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  • Souvenir Program of the Goodwill Baptist Church in the Dedication of their New House of Worship

    Souvenir Program of the Goodwill Baptist Church in the Dedication of their New House of Worship

    Created by
    Goodwill Baptist Church, American, founded after 1900
    Subject of
    Rev. Ball, William B., American, born ca. 1890
    Medium
    ink on paper, metal
    Dimensions
    H x W x D: 11 × 8 1/2 × 1/16 in. (27.9 × 21.6 × 0.2 cm)
    Type
    souvenir programs
    Place used
    Richmond, Virginia, United States, North and Central America
    Date
    1953
    Description
    Souvenir program from the dedication of the Goodwill Baptist Church. The tan cover has a thin ribbon graphic border. Below the title, the location, 410 North Monroe Street, Richmond, Va. is listed. The dates for the services [November 22nd through December 11th 1953] are noted above the pastor, Rev. W. B. Ball. The program begins with images and a brief biography of the pastor and his wife, Mary M. Ball. The program has images of church members and committees. There is schedule information interspersed with advertisements. The program is fastened with two (2) staples. The back cover is blank.
    Transcription Center Status
    Transcribed by digital volunteers
    Topic
    African American
    Communities
    Religion
    Religious groups
    United States--Social life and customs
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture
    Object number
    2015.97.40.66
    Restrictions & Rights
    Public domain
    See more items in
    National Museum of African American History and Culture Collection
    Classification
    Memorabilia and Ephemera
    Data Source
    National Museum of African American History and Culture
  • Program for the interment services for Joe Louis

    Program for the interment services for Joe Louis

    Written by
    Mays, Ella Kay
    Printed by
    Unidentified
    Subject of
    Louis, Joe, American, 1914 - 1981
    Reverend Ewing, Gene, American
    Fort Myer Memorial Chapel, American, founded 1861
    Arlington National Cemetery, American, founded 1864
    Medium
    ink on paper
    Dimensions
    H x W x D: 9 × 6 3/16 (22.8 × 15.7 × 0.1 cm)
    Type
    programs
    Place used
    Arlington, Virginia, United States, North and Central America
    Date
    April 21, 1981
    Description
    A program from the interment services for Joe Louis. The program is printed in brown ink on tan paper. The front page features a bust portrait of Joe Lewis wearing a suit jacket, dress shirt, and neck tie. Text above and below the image reads [Internment [sic] Services / for / Joe Louis / (Barrow) / May 13, 1914 - April 12, 1981 / ARLINGTON NATIONAL CEMETERY / Fort Meyers Memorial Chapel / Arlington, Virginia / Officiant / THE REVEREND GENE EWING]. The obituary by Ella Kay Mays is printed on the second page, the order of ceremonies on the third page, and honorary pallbearers and quotes about Louis on the back page. The program is two (2) pages with a front and back cover.
    Topic
    African American
    Athletes
    Boxing
    Local and regional
    Religious groups
    United States--Social life and customs
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture
    Object number
    2013.46.25.5
    Restrictions & Rights
    No Known Copyright Restrictions
    See more items in
    National Museum of African American History and Culture Collection
    Collection title
    The Laura Cathrell Show-Down Magazine Collection
    Classification
    Memorabilia and Ephemera
    Data Source
    National Museum of African American History and Culture

