,ȱassessesȱtheȱsignificance,ȱidentifiesȱobligationsȱarisingȱfromȱ significance,ȱdevelopsȱpolicies,ȱdevelopsȱaȱmanagementȱplanȱinȱaccordanceȱwithȱ policies,ȱandȱlastly,ȱadvisesȱtoȱmonitorȱandȱreviewȱtheȱplanȱperiodically.ȱTheȱplanȱ forȱaȱculturalȱheritageȱsiteȱmustȱconsiderȱitsȱresources,ȱitsȱstakeholders,ȱandȱtheȱ valuesȱitȱholdsȱforȱpeople,ȱasȱdescribedȱinȱtheȱBurraȱCharterȱ31ȱandȱexplainedȱinȱ theȱComprehensiveȱInterpretiveȱPlanningȱ32ȱguidelinesȱbyȱtheȱNationalȱParkȱService,ȱ andȱmanyȱotherȱrecentȱpublicationsȱonȱinterpretation.ȱȱ

31 TheȱInternationalȱCouncilȱonȱMonumentsȱandȱSitesȱ(ICOMOS)ȱadoptedȱtheȱrecentlyȱrevisedȱ BurraȱCharterȱinȱ1999.ȱTheȱ1999ȱBurraȱCharterȱisȱtoȱprovideȱguidanceȱforȱtheȱmanagementȱandȱ conservationȱofȱculturalȱheritageȱsites,ȱsoȱasȱtoȱinvolveȱallȱpeopleȱinȱtheȱdecisionȬmakingȱprocess.ȱ Australia,ȱoneȱofȱtheȱleadersȱinȱconservationȱcameȱtoȱtermsȱwithȱtheirȱpastȱofȱdenyingȱminorityȱ groupsȱtheȱrightȱtoȱholdȱaȱstakeȱandȱaȱvoiceȱinȱtheȱconservationȱofȱculturalȱheritageȱsitesȱinȱtheȱ country.ȱInȱthisȱCharterȱtheyȱrecognizeȱtheȱneedȱtoȱinvolveȱallȱpeopleȱandȱconsiderȱallȱvalues,ȱ evenȱtheȱlessȱtangibleȱaspectsȱofȱculturalȱsignificanceȱincludingȱthoseȱembodiedȱinȱtheȱuseȱofȱtheȱ heritageȱplaces,ȱassociationȱwithȱtheȱplace,ȱandȱtheȱmeaningsȱthatȱplacesȱhaveȱforȱpeople.ȱȱ (Australia ICOMOS. The Burra Charter. http://www.icomos.org/australia/burra.html.) 32 TheȱComprehensiveȱInterpretiveȱPlanningȱguidelinesȱbyȱtheȱNationalȱParkȱServiceȱisȱaȱtoolȱtoȱ guideȱmanagementȱdecisionsȱatȱculturalȱheritageȱsites.ȱForȱtheȱpastȱfortyȬfiveȱyearsȱtheȱNationalȱ ParkȱServiceȱhasȱcontinuouslyȱrevisedȱinterpretiveȱprogramsȱtoȱprovideȱtheȱvisitorȱwithȱtheȱbestȱ experience.ȱTheȱCIP,ȱasȱitȱisȱcalled,ȱisȱaȱtoolȱforȱmakingȱchoicesȱatȱsitesȱthatȱareȱpartȱofȱtheȱ NationalȱParkȱService.ȱItȱhelpsȱsitesȱdetermineȱtheirȱobjectives,ȱdescribeȱtheirȱaudiences,ȱandȱ decideȱwhatȱmixȱofȱmediaȱandȱpersonalȱservicesȱtoȱuse.ȱTheȱendȱproductȱanȱeffectiveȱandȱefficientȱ interpretiveȱprogramȱthatȱachievesȱmanagementȱgoals,ȱprovidesȱappropriateȱservicesȱforȱtheȱ visitors,ȱandȱpromotesȱvisitorȱexperiences.ȱTheȱCIPȱisȱnotȱconsideredȱaȱrecipe,ȱbutȱratherȱaȱ guidelineȱforȱefficient,ȱeffective,ȱgoalȬdrivenȱplanning.ȱTheȱplanningȱprocessȱbehindȱdevelopingȱaȱ CIPȱforȱaȱsiteȱisȱidenticalȱtoȱtheȱBurraȱCharter,ȱbutȱgoesȱaȱstepȱfurtherȱbyȱaddressingȱtheȱdesiredȱ visitorȱexperience,ȱtheȱvisitorȱprofilesȱforȱtheȱsite,ȱactualȱandȱpotentialȱandȱtheirȱneedsȱthroughȱ

25 ȱ

TheȱMasterȱPlanȱforȱtheȱPaulȱRobesonȱHistoricȱHouseȱMuseumȱisȱaȱstepȱ towardsȱpreservingȱtheȱhouse,ȱhoweverȱtheȱproposedȱplanȱdeniesȱtheȱhouseȱitsȱ opportunityȱtoȱinterpretȱtheȱlifeȱofȱPaulȱRobesonȱandȱtheȱculturalȱimpactȱitȱcouldȱ haveȱonȱitsȱvisitors.ȱAllȱofȱtheȱresourcesȱavailableȱtoȱinterpretȱPaulȱRobesonȱinȱ thisȱWestȱPhiladelphiaȱhouseȱhaveȱnotȱbeenȱidentified,ȱnorȱallȱstakeholdersȱandȱ theȱvaluesȱtheyȱholdȱforȱtheȱhouse.ȱTheȱWPCA’sȱintentionsȱareȱadmirableȱinȱ desiringȱtoȱtransformȱtheȱPaulȱRobesonȱHistoricȱHouseȱMuseum,ȱhoweverȱtheȱ questionȱmustȱbeȱraisedȱonȱwhetherȱorȱnotȱtheȱWPCAȱandȱanȱhistoricȱhouseȱ museumȱisȱaȱproperȱfit.ȱWouldȱtheȱsiteȱbeȱbetterȱoffȱinȱtheȱhandsȱofȱtheȱNationalȱ

ParkȱServiceȱorȱanotherȱentityȱmoreȱfamiliarȱwithȱhistoricȱsites?ȱConversely,ȱthereȱ areȱmanyȱsmallȱnonȬprofitȱorganizationsȱandȱFriendsȱGroupsȱwhoȱacquireȱandȱ manageȱhistoricȱhouseȱmuseumsȱandȱthereforeȱperhapsȱallȱthatȱisȱneededȱisȱaȱ conservationȱplanȱtoȱbeȱdraftedȱforȱtheȱsiteȱbyȱtheȱWPCA.ȱBeforeȱaȱconservationȱ planȱforȱtheȱPaulȱRobesonȱHouseȱcanȱbeȱdevelopedȱtoȱfullyȱbenefitȱtheȱsiteȱtheseȱ issuesȱmustȱbeȱaddressed.ȱȱ

analysisȱandȱconductingȱsystematicȱsurveys,ȱexistingȱinterpretiveȱconditionsȱforȱfutureȱ comparison,ȱandȱdescribingȱtheȱdesiredȱfutureȱinterpretiveȱprocess. (Harper’s Ferry Center. Comprehensive Interpretive Planning. Division of Interpretive Planning, National Park Service, Fall 2000.)

26 TheȱplanningȱandȱinterpretationȱissuesȱfacedȱbyȱtheȱPaulȱRobesonȱHouseȱ areȱnotȱuniqueȱtoȱthisȱsite.ȱLookingȱtoȱtheȱexperienceȱofȱotherȱcomparableȱsitesȱ canȱhelpȱanȱinstitutionȱlikeȱtheȱWPCAȱclarifyȱissuesȱandȱweighȱaȱbroaderȱrangeȱ ofȱsolutions.ȱThreeȱhistoricȱhouseȱmuseumsȱinȱtheȱUnitedȱStatesȱwereȱvisitedȱandȱ researchedȱasȱsitesȱthatȱmightȱhelpȱdirectȱtheȱworkȱatȱtheȱPaulȱRobesonȱHouse.ȱ

TheȱDr.ȱMartinȱLutherȱKingȱNationalȱHistoricȱSiteȱinȱAtlanta,ȱGeorgia,ȱtheȱEdgarȱ

AllenȱPoeȱNationalȱHistoricȱSiteȱinȱPhiladelphia,ȱPA,ȱandȱtheȱWaltȱWhitmanȱ

HistoricȱHouseȱMuseumȱinȱCamden,ȱNewȱJerseyȱwereȱstudiedȱandȱwillȱbeȱusedȱ inȱtheȱfollowingȱpagesȱtoȱrevealȱhowȱeachȱsite’sȱproblemsȱandȱsolutionsȱmightȱbeȱ usedȱtoȱinformȱdecisionsȱtoȱbeȱmadeȱatȱtheȱPaulȱRobesonȱHouseȱbyȱtheȱWPCA.ȱȱ

TheȱDr.ȱMartinȱLutherȱKingȱNationalȱHistoricȱSiteȬȱTheȱHouseȱ Atlanta,ȱGeorgiaȱ ȱ TheȱMartinȱLutherȱKingȱJr.ȱHouse,ȱlocatedȱinȱtheȱhistoricȱAfricanȱ