  • The Black G.I. Black Journal segment

    16mm motion picture film of The Black G.I. [Black Journal segment]
    Directed by
    Garrett, Kent, American, born 1941
    Produced by
    Greaves, William, American, 1926 - 2014
    National Educational Television, American, 1954 - 1970
    Owned by
    Bowser, Pearl, American, born 1931
    Subject of
    Bennett, L. Howard
    Medium
    16mm Film (a): acetate film
    Dimensions
    Duration: 50 Minutes
    Length (Film): 1,800 Feet
    Type
    motion pictures (information artifacts)
    Place filmed
    H? Chí Minh, Thành Ph?, H? Chí Minh, Viet Nam, Asia
    Camp Hansen, Okinawa, Japan, Asia
    Arlington County, Virginia, United States, North and Central America
    Date
    1971
    Caption
    The Black G.I. is a two-part documentary episode of the television series Black Journal. It focuses on the experiences of African-American soldiers in the Vietnam War. This film features frank and open discussions from soldiers, ranked officers, and politicians about the racism that defined the different experiences black soldiers had in this war.
    Description
    This 16mm color film is an hour-long documentary segment of Episode No. 22 of the NET (National Educational Television) television program, Black Journal; a weekly public television newsmagazine in the late 1960s/early 1970s that examined the many issues pertinent to the black American experience at the time. It was originally broadcast on March 30, 1970, and is believed to have been filmed over the course of 1969. Episode No. 22 of Black Journal was directed by Stan Lathan, while the "Black G.I." segment was directed by Kent Garrett. Executive Produced by William Greaves.
    Contains: 16mm Film (a), Original 1,600 foot Film Reel (b), and Original 1,600 foot Film Canister (c).
    2012.79.1.51.1a: 16mm film. This film opens with a narration over images of African American men in the history of the US military. The first moving image section shows African American men fighting during World War II. The narrator discusses the irony of African American men fighting for freedom in Europe while not enjoying the same freedoms in the US. There are multiple shots of the Tuskegee Airmen. Eleanor Roosevelt pins (unknown) medal on African American soldier. Next, newsreel footage of Joe Louis arriving at an airbase and greeting black troops. The narrator then talks about the desegregation of the US military during the Korean War and points out the lack of black soldiers in leadership positions. Color footage marks the transition of the narration to coverage of the Vietnam War. Two African American soldiers in civilian clothing with soul power patches can be seen dapping. Series of brief excerpts from interviews of black soldiers play, each stating their position on being black and in the military during the Vietnam War. The narrator reveals the disproportionate percentage of black men who are killed in action versus their white counterparts. There are multiple shots of combat and post-combat footage in Vietnamese rice fields and footage of riverside villages. Two sailors patrol a river and discuss their experience in Vietnam thus far and what they'll do when they get home. They discuss their mission and how to be black while being in the military. A girl group performs at the USO in Saigon. Tanks and amored personnel carriers patrol suspected enemy locations along border with North Vietnam. Sailors on a patrol boat open fire at the river bank and a confederate flag can be seen flying from a flag pole on board. Black sailors discuss cultural challenges of being in the Navy and the lack entertainment geared towards black musical tastes of the time. One sailor talks about being disciplined for getting into an altercation after a white sailor ripped his tape player from the wall for playing soul music. The narrator reveals that an all white court martial found the sailor, Bobby Jenkins, guilty of assault, demoted him and docked his pay. A sailor relays that he and other African Americans met with the Assistant Secretary of Defense for civil rights to discuss their poor treatment and were promised changes by the Assistant Secretary. The sailors talk about how some local Vietnamese have adopted some of the negative perceptions of African Americans, which some black sailors believe they learned from some white members of the military. The sailors discuss how their hands are tied when it comes to standing up for their rights as sailors on a patrol boat dap and salute the camera with black/soul power fists. Air Force fighter pilot, John Bordeaux, discusses his personal experience of not facing the same discrimination expressed by other African American military personnel. Two black career Army officers, Davis and Rogers, discuss the systematic discrimination they've faced; in particular, they recall incidents of being passed over for promotions despite strong credentials. Brigadier General Frederick E. Davison, the first African American combat general, rejects the assertion that an African American who succeeds in the military is an Uncle Tom and discusses the many actions that the Army has taken to ensure equal treatment and opportunities. A cover of "Sittin' on a Dock in the Bay" plays over a montage of black soldiers in the field. A group of black Marines in a mess hall at Camp Hansen, Okinawa discuss the unfair treatment they've experienced, such as being forced to wear a collared shirt with their dashikis and not being allowed to wear their hair in an afro. One marine relates an incident in which they were violently confronted after returning from a USO show that primarily featured soul music. There is a series of shots of shops in Koza "Four Corners", Okinawa geared towards African American soldiers. Another group of soldiers discuss their dissatisfaction with being drafted to fight in Vietnam despite social and economic discrimination at home, and being harassed and targeted as being "troublesome" if they decide to attend country music night at local clubs. L. Howard Bennett, Deputy Assistant Secretary for Civil Rights, discusses how black soldiers complaining about the lack of soul music are expressing grievances beyond simply entertainment selection and dissatisfaction with communcation in the chain of command. He also states his opinion that black soldiers fighting for the US puts them in a better position to demand equal rights at home.
    2012.79.1.51.1b: Original 1,600 foot film reel.
    2012.79.1.51.1c: Original 1,600 foot film canister. The metal film canister has two sticker labels; each from a different film services company.
    Topic
    African American
    Film
    Gesture
    Mass media
    Military
    Race discrimination
    Race relations
    Television
    Vietnam War, 1961-1975
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser
    Object number
    2012.79.1.51.1a
    Restrictions & Rights
    © National Educational Television
    See more items in
    National Museum of African American History and Culture Collection
    Collection title
    Pearl Bowser Collection
    Classification
    Media Arts-Film and Video
    Data Source
    National Museum of African American History and Culture

  • The Black G.I. Black Journal segment

    16mm motion picture film of The Black G.I. [Black Journal segment]
    Directed by
    Garrett, Kent, American, born 1941
    Produced by
    Greaves, William, American, 1926 - 2014
    National Educational Television, American, 1954 - 1970
    Owned by
    Bowser, Pearl, American, born 1931
    Subject of
    Bennett, L. Howard
    Medium
    16mm Film (a): acetate film
    Dimensions
    Duration: 50 Minutes
    Length (Film): 1,800 Feet
    Type
    motion pictures (information artifacts)
    Place filmed
    H? Chí Minh, Thành Ph?, H? Chí Minh, Viet Nam, Asia
    Camp Hansen, Okinawa, Japan, Asia
    Arlington County, Virginia, United States, North and Central America
    Place made
    5708 Arundel Ave., Rockville, Montgomery County, Maryland, United States, North and Central America
    Date
    1971
    Caption
    The Black G.I. is a two-part documentary episode of the television series Black Journal. It focuses on the experiences of African-American soldiers in the Vietnam War. This film features frank and open discussions from soldiers, ranked officers, and politicians about the racism that defined the different experiences black soldiers had in this war.
    Description
    This preservation 16mm color film is an hour-long documentary segment of Episode No. 22 of the NET (National Educational Television) television program, Black Journal; a weekly public television newsmagazine in the late 1960s/early 1970s that examined the many issues pertinent to the black American experience at the time. It was originally broadcast on March 30, 1970, and is believed to have been filmed over the course of 1969. Episode No. 22 of Black Journal was directed by Stan Lathan, while the "Black G.I." segment was directed by Kent Garrett. Executive Produced by William Greaves.
    Contains: 16mm Film (a), Original 1,600 foot Film Reel (b), and Original 1,600 foot Film Canister (c).
    2012.79.1.51.1a: 16mm film. This film opens with a narration over images of African American men in the history of the US military. The first moving image section shows African American men fighting during World War II. The narrator discusses the irony of African American men fighting for freedom in Europe while not enjoying the same freedoms in the US. There are multiple shots of the Tuskegee Airmen. Eleanor Roosevelt pins (unknown) medal on African American soldier. Next, newsreel footage of Joe Louis arriving at an airbase and greeting black troops. The narrator then talks about the desegregation of the US military during the Korean War and points out the lack of black soldiers in leadership positions. Color footage marks the transition of the narration to coverage of the Vietnam War. Two African American soldiers in civilian clothing with soul power patches can be seen dapping. Series of brief excerpts from interviews of black soldiers play, each stating their position on being black and in the military during the Vietnam War. The narrator reveals the disproportionate percentage of black men who are killed in action versus their white counterparts. There are multiple shots of combat and post-combat footage in Vietnamese rice fields and footage of riverside villages. Two sailors patrol a river and discuss their experience in Vietnam thus far and what they'll do when they get home. They discuss their mission and how to be black while being in the military. A girl group performs at the USO in Saigon. Tanks and amored personnel carriers patrol suspected enemy locations along border with North Vietnam. Sailors on a patrol boat open fire at the river bank and a confederate flag can be seen flying from a flag pole on board. Black sailors discuss cultural challenges of being in the Navy and the lack entertainment geared towards black musical tastes of the time. One sailor talks about being disciplined for getting into an altercation after a white sailor ripped his tape player from the wall for playing soul music. The narrator reveals that an all white court martial found the sailor, Bobby Jenkins, guilty of assault, demoted him and docked his pay. A sailor relays that he and other African Americans met with the Assistant Secretary of Defense for civil rights to discuss their poor treatment and were promised changes by the Assistant Secretary. The sailors talk about how some local Vietnamese have adopted some of the negative perceptions of African Americans, which some black sailors believe they learned from some white members of the military. The sailors discuss how their hands are tied when it comes to standing up for their rights as sailors on a patrol boat dap and salute the camera with black/soul power fists. Air Force fighter pilot, John Bordeaux, discusses his personal experience of not facing the same discrimination expressed by other African American military personnel. Two black career Army officers, Davis and Rogers, discuss the systematic discrimination they've faced; in particular, they recall incidents of being passed over for promotions despite strong credentials. Brigadier General Frederick E. Davison, the first African American combat general, rejects the assertion that an African American who succeeds in the military is an Uncle Tom and discusses the many actions that the Army has taken to ensure equal treatment and opportunities. A cover of "Sittin' on a Dock in the Bay" plays over a montage of black soldiers in the field. A group of black Marines in a mess hall at Camp Hansen, Okinawa discuss the unfair treatment they've experienced, such as being forced to wear a collared shirt with their dashikis and not being allowed to wear their hair in an afro. One marine relates an incident in which they were violently confronted after returning from a USO show that primarily featured soul music. There is a series of shots of shops in Koza "Four Corners", Okinawa geared towards African American soldiers. Another group of soldiers discuss their dissatisfaction with being drafted to fight in Vietnam despite social and economic discrimination at home, and being harassed and targeted as being "troublesome" if they decide to attend country music night at local clubs. L. Howard Bennett, Deputy Assistant Secretary for Civil Rights, discusses how black soldiers complaining about the lack of soul music are expressing grievances beyond simply entertainment selection and dissatisfaction with communcation in the chain of command. He also states his opinion that black soldiers fighting for the US puts them in a better position to demand equal rights at home.
    2012.79.1.51.1b: Original 1,600 foot film reel.
    2012.79.1.51.1c: Original 1,600 foot film canister. The metal film canister has two sticker labels; each from a different film services company.
    Topic
    African American
    Film
    Gesture
    Mass media
    Military
    Race discrimination
    Race relations
    Television
    Vietnam War, 1961-1975
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser
    Object number
    2012.79.1.51.2ab
    Restrictions & Rights
    © National Educational Television
    See more items in
    National Museum of African American History and Culture Collection
    Collection title
    Pearl Bowser Collection
    Classification
    Media Arts-Film and Video
    Data Source
    National Museum of African American History and Culture