AmericanȱsectionȱofȱAtlanta,ȱGeorgiaȱknownȱasȱSweetȱAuburn,ȱisȱtheȱchildhoodȱ homeȱofȱDr.ȱKingȱandȱhisȱsiblings.ȱHeȱwasȱbornȱinȱthisȱhouseȱonȱJanuaryȱ15,ȱ1929ȱ andȱlivedȱwithȱhisȱgrandparents,ȱparents,ȱaunts,ȱuncles,ȱandȱtheȱoccasionalȱ boardersȱwhoȱcameȱtoȱstay,ȱuntilȱtheȱtimeȱheȱwentȱoffȱtoȱcollege.ȱTheȱhouseȱwasȱ acquiredȱbyȱtheȱMartinȱLutherȱKingȱJr.ȱCenterȱforȱNonviolentȱChangeȱinȱ1974,ȱ whichȱdescribesȱitselfȱasȱtheȱ“livingȱmemorialȱdedicatedȱtoȱtheȱadvancementȱofȱ theȱlegacyȱofȱDr.ȱMartinȱLutherȱKing,ȱJr.,ȱleaderȱofȱAmerica’sȱgreatestȱnonviolentȱ

27 movementȱforȱjustice,ȱequality,ȱandȱpeace.”ȱ33ȱȱInȱtheȱsameȱyearȱtheyȱbeganȱ extensiveȱworkȱtoȱrestoreȱitȱtoȱitsȱappearanceȱatȱtheȱtimeȱofȱDr.ȱKing’sȱyouth.ȱInȱ

1980,ȱDr.ȱKing’sȱchildhoodȱhome,ȱtheȱEbenezerȱBaptistȱChurch,ȱandȱtheȱ surroundingȱneighborhoodȱofȱSweetȱAuburnȱbecameȱaȱformalȱpreservationȱ districtȱandȱNationalȱHistoricȱSite.ȱTheȱNationalȱParkȱServiceȱ(NPS)ȱleasesȱtheȱ homeȱfromȱtheȱKingȱCenterȱ(incomeȱpreviouslyȱderivedȱfromȱdonationsȱmadeȱ fromȱtheȱtours)ȱforȱtheȱ“longȬtermȱpreservationȱandȱinterpretationȱofȱtheȱ structure.”ȱ34ȱȱȱ

TheȱhouseȱhasȱtwiceȱbeenȱrestoredȱtoȱhelpȱinterpretȱtheȱlifeȱofȱDr.ȱKing.ȱInȱ theȱearlyȱ1970’s,ȱtheȱKingȱCenter,ȱspecificallyȱCorettaȱScottȱKingȱandȱKing’sȱ sister,ȱChristineȱKingȱFerris,ȱsearchedȱforȱitemsȱinȱantiquesȱstoresȱbasedȱonȱtheirȱ memoriesȱofȱbeingȱinȱtheȱhouse.ȱThenȱinȱ1992ȱtheȱNationalȱParkȱServiceȱ developedȱanȱhistoricȱfurnishingsȱreportȱthatȱincludedȱinterviewsȱwithȱCorettaȱ

ScottȱKing,ȱChristineȱKingȱFerris,ȱandȱJoelȱKing,ȱKing’sȱuncle,ȱonȱtheirȱmemoriesȱ ofȱtheȱhouse.ȱUnfortunately,ȱthereȱareȱnoȱknownȱphotographsȱofȱtheȱinteriorȱofȱ theȱhouse.ȱFromȱtheȱinterviews,ȱtheȱNPSȱgleanedȱaȱgeneralȱideaȱofȱtheȱinteriorȱ andȱwereȱableȱtoȱobtainȱadditionalȱappropriateȱfurnishings.ȱParkȱguidesȱtakeȱcareȱ toȱpointȱoutȱKingȱfamilyȱfurnishings.ȱOneȱisȱtheȱpianoȱwhereȱDr.ȱKingȱorȱhisȱ brotherȱbrokeȱaȱpianoȱkey;ȱanotherȱisȱtheȱbedroomȱwhereȱDr.ȱKingȱsleptȱwithȱhisȱ

33 The King Center, http://www.thekingcenter.org/tkc/index.asp. 34 Martin Luther King Jr. National Historic Site General Management Plan, Development Concept Plan & Environmental Assessment, 1985, http://www.nps.gov/malu/documents/gmp1985/gmp_1985.htm.

28 brotherȱandȱUncleȱJoelȱandȱwhichȱisȱfurnishedȱwithȱtheȱtoysȱtheyȱusedȱtoȱplayȱ with;ȱandȱaȱthirdȱisȱtheȱtableȱinȱtheȱdiningȱroomȱwhereȱtheȱfamilyȱateȱandȱ conversedȱinȱtheȱevenings.ȱȱTheȱhouseȱisȱanȱaccurateȱrepresentationȱofȱhowȱtheȱ interiorsȱmayȱhaveȱbeenȱfurnishedȱwithȱduringȱDr.ȱKing’sȱlifetime.ȱȱ

TheȱDr.ȱKingȱHouseȱandȱtheȱPaulȱRobesonȱHouseȱhaveȱoneȱcommonȱ denominator;ȱȱnoȱphotographsȱorȱveryȱfewȱphotographsȱareȱavailableȱtoȱhelpȱinȱ interpretingȱtheȱhistoricȱinteriors,ȱbutȱthereȱareȱpeopleȱstillȱlivingȱthatȱlivedȱinȱorȱ visitedȱtheȱhousesȱduringȱtheȱperiodsȱofȱsignificance.ȱTheȱnextȱstepȱforȱtheȱWPCAȱ wouldȱhaveȱtoȱbeȱtoȱconductȱfurtherȱresearchȱintoȱhowȱtheȱinteriorȱofȱtheȱhouseȱ appearedȱatȱtheȱtimeȱPaulȱRobesonȱresidedȱthere,ȱsimilarȱtoȱtheȱbackgroundȱ researchȱperformedȱbyȱtheȱNPS.ȱTheȱNPSȱconductedȱinterviewsȱwithȱsomeȱofȱDr.ȱ

King’sȱrelativesȱandȱdevelopedȱanȱhistoricȱfurnishingsȱreport,ȱaȱpartȱofȱtheȱ interpretiveȱdesignȱplanȱforȱtheȱhouse,ȱtoȱbeginȱtheȱprocessȱofȱinterpretation.ȱInȬ depthȱinterviewsȱwithȱPaulȱRobeson,ȱJr.,ȱHarryȱBelafonte,ȱhistorianȱCharlesȱ

Blockson,ȱandȱtheȱfewȱotherȱpeopleȱwhoȱwereȱallowedȱtoȱvisitȱPaulȱRobesonȱinȱ hisȱsister’sȱhomeȱisȱessentialȱforȱrecreatingȱtheȱinteriorȱofȱtheȱRobesonȱHouse.ȱ

Allowingȱthemȱtoȱwalkȱaroundȱtheȱhouseȱasȱtheyȱreminiscenceȱaboutȱvisitingȱ

Robesonȱmightȱofferȱgreatȱinsightȱintoȱhowȱtheȱhouseȱwasȱfurnishedȱandȱ decoratedȱbyȱMarianȱRobesonȱForsythe.ȱInȱaȱsingleȱinterviewȱwithȱCharlesȱ

Blocksonȱforȱthisȱthesis,ȱwhileȱsittingȱinȱhisȱownȱofficeȱBlocksonȱbeganȱtoȱ

29 rememberȱlittleȱthingsȱaboutȱtheȱhouse,ȱsuchȱasȱtheȱwhiteȱVenetianȱblindsȱatȱtheȱ windowsȱthatȱMarianȱForsytheȱorȱherȱdaughter,ȱPaulina,ȱwouldȱpeekȱthroughȱ beforeȱansweringȱtheȱfrontȱdoor.ȱ35ȱȱGivenȱtheȱopportunityȱtoȱstandȱinȱtheȱhouseȱ again,ȱmuchȱspecificȱinformationȱmightȱbeȱgleanedȱfromȱBlocksonȱandȱothersȱ whoȱknewȱRobesonȱwell.ȱ

AnotherȱissueȱatȱtheȱRobesonȱHouseȱpertainsȱtoȱtheȱinterpretationȱofȱPaulȱ

Robesonȱandȱhisȱconnectionȱtoȱtheȱneighborhoodȱduringȱtheȱtenȱyearsȱheȱlivedȱinȱ hisȱsister’sȱhome.ȱAȱsmallȱsectionȱinȱtheȱinterpretiveȱplanȱuntitled,ȱ“LastȱTenȱ