  • The Black G.I. Black Journal segment

    16mm motion picture film of The Black G.I. [Black Journal segment]
    Directed by
    Garrett, Kent, American, born 1941
    Produced by
    Greaves, William, American, 1926 - 2014
    National Educational Television, American, 1954 - 1970
    Owned by
    Bowser, Pearl, American, born 1931
    Subject of
    Bennett, L. Howard
    Medium
    16mm Film (a): acetate film
    Dimensions
    Duration: 50 Minutes
    Length (Film): 1,800 Feet
    Type
    motion pictures (information artifacts)
    Place filmed
    H? Chí Minh, Thành Ph?, H? Chí Minh, Viet Nam, Asia
    Camp Hansen, Okinawa, Japan, Asia
    Arlington County, Virginia, United States, North and Central America
    Place made
    5708 Arundel Ave., Rockville, Montgomery County, Maryland, United States, North and Central America
    Date
    1971
    Caption
    The Black G.I. is a two-part documentary episode of the television series Black Journal. It focuses on the experiences of African-American soldiers in the Vietnam War. This film features frank and open discussions from soldiers, ranked officers, and politicians about the racism that defined the different experiences black soldiers had in this war.
    Description
    This preservation 16mm color film is an hour-long documentary segment of Episode No. 22 of the NET (National Educational Television) television program, Black Journal; a weekly public television newsmagazine in the late 1960s/early 1970s that examined the many issues pertinent to the black American experience at the time. It was originally broadcast on March 30, 1970, and is believed to have been filmed over the course of 1969. Episode No. 22 of Black Journal was directed by Stan Lathan, while the "Black G.I." segment was directed by Kent Garrett. Executive Produced by William Greaves.
    Contains: 16mm Film (a), Original 1,600 foot Film Reel (b), and Original 1,600 foot Film Canister (c).
    2012.79.1.51.1a: 16mm film. This film opens with a narration over images of African American men in the history of the US military. The first moving image section shows African American men fighting during World War II. The narrator discusses the irony of African American men fighting for freedom in Europe while not enjoying the same freedoms in the US. There are multiple shots of the Tuskegee Airmen. Eleanor Roosevelt pins (unknown) medal on African American soldier. Next, newsreel footage of Joe Louis arriving at an airbase and greeting black troops. The narrator then talks about the desegregation of the US military during the Korean War and points out the lack of black soldiers in leadership positions. Color footage marks the transition of the narration to coverage of the Vietnam War. Two African American soldiers in civilian clothing with soul power patches can be seen dapping. Series of brief excerpts from interviews of black soldiers play, each stating their position on being black and in the military during the Vietnam War. The narrator reveals the disproportionate percentage of black men who are killed in action versus their white counterparts. There are multiple shots of combat and post-combat footage in Vietnamese rice fields and footage of riverside villages. Two sailors patrol a river and discuss their experience in Vietnam thus far and what they'll do when they get home. They discuss their mission and how to be black while being in the military. A girl group performs at the USO in Saigon. Tanks and amored personnel carriers patrol suspected enemy locations along border with North Vietnam. Sailors on a patrol boat open fire at the river bank and a confederate flag can be seen flying from a flag pole on board. Black sailors discuss cultural challenges of being in the Navy and the lack entertainment geared towards black musical tastes of the time. One sailor talks about being disciplined for getting into an altercation after a white sailor ripped his tape player from the wall for playing soul music. The narrator reveals that an all white court martial found the sailor, Bobby Jenkins, guilty of assault, demoted him and docked his pay. A sailor relays that he and other African Americans met with the Assistant Secretary of Defense for civil rights to discuss their poor treatment and were promised changes by the Assistant Secretary. The sailors talk about how some local Vietnamese have adopted some of the negative perceptions of African Americans, which some black sailors believe they learned from some white members of the military. The sailors discuss how their hands are tied when it comes to standing up for their rights as sailors on a patrol boat dap and salute the camera with black/soul power fists. Air Force fighter pilot, John Bordeaux, discusses his personal experience of not facing the same discrimination expressed by other African American military personnel. Two black career Army officers, Davis and Rogers, discuss the systematic discrimination they've faced; in particular, they recall incidents of being passed over for promotions despite strong credentials. Brigadier General Frederick E. Davison, the first African American combat general, rejects the assertion that an African American who succeeds in the military is an Uncle Tom and discusses the many actions that the Army has taken to ensure equal treatment and opportunities. A cover of "Sittin' on a Dock in the Bay" plays over a montage of black soldiers in the field. A group of black Marines in a mess hall at Camp Hansen, Okinawa discuss the unfair treatment they've experienced, such as being forced to wear a collared shirt with their dashikis and not being allowed to wear their hair in an afro. One marine relates an incident in which they were violently confronted after returning from a USO show that primarily featured soul music. There is a series of shots of shops in Koza "Four Corners", Okinawa geared towards African American soldiers. Another group of soldiers discuss their dissatisfaction with being drafted to fight in Vietnam despite social and economic discrimination at home, and being harassed and targeted as being "troublesome" if they decide to attend country music night at local clubs. L. Howard Bennett, Deputy Assistant Secretary for Civil Rights, discusses how black soldiers complaining about the lack of soul music are expressing grievances beyond simply entertainment selection and dissatisfaction with communcation in the chain of command. He also states his opinion that black soldiers fighting for the US puts them in a better position to demand equal rights at home.
    2012.79.1.51.1b: Original 1,600 foot film reel.
    2012.79.1.51.1c: Original 1,600 foot film canister. The metal film canister has two sticker labels; each from a different film services company.
    Topic
    African American
    Film
    Gesture
    Mass media
    Military
    Race discrimination
    Race relations
    Television
    Vietnam War, 1961-1975
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser
    Object number
    2012.79.1.51.3ab
    Restrictions & Rights
    © National Educational Television
    See more items in
    National Museum of African American History and Culture Collection
    Collection title
    Pearl Bowser Collection
    Classification
    Media Arts-Film and Video
    Data Source
    National Museum of African American History and Culture

  • The Black G.I. Black Journal segment

    16mm motion picture film of The Black G.I. [Black Journal segment]
    Directed by
    Garrett, Kent, American, born 1941
    Produced by
    Greaves, William, American, 1926 - 2014
    National Educational Television, American, 1954 - 1970
    Owned by
    Bowser, Pearl, American, born 1931
    Subject of
    Bennett, L. Howard
    Medium
    16mm Film (a): acetate film
    Dimensions
    Duration: 50 Minutes
    Length (Film): 1,800 Feet
    Type
    motion pictures (information artifacts)
    Place filmed
    H? Chí Minh, Thành Ph?, H? Chí Minh, Viet Nam, Asia
    Camp Hansen, Okinawa, Japan, Asia
    Arlington County, Virginia, United States, North and Central America
    Place made
    5708 Arundel Ave., Rockville, Montgomery County, Maryland, United States, North and Central America
    Date
    1971
    Caption
    The Black G.I. is a two-part documentary episode of the television series Black Journal. It focuses on the experiences of African-American soldiers in the Vietnam War. This film features frank and open discussions from soldiers, ranked officers, and politicians about the racism that defined the different experiences black soldiers had in this war.
    Description
    This preservation 16mm color film is an hour-long documentary segment of Episode No. 22 of the NET (National Educational Television) television program, Black Journal; a weekly public television newsmagazine in the late 1960s/early 1970s that examined the many issues pertinent to the black American experience at the time. It was originally broadcast on March 30, 1970, and is believed to have been filmed over the course of 1969. Episode No. 22 of Black Journal was directed by Stan Lathan, while the "Black G.I." segment was directed by Kent Garrett. Executive Produced by William Greaves.
    Contains: 16mm Film (a), Original 1,600 foot Film Reel (b), and Original 1,600 foot Film Canister (c).
    2012.79.1.51.1a: 16mm film. This film opens with a narration over images of African American men in the history of the US military. The first moving image section shows African American men fighting during World War II. The narrator discusses the irony of African American men fighting for freedom in Europe while not enjoying the same freedoms in the US. There are multiple shots of the Tuskegee Airmen. Eleanor Roosevelt pins (unknown) medal on African American soldier. Next, newsreel footage of Joe Louis arriving at an airbase and greeting black troops. The narrator then talks about the desegregation of the US military during the Korean War and points out the lack of black soldiers in leadership positions. Color footage marks the transition of the narration to coverage of the Vietnam War. Two African American soldiers in civilian clothing with soul power patches can be seen dapping. Series of brief excerpts from interviews of black soldiers play, each stating their position on being black and in the military during the Vietnam War. The narrator reveals the disproportionate percentage of black men who are killed in action versus their white counterparts. There are multiple shots of combat and post-combat footage in Vietnamese rice fields and footage of riverside villages. Two sailors patrol a river and discuss their experience in Vietnam thus far and what they'll do when they get home. They discuss their mission and how to be black while being in the military. A girl group performs at the USO in Saigon. Tanks and amored personnel carriers patrol suspected enemy locations along border with North Vietnam. Sailors on a patrol boat open fire at the river bank and a confederate flag can be seen flying from a flag pole on board. Black sailors discuss cultural challenges of being in the Navy and the lack entertainment geared towards black musical tastes of the time. One sailor talks about being disciplined for getting into an altercation after a white sailor ripped his tape player from the wall for playing soul music. The narrator reveals that an all white court martial found the sailor, Bobby Jenkins, guilty of assault, demoted him and docked his pay. A sailor relays that he and other African Americans met with the Assistant Secretary of Defense for civil rights to discuss their poor treatment and were promised changes by the Assistant Secretary. The sailors talk about how some local Vietnamese have adopted some of the negative perceptions of African Americans, which some black sailors believe they learned from some white members of the military. The sailors discuss how their hands are tied when it comes to standing up for their rights as sailors on a patrol boat dap and salute the camera with black/soul power fists. Air Force fighter pilot, John Bordeaux, discusses his personal experience of not facing the same discrimination expressed by other African American military personnel. Two black career Army officers, Davis and Rogers, discuss the systematic discrimination they've faced; in particular, they recall incidents of being passed over for promotions despite strong credentials. Brigadier General Frederick E. Davison, the first African American combat general, rejects the assertion that an African American who succeeds in the military is an Uncle Tom and discusses the many actions that the Army has taken to ensure equal treatment and opportunities. A cover of "Sittin' on a Dock in the Bay" plays over a montage of black soldiers in the field. A group of black Marines in a mess hall at Camp Hansen, Okinawa discuss the unfair treatment they've experienced, such as being forced to wear a collared shirt with their dashikis and not being allowed to wear their hair in an afro. One marine relates an incident in which they were violently confronted after returning from a USO show that primarily featured soul music. There is a series of shots of shops in Koza "Four Corners", Okinawa geared towards African American soldiers. Another group of soldiers discuss their dissatisfaction with being drafted to fight in Vietnam despite social and economic discrimination at home, and being harassed and targeted as being "troublesome" if they decide to attend country music night at local clubs. L. Howard Bennett, Deputy Assistant Secretary for Civil Rights, discusses how black soldiers complaining about the lack of soul music are expressing grievances beyond simply entertainment selection and dissatisfaction with communcation in the chain of command. He also states his opinion that black soldiers fighting for the US puts them in a better position to demand equal rights at home.
    2012.79.1.51.1b: Original 1,600 foot film reel.
    2012.79.1.51.1c: Original 1,600 foot film canister. The metal film canister has two sticker labels; each from a different film services company.
    Topic
    African American
    Film
    Gesture
    Mass media
    Military
    Race discrimination
    Race relations
    Television
    Vietnam War, 1961-1975
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser
    Object number
    2012.79.1.51.4ab
    Restrictions & Rights
    © National Educational Television
    See more items in
    National Museum of African American History and Culture Collection
    Collection title
    Pearl Bowser Collection
    Classification
    Media Arts-Film and Video
    Data Source
    National Museum of African American History and Culture