YearsȬȱAȱHavenȱinȱPhiladelphia,”ȱaddressesȱthisȱtopic;ȱhoweverȱseveralȱaspectsȱ ofȱRobeson’sȱlifeȱinȱPhiladelphiaȱhaveȱnotȱbeenȱconsidered.ȱUnlikeȱatȱtheȱhouseȱ ofȱDr.ȱKing,ȱthereȱisȱnoȱmentionȱofȱPaulȱRobesonȱorȱhisȱsister’sȱrelationshipȱwithȱ theȱsurroundingȱcommunity.ȱByȱreadingȱandȱinterviewingȱseveralȱpeople,ȱit’sȱ beenȱfoundȱthatȱRobesonȱwouldȱsitȱonȱtheȱporchȱinȱhisȱrockingȱchairȱspeakingȱtoȱ peopleȱasȱtheyȱwalkedȱby;ȱheȱenjoyedȱvisitingȱRittenhouseȱSquare,ȱspendingȱ manyȱeveningsȱthereȱreading,ȱandȱheȱlovedȱtakingȱdrivesȱtoȱAtlanticȱCityȱforȱ seafood.ȱ36ȱMarianȱRobesonȱForsytheȱwasȱaȱteacherȱforȱtheȱPhiladelphiaȱSchoolȱ

District,ȱwentȱtoȱchurchȱinȱtheȱWalnutȱHillȱneighborhood,ȱownedȱaȱvacationȱ homeȱinȱCapeȱMay,ȱandȱoftenȱorderedȱandȱhadȱfoodȱdeliveredȱfromȱaȱnearbyȱ cornerȱstoreȱownedȱbyȱaȱJewishȱfamily,ȱwhoȱremembersȱMarianȱForsytheȱandȱ

35 Charles Blockson, Personal Interview, 18 February 2005 and 22 March 2005. 36 Aulston, Personal Interview, 24 July 2004 and 4 February 2005; Blockson, Personal Interview, 18 February 2005 and 22 March 2005; Turner Bell, Paul Robeson’s Last Days in Philadelphia, 2-3.

30 PaulȱRobesonȱtoȱthisȱday.ȱ37ȱHowever,ȱnoneȱofȱtheseȱthingsȱhaveȱbeenȱ documentedȱorȱhaveȱbeenȱconsideredȱyetȱforȱtheȱinterpretive/exhibitȱdesignȱplanȱ forȱtheȱhouse.ȱInȱcomparison,ȱDr.ȱKing’sȱpresenceȱinȱtheȱSweetȱAuburnȱ neighborhoodȱisȱfeltȱinȱtheȱinterpretationȱofȱtheȱhouse.ȱDuringȱtheȱtourȱofȱDr.ȱ

King’sȱhouseȱtheȱguideȱmentionsȱDr.ȱKingȱvisitingȱtheȱcornerȱstoreȱnearȱtheȱ house,ȱplayingȱwithȱtheȱchildrenȱinȱtheȱneighborhoodȱasȱaȱchild,ȱandȱattending,ȱ thenȱpreachingȱatȱEbenezerȱBaptistȱChurch.ȱItȱisȱimportantȱthatȱthisȱinformationȱ beȱgarneredȱfromȱtheȱcommunityȱandȱfriendsȱofȱPaulȱRobeson,ȱdocumentedȱasȱaȱ partȱofȱtheȱhistoryȱofȱhisȱlastȱtenȱyearsȱinȱPhiladelphia.ȱȱ

TheȱEdgarȱAllenȱPoeȱNationalȱHistoricȱSiteȱ Philadelphia,ȱPennsylvaniaȱ ȱ

TheȱEdgarȱAllenȱPoeȱHouse,ȱlocatedȱatȱ7thȱ&ȱSpringȱGardenȱStreetsȱinȱ

Philadelphia,ȱisȱaȱmemorialȱtoȱthisȱoutstanding,ȱcreativeȱwriterȱofȱtheȱ19thȱ century.ȱEdgarȱAllenȱPoe,ȱhisȱwifeȱVirginia,ȱmotherȬinȬlawȱMariaȱClemm,ȱandȱ theirȱcat,ȱCatterina,ȱlivedȱinȱseveralȱPhiladelphiaȱhouses,ȱofȱwhichȱonlyȱthisȱoneȱ survivesȱtoday.ȱDuringȱtheȱtimeȱheȱlivedȱinȱPhiladelphia,ȱPoeȱwroteȱsomeȱofȱhisȱ mostȱlegendaryȱworks,ȱincludingȱ“TheȱGoldenȱBug,”ȱ“TheȱFallȱofȱtheȱHouseȱofȱ

Usher,”ȱ“TheȱTellȬTaleȱHeart,”ȱandȱ“TheȱMurdersȱofȱRueȱMorgue.”ȱTheȱNationalȱ

37 Aulston, Personal Interview, 24 July 2004 and 4 February 2005.

31 ParkȱServiceȱacquiredȱtheȱhouseȱinȱ1979ȱbutȱhasȱhadȱdifficultyȱinterpretingȱtheȱ interiorȱbecauseȱtheȱfurnishingsȱthatȱPoeȱandȱhisȱfamilyȱusedȱinȱthisȱhouseȱhaveȱ longȱsinceȱdisappearedȱandȱveryȱlittleȱisȱknownȱaboutȱtheȱhouse.ȱTheȱ interpretativeȱplanȱforȱtheȱhouseȱduringȱtheȱpastȱfiveȱyearsȱhasȱusedȱtheȱstoriesȱofȱ

Poeȱtoȱinterpretȱtheȱunfurnishedȱrooms.ȱAȱfurnishingsȱplanȱisȱnowȱbeingȱ reconsideredȱbutȱhasȱresultedȱinȱdiscussionȱandȱcontroversyȱasȱtoȱhowȱtoȱ

“correctly”ȱinterpretȱtheȱlifeȱofȱEdgarȱAllenȱPoeȱinȱaȱhouseȱwhereȱheȱonlyȱlivedȱ forȱnoȱmoreȱthanȱtwoȱyearsȱandȱforȱwhichȱlittleȱorȱnoȱperiodȱdocumentationȱisȱ available.ȱȱ

TheȱPoeȱHouseȱMuseumȱisȱcomposedȱofȱtheȱhouseȱPoeȱrented,ȱsituatedȱ facingȱSpringȱGardenȱandȱatȱoneȱtimeȱcalledȱ234ȱSpringȱGarden,ȱandȱtwoȱ adjacentȱproperties,ȱ530ȱNorthȱ7thȱStreet,ȱandȱ532ȱNorthȱ7thȱStreetȬȱwhichȱisȱusedȱ asȱtheȱentranceȱtoȱtheȱhouseȱmuseum.ȱInȱtheȱ1920’s,ȱRichardȱGimbel,ȱaȱPoeȱ scholarȱandȱcollector,ȱpurchasedȱandȱmaintainedȱtheȱsiteȱwithȱtheȱhelpȱofȱaȱ foundation.ȱAfterȱhisȱdeath,ȱhisȱwifeȱinheritedȱtheȱsiteȱandȱuponȱherȱdeathȱtheȱ cityȱboughtȱtheȱsiteȱwithȱtheȱhelpȱofȱtheȱFreeȱLibraryȱwhichȱacquiredȱtheȱGimbelȱ

CollectionȱconsistingȱofȱPoe’sȱmanuscriptsȱandȱletters.ȱ38ȱTheȱNationalȱParkȱ

Serviceȱ(NPS)ȱtookȱstepsȱtoȱacquireȱtheȱsiteȱfromȱtheȱCityȱofȱPhiladelphiaȱseveralȱ yearsȱlater.ȱHowever,ȱbeforeȱpurchaseȱtheȱNPSȱrequestedȱanȱemergencyȱexitȱandȱ

38 Free Library of Philadelphia. Resource Guides, Rare Book Department. http://www.library.phila.gov/rbd/resgdrbd.htm.

32 fireȱstairȱtoȱbeȱplacedȱonȱtheȱsite.ȱTheȱcityȱcompliedȱandȱalsoȱplasteredȱandȱ paintedȱtheȱwallsȱinȱtheȱhouse,ȱtherebyȱdestroyingȱmostȱevidenceȱofȱtheȱoriginalȱ finishes.ȱTheȱNPSȱacquiredȱallȱthreeȱhousesȱinȱ1978ȱandȱopenedȱthemȱinȱAugustȱ

1980,ȱcallingȱtheȱpropertyȱtheȱEdgarȱAllenȱPoeȱHistoricȱSite,ȱwhichȱisȱ administeredȱbyȱtheȱIndependenceȱNationalȱHistoricȱPark.ȱSubsequentȱextensiveȱ researchȱhasȱuncoveredȱoriginalȱarchitecturalȱfeaturesȱofȱtheȱhomeȱofȱPoeȱbutȱhasȱ beenȱunableȱtoȱfindȱprimaryȱevidenceȱofȱhowȱPoeȱandȱhisȱfamilyȱlivedȱduringȱtheȱ twoȱyearsȱtheyȱlivedȱinȱtheȱhouse.ȱȱ

Earlyȱinȱtheȱ1990’sȱ“ghost”ȱfurnitureȱ(furnitureȱpaintedȱwhiteȱtoȱblendȱinȱ withȱtheȱwhiteȱwallsȱofȱtheȱrooms)ȱwasȱplacedȱinȱtheȱhouseȱbecauseȱsomeȱ interpretersȱfeltȱitȱpresentedȱaȱmoreȱrealisticȱsenseȱofȱlivingȱinȱtheȱrooms.ȱ

Howeverȱthisȱsetȱupȱinȱtheȱroomsȱleftȱvisitorsȱconfused,ȱwasȱnotȱreceivedȱwellȱbyȱ theȱpublic,ȱandȱwasȱtakenȱoutȱinȱtheȱlateȱ1990’s.ȱ39ȱTodayȱtheȱhouseȱremainsȱ unfurnishedȱandȱinterpretationsȱrestȱwithȱtheȱaudioȬvisualȱprogramȱandȱRangerȬ guidedȱtours.ȱ

AccordingȱtoȱJoanneȱSchillizzi,ȱtheȱEdgarȱAllenȱPoeȱHouseȱhasȱbeenȱ unfurnishedȱforȱapproximatelyȱfiveȱofȱtheȱeightȱyearsȱsheȱhasȱbeenȱatȱtheȱhouse.ȱ

Theȱinterpretiveȱplanȱisȱagainȱbeingȱreconsideredȱandȱaȱfurnishingsȱplanȱisȱ currentlyȱbeingȱconsideredȱforȱtheȱsite.ȱTheȱcontroversyȱliesȱinȱwhetherȱtheȱhouseȱ

39 Joanne Schillizzi, Park Ranger, Edgar Allen House, Personal Interview, 28 January 2005.

33 shouldȱbeȱleftȱasȱitȱisȱorȱwhetherȱfurnishingsȱbasedȱonȱstylesȱpopularȱduringȱtheȱ periodȱofȱ1842Ȭ44ȱshouldȱbeȱincorporatedȱasȱhasȱbeenȱdoneȱatȱtheȱmajorityȱofȱ historicȱhouseȱmuseumsȱinȱtheȱcountry.ȱOneȱideaȱproposedȱbyȱtheȱcommitteeȱisȱ toȱfurnishȱtwoȱofȱtheȱrooms,ȱasȱtheyȱmayȱhaveȱappearedȱwhenȱEdgarȱAllenȱPoeȱ livedȱthere;ȱonlyȱtheȱarchitecturalȱfeaturesȱwouldȱbeȱemphasizedȱinȱtheȱ remainingȱrooms.ȱ40ȱThisȱsolutionȱmayȱbeȱtheȱbestȱforȱaȱspaceȱthatȱNPSȱknowsȱ veryȱlittleȱabout.ȱOneȱroomȱthatȱcouldȱbeȱinterpretedȱisȱPoe’sȱwritingȱroom,ȱbasedȱ onȱresearchȱintoȱhowȱpeopleȱofȱhisȱfamily’sȱstatusȱlivedȱinȱtheȱ1840’s.ȱ41ȱȱResearchȱ couldȱalsoȱbeȱdoneȱonȱhisȱwritings,ȱsuchȱasȱhisȱessay,ȱ“TheȱPhilosophyȱonȱ

Furniture”;ȱthereȱmayȱalsoȱbeȱcluesȱasȱtoȱhowȱhisȱroomȱappearedȱinȱhisȱstories.ȱ

Thenȱtheȱvisitorsȱareȱableȱtoȱhaveȱaȱsenseȱofȱtheȱinteriorȱspace,ȱbutȱstillȱtheȱ interpretationȱofȱEdgarȱAllenȱPoeȱliesȱinȱinterpretingȱhisȱlifeȱthroughȱhisȱworksȱ andȱthroughȱtheȱexperiencesȱNPSȱhasȱcreatedȱtoȱaidȱinȱinterpretingȱPoe’sȱlifeȱofȱ mystery,ȱdiscovery,ȱunhurriedȱinquiry,ȱfearȱorȱuneasinessȱinȱaȱsafeȱplace,ȱcreativeȱ tension,ȱandȱdelightȱinȱtheȱpowerȱofȱwellȬchosenȱwords.42

Inȱ2003,ȱaȱrevisedȱLongȱRangeȱInterpretiveȱPlanȱ(LRIP)ȱofȱtheȱ

ComprehensiveȱInterpretiveȱPlanȱwasȱdevisedȱbyȱtheȱNationalȱParkȱServiceȱforȱ theȱEdgarȱAllenȱPoeȱHouse.ȱTheȱ2003ȱplanȱaddressesȱseveralȱissuesȱatȱtheȱEdgarȱ

40 Leo Blake, Park Ranger, Walt Whitman House, Personal Interview, 10 February 2005. 41 Schillizzi, Personal Interview, 28 January 2005. 42 National Park Service, Edgar Allen Poe National Historic Site Long Range Interpretive Plan, 14.

34 AllenȱPoeȱHouseȱandȱthenȱrecommendsȱactionsȱtoȱbeȱundertakenȱinȱtheȱnextȱfiveȱ toȱsevenȱyears.ȱTheseȱissuesȱinclude:ȱȱ

x Identityȱ&ȱExpectationsȬȱTheȱsiteȱisȱnotȱwellȱknownȱtoȱtheȱ publicȱnorȱpotentialȱvisitors;ȱevenȱmanyȱPhiladelphiansȱ don’tȱknowȱwhereȱitȱisȱlocated.ȱ x NeighborhoodȬȱTheȱsiteȱneedsȱtoȱbuildȱbetterȱrelationshipsȱ withȱitsȱresidentialȱneighbors.ȱ x SpaceȬȱTheȱresidentialȱnatureȱofȱsiteȱbuildingsȱmeansȱthatȱ availableȱspacesȱareȱlimited.ȱȱThereȱareȱlimitsȱtoȱtheȱsizeȱofȱ guidedȱgroups.ȱȱThereȱisȱnoȱgroupȱmeetingȱspaceȱonȱsiteȱ duringȱnormalȱoperatingȱhours.ȱȱConvenientȱoffȬstreetȱ parkingȱinȱnotȱalwaysȱavailable.ȱ x InterpretiveȱMediaȬȱExistingȱexhibitsȱareȱoverȱ20ȱyearsȱoldȱ andȱbeginningȱtoȱshowȱtheirȱage.ȱȱThereȱareȱquestionsȱaboutȱ howȱwellȱtheyȱreflectȱcurrentȱthemesȱandȱprovideȱdesiredȱ experiences.ȱ x AccessibilityȬȱTheȱresidentialȱnatureȱofȱtheȱpark’sȱstructuresȱ posesȱphysicalȱandȱprogrammaticȱaccessibilityȱchallengesȱtoȱ Rangersȱandȱvisitors.43ȱȱ ȱ

SeveralȱofȱtheȱissuesȱpresentȱatȱtheȱEdgarȱAllenȱPoeȱHouseȱareȱalsoȱpresentȱ atȱtheȱPaulȱRobesonȱHouse.ȱIdentityȱandȱExpectations,ȱNeighborhood,ȱSpace,ȱandȱ

AccessibilityȱareȱallȱissuesȱtheȱWPCAȱmustȱaddressȱinȱtheȱnearȱfuture,ȱbutȱitȱisȱ theȱInterpretiveȱMediaȱthatȱisȱmostȱimportantȱinȱthisȱstudy.ȱTheȱproposedȱ exhibitionȱandȱtheȱfurnishingsȱplanȱforȱtheȱPaulȱRobesonȱHouseȱmustȱreflectȱtheȱ thoroughȱresearchȱandȱoralȱhistoriesȱofȱPaulȱRobeson,ȱhisȱsister,ȱMarianȱRobesonȱ

Forsythe,ȱandȱtheȱhistoricȱinteriorȱofȱtheȱhouse.ȱTheȱNPSȱviewsȱtheȱnewȱ interpretiveȱexhibitȱdesignȱplanȱasȱanȱopportunityȱtoȱexploreȱnewȱwaysȱtoȱ

43 National Park Service, Edgar Allen Poe National Historic Site LRIP, 17-18.

35 addressȱthemesȱandȱexperiences,ȱparticularlyȱthoseȱrelatedȱtoȱcreativity.ȱ44ȱTheyȱ hopeȱtheȱnewȱplanȱwillȱalsoȱsuggestȱnewȱwaysȱtoȱpresentȱbooksȱsalesȱandȱvisitorȱ orientation.ȱByȱtheȱWPCAȱtakingȱaȱstepȱbackȱtoȱexhaustȱtheȱresearchȱofȱPaulȱ

Robeson,ȱhisȱsister,ȱandȱtheȱhouse,ȱandȱtoȱdevelopȱaȱconservationȱplanȱforȱtheȱ historicȱhouseȱmuseumȱallȱopportunitiesȱcanȱbeȱconsideredȱandȱweighedȱtoȱ ensureȱtheȱsuccessȱofȱtheȱhouse.ȱȱ

TheȱWaltȱWhitmanȱHouseȱ Camden,ȱNewȱJerseyȱ ȱ TheȱWaltȱWhitmanȱHouse,ȱatȱ328ȱMickleȱBoulevard,ȱisȱaȱNationalȱHistoricȱ