  • Broadside from the N.A.A.C.P. for citizenship for Our Lady Queen of Peace Church

    Created by
    Unidentified
    Subject of
    Our Lady Queen of Peace Catholic Church, American, founded 1945
    National Association for the Advancement of Colored People, American, founded 1909
    Medium
    ink on paper
    Dimensions
    H x W (image): 20 15/16 × 21 7/8 in. (53.2 × 55.6 cm)
    Type
    broadsides
    Place used
    Arlington, Virginia, United States, North and Central America
    Date
    1948-1952
    Description
    Paper broadside for the “First Class Citizenship Campaign”. It has black printed text and graphics, blue gridlines, and handwritten text. The sheet discusses voting rights and citizenship ideas. The top half of the broadside above the fold has an image of a large community with two children in front facing out. Above this graphic is [FIRST CLASS CITIZENSHIP / BENEFITS / YOU - YOUR CHILDREN - AND YOUR COMMUNITY]. To the left of the image are the requirements to be a first class citizens, listed as [1. Pay his poll taxes; / 2. Register; / 3. Vote in all elections; / 4. JOIN the N.A.A.C.P. / to help secure equal / protection under the / Constitution of the / United States for all, / regardless of color, / race or creed.] On the right, [Our Lady, Queen of Peace / Church] located in [Arlington / Virginia] is handwritten in as part of the [FIRST CLASS CITIZENSHIP CAMPAIGN.] Directly above the fold [One God One Country One Citizenship] is evenly spaced across the sheet.
    The lower half of the broadside has a grid spanning across the sheet with fourteen columns. The column headers are [NUMBER; NAME; 3 YEAR POLL TAX PD.; REGISTERED; CURRENT N.A.A.C.P. MEMBER; VOTED IN LAST ELECTION; QUALIFIED FOR 1ST CLASS AWARD]. These seven columns are listed twice on the left and repeat on the right. Four columns (number and name) on the left side are completed. The names of thirty-nine parishioners have been handwritten in and numbered. The reverse of the broadside is blank.
    Topic
    African American
    Activism
    Civil rights
    Local and regional
    Religious groups
    United States--History--1945-1953
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture
    Object number
    2016.26.6
    Restrictions & Rights
    No Known Copyright Restrictions
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    Classification
    Memorabilia and Ephemera-Political and Activist Ephemera
    Data Source
    National Museum of African American History and Culture
  • Photograph of Mae Reeves standing outdoors

    Photograph of Mae Reeves standing outdoors

    Photograph by
    Unidentified
    Subject of
    Reeves, Mae, American, 1912 - 2016
    Medium
    silver and photographic gelatin on photographic paper
    Dimensions
    H x W (Image): 6 15/16 x 3 1/8 in. (17.6 x 7.9 cm)
    H x W (Sheet): 7 1/8 x 3 15/16 in. (18.1 x 10 cm)
    Type
    gelatin silver prints
    portraits
    Place collected
    Philadelphia, Pennsylvania, United States, North and Central America
    Place captured
    Marine Corps Base Quantico, Prince William County, Virginia, United States, North and Central America
    Date
    1975
    Description
    A black and white photo of Mae Reeves posing for a photo outdoors. She stands on a paved walkway in front of a fir tree and the photo is full length. She wears a printed knee-length, sleeveless dress. It has a dark background and is decorated with light colored flowers and lines crossing at 90 degree angles. She carries a purse in her left hand at her side and has her right hand raised by her shoulder
    Topic
    African American
    Local and regional
    Photography
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture, Gift from Mae Reeves and her children, Donna Limerick and William Mincey, Jr.
    Object number
    2010.6.208.1
    Restrictions & Rights
    No Known Copyright Restrictions
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    National Museum of African American History and Culture Collection
    Collection title
    Mae's Millinery Shop Collection
    Classification
    Media Arts-Photography
    Data Source
    National Museum of African American History and Culture
  • Brick from Virginia-Cleveland Hall at Hampton University