Landmarkȱdedicatedȱtoȱpreservingȱtheȱlife,ȱworks,ȱandȱlegacyȱofȱoneȱofȱ

America’sȱfirstȱliteraryȱgeniuses.ȱThisȱmodest,ȱtwoȬstoryȱframeȱhouseȱisȱtheȱonlyȱ houseȱWhitmanȱeverȱowned.ȱHeȱpurchasedȱitȱinȱ1884ȱandȱlivedȱthereȱuntilȱhisȱ deathȱinȱ1892.ȱTheȱhouseȱisȱsignificantȱasȱhisȱhomeȱandȱwhereȱheȱwroteȱhisȱbestȬ knownȱpoem,ȱLeavesȱofȱGrass.ȱTheȱhouseȱhasȱbeenȱanȱ“historicȱshrine,”ȱtoȱ

WhitmanȱaccordingȱtoȱcuratorȱLeoȱBlake,ȱsinceȱtheȱ1920s.ȱWhenȱtheȱNewȱJerseyȱ

ParksȱandȱForestryȱStateȱParkȱService,ȱaȱdivisionȱofȱtheȱNewȱJerseyȱDepartmentȱ ofȱEnvironmentalȱProtection,ȱacquiredȱtheȱsiteȱinȱ1947ȱfromȱtheȱWaltȱWhitmanȱ

Association,ȱfriendsȱofȱWhitmanȱhadȱalreadyȱbeenȱcontactedȱandȱfurnishingsȱhadȱ beenȱreturnedȱtoȱaidȱinȱtheȱaccurateȱinterpretationȱofȱtheȱhouse.ȱInȱ1992ȱaȱHistoricȱ

44 National Park Service, Edgar Allen Poe National Historic Site LRIP, 22.

36 StructureȱReportȱwasȱcommissionedȱandȱinȱ1998ȱtheȱhouseȱwasȱrestoredȱtoȱtheȱ periodȱofȱsignificance,ȱalthoughȱrestorationȱcontinuesȱatȱtheȱsiteȱbasedȱonȱperiodȱ photographsȱandȱWhitman’sȱwrittenȱdescriptions.ȱTheȱinterpretiveȱplanȱ currentlyȱusedȱwasȱwrittenȱeightȱyearsȱagoȱandȱaȱlongȬrangeȱplanȱforȱtheȱsiteȱhasȱ notȱbeenȱprepared.ȱȱ

UponȱWhitman’sȱdeath,ȱHoraceȱTraubel,ȱanotherȱdearȱfriendȱofȱWhitmanȱ immediatelyȱformedȱtheȱWaltȱWhitmanȱAssociation,ȱwhichȱisȱstillȱinȱexistenceȱ todayȱasȱtheȱ“friends”ȱorganizationȱforȱtheȱhouse.ȱAnnually,ȱtheȱfriendsȱgroupȱ holdsȱaȱbirthdayȱpartyȱforȱWhitmanȱtoȱraiseȱmoneyȱforȱacquisitionsȱinȱtheȱ continuedȱrestorationȱofȱtheȱinterior.ȱIncludedȱinȱtheȱtourȱareȱphotographsȱ showingȱhowȱtheȱroomsȱonceȱlookedȱcomparedȱtoȱwhatȱhasȱbeenȱdoneȱsoȱfarȱtoȱ restoreȱthemȱandȱtoȱreadȱfromȱWhitman’sȱbookȱLeavesȱofȱGrass.ȱȱ

ThereȱisȱoneȱparticularȱaspectȱofȱtheȱWaltȱWhitmanȱHouseȱthatȱtheȱWPCAȱ canȱincorporateȱintoȱtheirȱconservationȱplans.ȱTheȱrelianceȱonȱhistoricȱ photographsȱisȱanȱimportantȱaspectȱtoȱinterpretingȱanȱhistoricȱinterior,ȱasȱseenȱatȱ

Dr.ȱKing’sȱHouseȱandȱagainȱatȱtheȱWaltȱWhitmanȱHouse.ȱCurrently,ȱthereȱareȱoneȱ knownȱblackȱandȱwhiteȱphotographȱofȱPaulȱRobesonȱsittingȱinȱhisȱsister’sȱlivingȱ room.ȱTheȱphotographȱinȱMartinȱDuberman’sȱbookȱshowsȱMarianȱForsythe’sȱ livingȱroomȱsofaȱorȱloveseatȱinȱaȱdarkȱfabricȱandȱcoveredȱinȱplastic,ȱtheȱwallsȱ wereȱaȱlightȱcolor,ȱandȱatȱtheȱwindowsȱareȱfabricȱwindowȱtreatmentsȱandȱpottedȱ

37 plants.ȱ45ȱȱ(SeeȱFigureȱ24)ȱȱThereȱmayȱbeȱotherȱphotographsȱamongȱRobeson’sȱ familyȱandȱfriendsȱcouldȱbeȱused,ȱasȱphotographsȱhaveȱbeenȱatȱtheȱWaltȱ

WhitmanȱHouse,ȱtoȱassistȱUJMNȱinȱtheȱdesignȱofȱtheȱhistoricȱinteriorȱofȱtheȱPaulȱ

RobesonȱHouse.ȱTheseȱphotographsȱcouldȱalsoȱbeȱusedȱinȱtheȱexhibitȱdesignȱ interpretingȱRobeson’sȱtimeȱspentȱinȱPhiladelphia.ȱȱ

Theseȱthreeȱhistoricȱhouseȱmuseumȱmodelsȱshedȱlightȱonȱoptionsȱtheȱ

WPCAȱhasȱinȱtakingȱtheirȱnextȱsteps.ȱDr.ȱKing’sȱHouseȱrevealedȱtheȱprocessȱinȱ whichȱtheȱNationalȱParkȱServiceȱgarneredȱinformationȱonȱKingȱtoȱbetterȱinterpretȱ hisȱchildhoodȱhomeȱandȱcommunity.ȱTheȱEdgarȱAllenȱPoeȱHouseȱhasȱaȱLongȱ

RangeȱInterpretiveȱPlanȱthatȱguidesȱtheȱactionsȱofȱinterpretingȱanȱemptyȱhouseȱ rentedȱbyȱaȱman,ȱwithȱanȱincredibleȱstoryȱtoȱtell.ȱLastly,ȱtheȱWaltȱWhitmanȱHouseȱ isȱaȱtestamentȱtoȱsmallȱhistoricȱhouseȱmuseumsȱandȱtheirȱinterpretiveȱplanȱbasedȱ onȱcarefulȱresearchȱandȱanalysisȱofȱhistoricȱphotographsȱofȱtheȱinteriorȱofȱtheȱ house.ȱChapterȱFive,ȱwillȱbuildȱonȱthisȱchapterȱandȱdescribeȱtheȱconservationȱ planȱprocessȱforȱtheȱRobesonȱHouse,ȱsoȱthatȱthisȱsiteȱcanȱbeȱanotherȱsuccessfulȱ interpretedȱsite.ȱ

ȱ ȱ ȱ ȱ ȱ ȱ

45 Martin Duberman,ȱPaulȱRobeson:ȱAȱBiography,ȱNewȱYork:ȱKnopfȱPress,ȱ1988,ȱFigureȱ111.

38 ȱ ChapterȱFive:ȱDevelopingȱaȱConservationȱPlanȱ

AȱconservationȱplanȱforȱtheȱPaulȱRobesonȱHouseȱwillȱaidȱinȱinterpretationȱ byȱidentifyingȱtheȱsite’sȱmanyȱstakeholders,ȱtheirȱvaluesȱandȱwhatȱtheyȱseeȱasȱ significantȱaboutȱtheȱhouse;ȱinȱdoingȱsoȱ“theȱcultivationȱofȱvaluesȱasȱfelt,ȱ conceived,ȱandȱrealizedȱbyȱactualȱgroupsȱconcernedȱwithȱtheȱstewardshipȱofȱtheȱ heritageȱsite”ȱareȱidentified.ȱTheseȱstakeholdersȱcouldȱincludeȱ“theȱcommunityȱ andȱotherȱcultureȱgroups,ȱtheȱmarket,ȱtheȱstate,ȱconservators,ȱotherȱexperts,ȱ propertyȱowners,ȱandȱordinaryȱcitizens…identifyingȱstakeholdersȱandȱthenȱ assessingȱtheirȱvaluesȱisȱaȱmatterȱofȱequityȱandȱaccuracyȱtoȱworkȱtowardȱwideȱ participationȱandȱaccountȱforȱtheȱviewsȱofȱallȱrelevantȱvalues.”ȱItȱisȱalsoȱwidelyȱ believedȱthatȱwideningȱtheȱcircleȱofȱstakeholdersȱinvolvedȱinȱaȱprojectȱimprovesȱ bothȱtheȱprocessȱandȱtheȱoutcome.ȱ46ȱȱTheȱplanȱwouldȱalsoȱaidȱinȱcollectivelyȱ devisingȱaȱstatementȱofȱsignificance,ȱaddressingȱtheȱstrengths,ȱweaknesses,ȱ opportunitiesȱandȱthreatsȱ(SWOTȱanalysis)ȱ47ȱofȱtheȱsite,ȱdevelopȱpolicies,ȱwaysȱtoȱ implementȱtheȱpolicies,ȱandȱmonitorȱtheȱoverallȱmanagementȱofȱtheȱhouseȱ museum.ȱThisȱchapterȱaimsȱtoȱbeginȱtheȱconservationȱplanȱprocessȱforȱtheȱPaulȱ

RobesonȱHistoricȱHouseȱMuseumȱbyȱidentifyingȱknownȱstakeholders,ȱvalues,ȱ

46 Randall Mason, “Assessing Values in Conservation Planning: Methodological Issues and Choices,” Management Planning for Archaeological Sites: An International Workshop Organized by the Getty Conservation Institute and Loyola Marymount University, Corinth, Greece, 19-22 May 2000, Los Angeles: J.Paul Getty Trust, 2003, 17. 47 SWOT analysis is a process of addressing the strengths, weaknesses, opportunities and threats at an historic site. It is most commonly used in strategic planning and decision-making in business.

39 (includingȱspiritual,ȱpolitical,ȱnational,ȱotherȱculturalȱvaluesȱ48).ȱTheseȱvaluesȱareȱ definedȱasȱwhatȱmakesȱanȱhistoricȱsiteȱculturallyȱsignificant.ȱȱTheȱBurraȱCharterȱ states,ȱ“culturalȱsignificanceȱisȱembodiedȱinȱtheȱplaceȱitself,ȱitsȱfabric,ȱitsȱsetting,ȱ use,ȱassociations,ȱmeaning,ȱrecords,ȱrelatedȱplaces,ȱandȱrelatedȱobjects…placesȱ mayȱhaveȱaȱrangeȱofȱvaluesȱforȱdifferentȱpeopleȱandȱgroups.”ȱ49ȱSinceȱtheȱBurraȱ

Charterȱwasȱrevisedȱinȱ1999,ȱotherȱscholarsȱhaveȱcomeȱupȱwithȱadditionalȱvaluesȱ uponȱwhichȱtoȱidentifyȱculturalȱsignificance,ȱincludingȱtheȱEnglishȱHeritage’sȱlistȱ ofȱvaluesȬȱcultural,ȱeducationalȱandȱacademic,ȱeconomic,ȱresource,ȱrecreational,ȱ andȱaesthetic.ȱ50ȱTheȱvaluesȱassociatedȱwithȱtheȱRobesonȱHouseȱwouldȱincludeȱ historical,ȱeducational/academic,ȱaesthetic,ȱsocial,ȱeconomic,ȱcultural/symbolic,ȱ politicalȱvalueȱandȱpossiblyȱothersȱonceȱallȱofȱtheȱstakeholdersȱareȱidentified.ȱ

x HistoricalȬȱItȱisȱtheȱlastȱresidenceȱofȱanȱAfricanȱAmericanȱ

Renaissanceȱman,ȱvirtuallyȱunknownȱtoȱtoday’sȱsocietyȱandȱitȱisȱtheȱ

onlyȱhistoricȱhouseȱmuseumȱdedicatedȱtoȱhisȱlifeȱandȱlegacy.ȱ

x Educational/academicȬȱAdultsȱandȱchildrenȱcanȱlearnȱfromȱtheȱ

accomplishmentsȱofȱPaulȱRobesonȱandȱhisȱdesireȱtoȱstandȱupȱandȱ

fightȱforȱsocialȱjusticeȱinȱtheȱworldȱwhenȱmanyȱothersȱwouldȱnot.ȱ

48 Mason, “Assessing Values in Conservation Planning: Methodological Issues and Choices,” Management Planning for Archaeological Sites: An International Workshop Organized by the Getty Conservation Institute and Loyola Marymount University, Corinth, Greece, 19-22 May 2000, 9. 49 Australia ICOMOS, The Burra Charter, http://www.icomos.org/australia/burra.html. 50 Mason, “Assessing Values in Conservation Planning: Methodological Issues and Choices,” Management Planning for Archaeological Sites: An International Workshop Organized by the Getty Conservation Institute and Loyola Marymount University, Corinth, Greece, 19-22 May 2000, 9.

41 andȱdraftȱaȱstatementȱofȱsignificance,ȱandȱfinallyȱdescribeȱtheȱsubsequentȱstepsȱinȱ theȱBurraȱCharterȱprocess.ȱ

Theȱfirstȱstepȱinȱaȱconservationȱplanȱisȱtoȱidentifyȱstakeholdersȱandȱtheirȱ values.ȱInȱdevelopingȱaȱconservationȱplan,ȱsomeȱscholarsȱbelieveȱtheȱ stakeholdersȱshouldȱbeȱidentifiedȱfirstȱandȱothers,ȱtheȱvalues.ȱForȱthisȱthesisȱtheyȱ wereȱidentifiedȱsimultaneously,ȱdueȱtoȱtimeȱconstraints.ȱTheȱstakeholdersȱforȱtheȱ

PaulȱRobesonȱHistoricȱHouseȱMuseumȱareȱitsȱbuildingȱowner,ȱvisitors,ȱ professionals,ȱfunders,ȱinterestsȱgroups,ȱandȱaffiliatedȱgroups,ȱincluding:ȱ

x TheȱWestȱPhiladelphiaȱCulturalȱAlliance’sȱBoard;ȱtheȱWPCAȱ

members;ȱneighbors;ȱteachers;ȱschoolȱchildrenȱ

x WestȱPhiladelphiaȱneighborhoodȱofȱWalnutȱHill;ȱ40thȱStreetȱandȱ52ndȱ

StreetȱCommercialȱDistrict;ȱTheȱCityȱofȱPhiladelphiaȱ

x NationalȱBlackȱCaucusȱforȱtheȱAged;ȱTheȱPaulȱRobesonȱFoundation;ȱ

NationalȱTrustȱofȱHistoricȱPreservation;ȱHouseȱandȱGardenȱ

Networkȱ

Inȱidentifyingȱvalues,ȱtheȱBurraȱCharterȱassociatesȱfourȱvaluesȱwithȱ historicȱsitesȬȱhistoricȱvalue,ȱaestheticȱvalue,ȱscientificȱvalue,ȱandȱsocialȱvalueȱ

40 x AestheticȬȱThisȱhouseȱlooksȱlikeȱmanyȱotherȱWestȱPhiladelphiaȱ

duplexȱrowȱhomes,ȱhowever,ȱtheȱinteriorȱwillȱbeȱinterpretedȱasȱtheȱ

1960Ȭ1970’sȱhomeȱofȱaȱmiddleȱclassȱAfricanȬAmericanȱwoman,ȱ

MarianȱRobesonȬForsythe,ȱandȱherȱfamily.ȱ x SocialȬȱTheȱhouseȱisȱownedȱbyȱtheȱWestȱPhiladelphiaȱCulturalȱ

Allianceȱandȱdedicatedȱtoȱaȱmanȱwhoȱfoughtȱforȱtheȱsocialȱjusticeȱ

andȱequalityȱofȱallȱpeopleȱaroundȱtheȱworld;ȱalsoȱaȱpartȱofȱtheȱsiteȱ

willȱbeȱaȱculturalȱcenter;ȱandȱinȱtheȱfutureȱtheȱWPCAȱisȱalsoȱ

planningȱforȱaȱcoffeeȱhouse,ȱartistȱresidences,ȱandȱbookstore.ȱ x EconomicȬȱTheȱvisitorsȱtoȱtheȱhistoricȱhouseȱmuseumȱwillȱaidȱtheȱ

WPCAȱinȱpayingȱforȱtheȱmortgageȱonȱtheȱhouses,ȱtheȱpreservationȱ

ofȱtheȱhouses,ȱandȱmanyȱotherȱprogrammingȱneeds.ȱTheȱsiteȱwillȱ

alsoȱaidȱinȱpromotingȱtheȱWalnutȱHillȱsectionȱofȱPhiladelphiaȱandȱ

it’sȱsurroundingȱresidentialȱneighborhoodsȱandȱbusinessȱcorridorsȱ

byȱbringingȱinȱnewȱresidents,ȱvisitors,ȱandȱshoppers.ȱ x Cultural/symbolicȬȱPaulȱRobeson,ȱandȱpossiblyȱtheȱhouseȱwhileȱheȱ