    Brick from Virginia-Cleveland Hall at Hampton University

    Manufactured by
    Unidentified
    Subject of
    Hampton University, American, founded 1868
    Hunt, Richard Morris, American, 1827 - 1895
    American Missionary Association, American, 1846 - 1999
    Hampton Singers, American, founded 1870
    Medium
    clay
    Dimensions
    H x W x D: 2 1/2 × 8 5/8 × 4 1/8 in. (6.4 × 21.9 × 10.5 cm)
    Type
    blocks (shaped masses)
    Place used
    Hampton, Virginia, United States, North and Central America
    Date
    ca. 1874
    Caption
    Brick from Virginia-Cleveland Hall, Hampton University, 1874
    Hampton University is one of the first historically black universities. Located in Hampton, Virginia, it was founded in 1868 as the Hampton Agricultural and Industrial School by the American Missionary Association. By 1874, the college was successful enough to build Virginia-Cleveland Hall, an impressive structure that housed classrooms, a chapel, administration offices, and dormitories. Students help fund the Hall through ticket sales from the student choral group, the Hampton Singers.
    Source: Nancy Bercaw, Curator, Slavery and Freedom
    Description
    A brick from Virginia-Cleveland Hall at Hampton Normal and Agricultural Institute. The brick is rectangular in shape and is tan in color with darker grey areas throughout. The brick is cracked in several places and is pitted.
    Topic
    African American
    Building Arts
    Education
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture, a gift from Hampton University
    Object number
    2015.228
    Restrictions & Rights
    No Known Copyright Restrictions
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    National Museum of African American History and Culture Collection
    Classification
    Slavery and Freedom Objects
    Buildings and Structures
    Exhibition
    Slavery and Freedom
    On View
    NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse 3, C3 053
    Data Source
    National Museum of African American History and Culture
  • Lantern Slide of the slave dealers, Birch & Co., in Alexandria, Virginia

    Lantern Slide of the slave dealers, Birch & Co., in Alexandria, Virginia

    Photograph by
    Brady, Mathew, American, 1822 - 1896
    Manufactured by
    McAllister, Thomas H., American, 1824 - 1898
    Subject of
    Price, Birch & Co., American, 1858 - 1861
    United States Army, American, founded 1775
    Medium
    albumen, sodium chloride, silver nitrate, glass, metal, ink on paper, adhesive
    Dimensions
    H x W (image): 2 11/16 × 2 7/8 in. (6.8 × 7.3 cm)
    H x W x D (slide and mount): 3 1/4 × 4 1/8 × 1/4 in. (8.2 × 10.5 × 0.6 cm)
    Type
    lantern slides
    Place captured
    Alexandria, Virginia, United States, North and Central America
    Date
    1862
    Description
    Lantern slide of the slave trading firm of Price, Birch, & Co. of Alexandria, Virginia. The slide depicts a three story building is set to the right of the slide. A sign on the building reads “PRICE BIRCH & CO. / DEALERS IN SLAVES.” A tree is at the center of the image. Arrayed in the foreground are a horse, covered wagon and 10 soldiers. The soldiers appear to be both white and African American, with a group of four black soldiers grouped together on the left and one standing alone back against the wall. All the men are in full uniform, including hats, rifles, and swords. Printed vertically on the left of the image is “T.H. McALLISTER, Manufacturing Optician,.” Printed vertically on the right side of the image is “49 NASSAU STREET, NEW YORK.” A paper label is adhered to the back of the slide. Handwritten vertically in ink is “0290 Price, Birch & Co.’s Slave Pen / Alex. Va” The slide is in a metal frame.
    Topic
    African American
    American South
    Business
    Domestic slave trade
    Photography
    Slavery
    United States Colored Troops
    United States--History--Civil War, 1861-1865
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Liljenquist Family
    Object number
    2018.43.6
    Restrictions & Rights
    Public domain
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    National Museum of African American History and Culture Collection
    Collection title
    Liljenquist Family Collection
    Classification
    Slavery and Freedom Objects
    Media Arts-Photography
    Data Source
    National Museum of African American History and Culture