residedȱthere,ȱwasȱanȱexemplarȱofȱwhatȱAfricanȬAmericansȱcouldȱ

accomplishȱinȱAmericaȱinȱtheȱ1920’sȬ1970’s.ȱHeȱwasȱalsoȱanȱ

exampleȱofȱwhatȱcouldȱoccurȱtoȱanȱAfricanȬAmericanȱforȱspeakingȱ

upȱonȱnationalȱandȱinternationalȱissuesȱduringȱtheȱMcCarthyȱera.ȱȱ

42 x PoliticalȬȱThisȱisȱaȱsiteȱthatȱhonorsȱaȱmanȱwhoȱspokeȱforȱsocialȱ

justiceȱandȱequality,ȱbutȱespeciallyȱforȱAfricanȬAmericans.ȱThisȱisȱaȱ

struggleȱthatȱcontinuesȱtoȱthisȱdayȱinȱAmericaȱandȱinȱmanyȱotherȱ

partsȱofȱtheȱworld.ȱThisȱsiteȱcouldȱaidȱinȱeducatingȱandȱinspiringȱ

peopleȱtoȱfightȱforȱtheirȱpersonalȱinterpretationȱofȱequalityȱandȱ

justiceȱforȱall.ȱ

TheȱnextȱstepȱinȱtheȱBurraȱCharterȱprocessȱisȱtoȱgatherȱandȱrecordȱ informationȱaboutȱtheȱplaceȱtoȱunderstandȱitsȱsignificance.ȱȱAlreadyȱstatedȱinȱthisȱ thesis,ȱmuchȱofȱtheȱsignificanceȱcanȱbeȱfoundȱbyȱspeakingȱtoȱRobeson’sȱfamilyȱ andȱfriends,ȱotherȱpeopleȱwhoȱwereȱacquaintedȱwithȱhim,ȱandȱresearchȱ photographsȱofȱtheȱhouse.ȱOralȱhistoriesȱandȱhistoricȱphotographsȱareȱtheȱkeysȱtoȱ properlyȱinterpretingȱPaulȱRobeson,ȱtheȱRobesonȬForsytheȱhome,ȱandȱitsȱcontext.ȱȱ

Theȱstatementȱofȱsignificanceȱisȱtheȱfollowingȱstepȱtoȱgatheringȱ informationȱonȱtheȱsiteȱtoȱassessȱsignificance.ȱTheȱstatementȱofȱsignificanceȱisȱ whatȱguidesȱtheȱpoliciesȱandȱgoalsȱofȱtheȱconservationȱplan.ȱTheȱMasterȱPlanȱ includesȱaȱ“ProjectȱSummaryȱStatement”ȱincludingȱ“WhyȱWeȱHonorȱPaulȱ

Robeson,”ȱfromȱwhichȱaȱportionȱofȱtheȱdraftedȱstatementȱofȱsignificanceȱwasȱ taken.ȱTheȱstatementȱofȱsignificanceȱstates,ȱȱ

43 Theȱ Paulȱ Robesonȱ Historicȱ Houseȱ Museumȱ isȱ dedicatedȱ toȱ aȱ legendaryȱ AfricanȬAmericanȱ artistȱ andȱ worldwideȱ humanitarianȱ whoȱ spentȱ theȱ lastȱ tenȱ yearsȱ ofȱ hisȱ life,ȱ betweenȱ 1966Ȭ1976,ȱ livingȱ inȱ Philadelphiaȱ inȱ theȱ homeȱ ofȱ hisȱ sister,ȱ Marianȱ RobesonȬForsythe.ȱ Theȱ creationȱ ofȱ theȱ Paulȱ Robesonȱ Houseȱ isȱ aȱ wayȱ “toȱ celebrateȱ Robeson’sȱ massiveȱ accomplishmentsȱ andȱ toȱ wrestȱ hisȱ reputationȱ fromȱ thoseȱ whoȱ continueȱtoȱspreadȱspuriousȱrumorsȱthatȱquestionȱhisȱloyaltyȱtoȱtheȱUnitedȱ States.”51ȱ Theȱ siteȱ isȱ meantȱ toȱ educateȱ peopleȱ onȱ theȱ worksȱ ofȱ Paulȱ Robesonȱandȱtoȱinspireȱthemȱtoȱcontinueȱhisȱlegacyȱofȱfightingȱforȱsocialȱ justiceȱandȱdemocracyȱforȱall.ȱ ȱTheȱRobesonȬForsytheȱWestȱPhiladelphiaȱtwinȱrowȱhouse,ȱisȱakinȱ toȱmanyȱothersȱinȱthisȱarea,ȱbutȱstandsȱaloneȱforȱitsȱculturalȱsignificanceȱtoȱ AfricanȬAmericansȱandȱtheȱnation.ȱTheȱhouseȱisȱrepresentativeȱofȱaȱmiddleȱ classȱAfricanȬAmericanȱfamily’sȱhomeȱofȱtheȱ1960’sȱandȱ1970’s.ȱTodayȱtheȱ houseȱisȱownedȱbyȱtheȱWestȱPhiladelphiaȱCulturalȱAllianceȱwhoȱplansȱtoȱ makeȱitȱaȱpartȱofȱaȱculturalȱcenterȱandȱtheȱbeginningsȱofȱanȱ“artsȱmecca”ȱinȱ theȱWestȱPhiladelphiaȱcommunity.ȱ52 ȱ

ȱ AȱSWOTȱanalysisȱwouldȱfollowȱtheȱdraftingȱofȱaȱstatementȱofȱsignificance.ȱ

Aȱstrength,ȱweaknesses,ȱopportunitiesȱandȱthreatsȱanalysisȱwouldȱbeȱusedȱtoȱ determineȱpossibleȱpoliciesȱandȱgoalsȱforȱtheȱhistoricȱhouseȱmuseumȱinȱtheȱ followingȱfiveȱtoȱsevenȱyears.ȱThisȱstepȱcouldȱbeȱveryȱimportantȱforȱtheȱWPCAȱ organizationȱinȱdecidingȱwhetherȱtheyȱwantȱtoȱcontinueȱtheȱmanagementȱofȱaȱ historicȱhouseȱmuseumȱorȱwhetherȱitȱbeȱadvantageousȱtoȱconsiderȱseekingȱhelpȱ from,ȱpartneringȱwith,ȱorȱrelinquishingȱtheirȱrightsȱtoȱaȱknowledgeableȱentity.ȱ

Nextȱwouldȱbeȱtoȱdevelopȱpoliciesȱandȱtestȱthemȱagainstȱtheȱsignificanceȱofȱtheȱ site,ȱthenȱdraftȱpolicyȱstatements,ȱandȱconsiderȱimplementationsȱstrategiesȱforȱtheȱ

51 Kelly/Maiello & Ueland Junker McCauley Nicholson, Master Plan: The Rehabilitation Plan for the Paul Robeson House, 3-4. 52 Aulston, Personal Interview, 24 July 2004 and 4 February 2005.

44 policies.ȱLastly,ȱitȱisȱveryȱimportantȱtoȱrecordȱtheȱcurrentȱstateȱofȱtheȱsite,ȱmonitorȱ theȱsiteȱduringȱtheȱimplementationȱofȱpolicies,ȱandȱrevisitȱtheȱwholeȱplanȱfromȱ theȱbeginningȱperiodically.ȱȱ

Conclusionȱ

ȱ Linenthalȱstates,ȱtheȱbestȱsitesȱbecomeȱforumsȱwhereȱ“diverseȱ interpretationsȱofȱcomplexȱhistoricalȱeventsȱcanȱbeȱairedȱorȱtakenȱhomeȱtoȱ contemplate.”ȱ53ȱTheȱlifeȱofȱPaulȱRobesonȱwasȱaȱmultifacetedȱoneȱthatȱendedȱinȱ retirementȱinȱaȱtwinȱrowȱhouseȱinȱtheȱWalnutȱHillȱsectionȱofȱWestȱPhiladelphiaȱinȱ theȱ1970’s.ȱDevisingȱaȱvaluesȬbasedȱconservationȱplan,ȱconductingȱaȱthoroughȱ investigationȱofȱRobeson’sȱlifeȱinȱWestȱPhiladelphiaȱandȱtheȱresearchȱofȱtheȱ historicȱinteriorȱofȱ4951ȱWalnutȱStreet,ȱtheȱPaulȱRobesonȱHistoricȱHouseȱMuseumȱ andȱCulturalȱCenterȱcouldȱthenȱhaveȱanȱinterpretiveȱplanȱtoȱbecomeȱoneȱofȱtheȱ sitesȱLinenthalȱwasȱwritingȱabout.ȱAsȱFreemanȱTildenȱstated,ȱinterpretationȱmustȱ

“…revealȱmeaningsȱandȱrelationshipsȱthroughȱtheȱuseȱofȱoriginalȱobjects,ȱbyȱ firsthandȱexperience,ȱandȱbyȱillustrativeȱmedia,ȱratherȱthanȱsimplyȱtoȱ communicateȱfactualȱinformation,”ȱ54ȱthisȱisȱinȱtheȱend,ȱtheȱgoal.ȱ

ȱ ȱ

53 Edward Linenthal, “Can Museums Achieve a Balance Between Memory and History,” Chronicle of Higher Education, 10 February 1995, B1-2. 54 Tilden, Interpreting Our Heritage, 8.

45 ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ FIGURESȱ

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65 Harper’sȱFerryȱCenter.ȱPlanningȱforȱInterpretationȱandȱVisitorȱExperience.ȱDivisionȱ ofȱInterpretiveȱPlanning,ȱNationalȱParkȱService,ȱ1998.ȱ ȱ Homeȱ&ȱGarden.ȱPaulȱRobesonȱHouse.ȱ http://www.hgtv.com/hgtv/rm_restoration_homes_areas/article/0,1797,HGTV_37 87_3203952,00.html.ȱ ȱ Li,ȱHan.ȱInterpretationȱofȱtheȱPaulȱRobesonȱHouseȱMuseum.ȱHSPVȱ606ȬȱHistoricȱSiteȱ Management,ȱSpringȱ2004.ȱProfessorȱRandallȱMason.ȱPersonalȱCommunication,ȱ6ȱ Mayȱ2004.ȱ ȱ Linenthal,ȱEdward.ȱ“CanȱMuseumsȱAchieveȱaȱBalanceȱBetweenȱMemoryȱandȱ History?”ȱChronicleȱofȱHigherȱEducation.ȱ10ȱFebruaryȱ1995,ȱB1Ȭ2.ȱ ȱ Kelly,ȱEmanual.ȱPersonalȱInterview.ȱ16ȱFebruaryȱ2005.ȱȱ ȱ Kelly/Maielloȱ&ȱUelandȱJunkerȱMcCauleyȱNicholson.ȱȱMasterȱPlan:ȱTheȱ RehabilitationȱPlanȱforȱtheȱPaulȱRobesonȱHouse.ȱAprilȱ2004.ȱȱ ȱ MartinȱLutherȱKingȱCenterȱforȱNonviolentȱChange.ȱTheȱKingȱCenter.ȱ http://www.thekingcenter.org/tkc/index.asp.ȱ ȱ Mason,ȱRandall.ȱ“AssessingȱValuesȱinȱConservationȱPlanning:ȱMethodologicalȱ IssuesȱandȱChoices.”ȱManagementȱPlanningȱforȱArchaeologicalȱSites:ȱAnȱInternationalȱ WorkshopȱOrganizedȱbyȱtheȱGettyȱConservationȱInstituteȱandȱLoyolaȱMarymountȱ University,ȱCorinth,ȱGreece,ȱ19Ȭ22ȱMayȱ2000.ȱLosȱAngeles:ȱJ.PaulȱGettyȱTrust,ȱ2003.ȱ ȱ Merritt,ȱJane.ȱ“KeepingȱtheȱHistoricȱHouse:ȱTheȱPlan.”ȱCulturalȱResourceȱ ManagementȱOnline,ȱNo.ȱ7ȱ(1999),ȱOL1ȬOL2.ȱ ȱ NationalȱParkȱService.ȱEdgarȱAllenȱPoeȱNationalȱHistoricȱSite.ȱ http://www.nps.gov/edal/.ȱ ȱ NationalȱParkȱService,ȱEdgarȱAllenȱPoeȱNationalȱHistoricȱSiteȱLongȱRangeȱ InterpretiveȱPlan,ȱ2003.ȱ ȱ NationalȱParkȱService.ȱMartinȱLutherȱKing,ȱJr.ȱNationalȱHistoricȱSite.ȱ http://www.nps.gov/malu/.ȱ ȱ

66 NationalȱParkȱService.ȱMartinȱLutherȱKingȱJr.ȱNationalȱHistoricȱSiteȱGeneralȱ ManagementȱPlan,ȱDevelopmentȱConceptȱPlanȱ&ȱEnvironmentalȱAssessment,ȱ1985.ȱ http://www.nps.gov/malu/documents/gmp1985/gmp_1985.htm.ȱ ȱ NJȱDepartmentȱofȱEnvironmentalȱProtection,ȱDivisionȱofȱParksȱ&ȱForestryȱStateȱ ParkȱService,ȱWaltȱWhitmanȱHouse,ȱ10/98.ȱȱȱ ȱ PaulȱRobesonȱFoundation.ȱAboutȱtheȱFoundation.ȱ http://peacehawks.com/robeson_site.ȱ ȱ Pearson,ȱMichaelȱandȱSharonȱSullivan.ȱLookingȱAfterȱHeritageȱPlaces.ȱVictoria:ȱ MelbourneȱUniversityȱPress,ȱ2001.ȱ ȱ PrincetonȱPublicȱLibrary.ȱPaulȱRobesonȱOnline.ȱ http://www.princeton.lib.nj.us/robeson/links.html.ȱ ȱ Risk,ȱPaulȱH.ȱ“Interpretation:ȱAȱRoadȱtoȱCreativeȱEnlightenment.”ȱCulturalȱ ResourceȱManagement,ȱVolumeȱ17,ȱNo.2ȱ(dateȱunknown),ȱ37Ȭ40.ȱ ȱ Robeson,ȱEslanda.ȱPaulȱRobeson,ȱNegro.ȱ1930.ȱ ȱ Robeson,ȱPaul.ȱHereȱIȱStand.ȱBoston:ȱBeaconȱPress,ȱ1958.ȱ ȱ RobesonȱJr.,ȱPaul.ȱTheȱUndiscoveredȱPaulȱRobeson:ȱAnȱArtistȱJourney,ȱ1898Ȭ1939.ȱ NewȱYork:ȱJohnȱWileyȱ&ȱSons,ȱInc.,ȱ2001.ȱ ȱ Roley,ȱParkȱRangerȱHistorianȱDean.ȱPersonalȱPhoneȱInterview.ȱ15ȱMarchȱ2005.ȱ ȱ Schillizzi,ȱParkȱRangerȱJoanne.ȱPersonalȱInterview.ȱ28ȱJanuaryȱ2005.ȱ ȱ Tilden,ȱFreeman.ȱInterpretingȱOurȱHeritage.ȱChapelȱHill:ȱUniversityȱofȱNorthȱ CarolinaȱPress,ȱ1977.ȱ ȱ TurnerȱBell,ȱCharlotte.ȱPaulȱRobeson’sȱLastȱDaysȱinȱPhiladelphia.ȱDorranceȱ PublishingȱCo.,ȱ1986.ȱ ȱ Ueland,ȱMark.ȱPersonalȱInterview.ȱ31ȱJanuaryȱ2005.ȱ ȱ West,ȱPatricia.ȱDomesticatingȱHistory:ȱTheȱPoliticalȱOriginsȱofȱAmerica’sȱHouseȱ Museum.ȱWashington:ȱSmithsonianȱInstitutionȱPress,ȱ1999.ȱ

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68 INDEXȱ ȱ ȱ A K Aulston, Frances, 10, 11, 18, 22, 23 Kelly, Emanual, 19 Kelly/Maiello, 13, 14, 17, 19, 44 B King, Jr., Dr. Martin Luther, 3, 27, 28, Blockson, Charles, 15, 17, 21, 22, 29, 30 29, 30, 37, 38 Burra Charter, 4, 25, 40, 41, 43 M C management, 2, 18, 19, 25, 39, 44 Communism, 7, 8 N conservation, 4, 16, 18, 25, 26, 36, 37, 38, 39, 40, 43, 45 National Park Service, 3, 25, 26, 28, 29, cultural, 1, 4, 11, 12, 16, 17, 21, 25, 26, 32, 34, 35, 36, 38 41, 42, 44 National Register of Historic Places, 15, 19 D O design, 2, 13, 14, 17, 18, 22, 29, 31, 35, 38 oral histories, 18, 35 oral history, 23 E P exhibit, 2, 14, 15, 16, 17, 22, 31, 35, 38 Poe, Edgar Allen, 3, 27, 31, 32, 33, 34, F 35, 36, 38 Forsythe, Paulina, 10 R funding, 13, 16, 24 rehabilitation, 2, 4, 19, 20 H Robeson, Jr., Paul, 9, 21, 29 historic, 1, 2, 3, 12, 13, 16, 17, 18, 19, Robeson, Paul, 1, 2, 3, 5, 6, 7, 9, 10, 12, 26, 27, 28, 29, 34, 35, 36, 37, 38, 39, 14, 15, 17, 21, 22, 25, 26, 27, 29, 30, 40, 41, 42, 43, 44, 45 35, 37, 38, 39, 40, 41, 42, 43, 44, 45 House Committee on Un-American S Activities, 7, 8 significance, 1, 3, 17, 18, 25, 29, 37, 39, I 41, 43, 44 interpretation, 1, 3, 4, 14, 15, 23, 25, 27, site, 1, 2, 3, 4, 10, 15, 16, 18, 19, 20, 21, 28, 29, 30, 34, 36, 39, 43, 45 25, 26, 27, 32, 33, 35, 36, 38, 39, 41, interpretive, 1, 2, 3, 13, 14, 16, 17, 22, 42, 43, 44 25, 29, 30, 33, 35, 37, 38, 45 stakeholder, 18 Stephens, Frank, 15, 22 J SWOT, 4, 39, 44 Johnson, Tyree, 10

69 U visitor, 1, 15, 17, 22, 23, 25, 26, 33, 34, Ueland Junker McCauley Nicholson, 13, 35, 36, 40, 42 14, 17, 21, 44 visitor experience, 23, 25 UJMN, 13, 16, 21, 22, 23, 38 W V Whitman, Walt, 3, 27, 34, 36, 37, 38 value, 2, 4, 12, 18, 21, 25, 26, 39, 40, 45 ȱ