  • Green military flight jump suit worn by Whitney Houston

    Manufactured by
    Case, Inc., American
    Worn by
    Whitney Houston, American, 1963 - 2012
    Medium
    aramid, metal zippers, and Velcro™, with rayon embroidered patches
    Dimensions
    H x W x D (On form): 62 1/4 × 20 1/2 × 12 1/2 in. (158.1 × 52.1 × 31.8 cm)
    Inseam: 29 1/4 in. (74.3 cm)
    Type
    coveralls
    Place used
    U.S. Naval Air Station, Norfolk, Virginia, United States, North and Central America
    Date
    1991
    Description
    A green military flight jump suit worn by Whitney Houston in 1991 during a pre-concert interview that aired on the television channel HBO. The sage green jump suit has a rounded collar, full-length sleeves and ankle-length legs, and is a genuine military flight suit code CWU-27/P. It is made from the synthetic fabric aramid.
    The jump suit closes at the center front with a sage green zipper that reaches from the front crotch to the neck. The zipper pull tab is sage green aramid. Yellow text is machine-embroidered on the front of jumpsuit on either side of the center zipper, just above the diagonal chest pockets, with the insignia for U.S. Naval Aviators and the text [HOUSTON] on the proper left, and [NAS NORFOLK] on the proper right. A waistband of sage green aramid is covered in the back with an additional length of sage green aramid. The waistband attaches with Velcro™ at each front side of the waist for an adjustable fit. The jump suit arm cuffs have adjustable Velcro™ closures. The legs of the jump suit taper to the ankle, with a ten (10) inch concealed zipper on each front ankle. The back of the jump suit has two deep pleats, one at each back shoulder just inside the armhole seam.
    The jumpsuit is adorned with seven (7) embroidered patches related to military service: one (1) on top of the left front side chest pocket; one (1) on top of the right front side chest pocket; three (3) on the right sleeve; and two (2) on the left sleeve. The patches are machine-sewn to the jump suit with dark green thread.
    There are eight (8) pockets on the jump suit: one (1) inset pocket on the left front side chest and one (1) inset pocket on the right front side chest, both with concealed diagonal zipper closures and with patches that were sewn through to the interior of the jump suit, making these pockets inoperable; one (1) patch pocket on the proper left arm just above the elbow with a concealed zipper closure on the proper left side; one small (1) cargo pocket attached to the outside of the left arm patch pocket with a top flap Velcro™ closure; one (1) patch pocket on the front proper right knee with a concealed zipper top closure; one (1) patch pocket on the front proper left knee with a concealed zipper proper right side closure; one (1) cargo pocket on the exterior of the left leg above the ankle, and one (1) cargo pocket on the exterior of the right leg above the ankle, both with concealed zipper top closures. Also on the proper left knee is a knife pocket with a snap closure. A length of thin white cord with blue stripes is wound around the snap closure of the knife pocket.
    The interior of the jump suit is not lined. A sage green aramid hanging loop is attached at the center back of the interior neck, above a manufacturer's label.
    Topic
    African American
    Actors
    Clothing and dress
    Costume
    Popular music
    Singers (Musicians)
    Women
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Estate of Whitney Houston
    Object number
    2014.161.2
    Restrictions & Rights
    No Known Copyright Restrictions
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    National Museum of African American History and Culture Collection
    Classification
    Clothing-Costume
    Clothing-Historical
    Data Source
    National Museum of African American History and Culture
  • Sadiron from Deltaville, Virginia

    Sadiron from Deltaville, Virginia

    Manufactured by
    Unidentified
    Medium
    iron
    Dimensions
    H x W x D: 3 3/4 × 2 1/2 × 1 3/4 in. (9.5 × 6.4 × 4.4 cm)
    Type
    irons
    Place collected
    Deltaville, Middlesex County, Virginia, United States, North and Central America
    Date
    Late 19th century
    Description
    A small marquise shaped flat iron with handle. The metal sadiron is made from a single piece of iron. The object is heavily corroded. No identifying marks are visible.
    Topic
    African American
    Domestic life
    Emancipation
    Labor
    Slavery
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture, Leonard H. Powell
    Object number
    2017.95
    Restrictions & Rights
    No Known Copyright Restrictions
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    Classification
    Slavery and Freedom Objects
    Tools and Equipment-Domestic
    Data Source
    National Museum of African American History and Culture

  • Order form for Ku Klux Klan robes

    Distributed by
    United Klans of America, American
    Subject of
    Ku Klux Klan, 2nd, American, 1915 - 1944
    Medium
    ink on paper
    Dimensions
    H x W: 9 × 5 in. (22.9 × 12.7 cm)
    Type
    order forms
    Place used
    Portmouth, Virginia, United States, North and Central America
    Date
    ca. 1925
    Description
    A paper order form for Ku Klux Klan member’s robes. The form is printed on white paper with black ink. Printed at the top of the form is “PLEASE SEND ORDERS TO: / UNITED KLANS OF AMERICA / P.O. Box 411 / PORTSMOUTH, VIRGINIA 23705.” Six types of robes are listed below the address for customers to choose from. The form has a diagram of a robe at the center of the form. To the left of the diagram is a box to enter measurements and measurement guide is on the right side. Below the diagram at the bottom of the form are blank spaces to enter shipping information. The back of the order form is blank.
    Topic
    African American
    Business
    Clothing and dress
    Fraternal organizations
    United States--History--1919-1933
    White supremacy movements
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture, Anonymous Gift
    Object number
    2013.231.16
    Restrictions & Rights
    No Known Copyright Restrictions
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    National Museum of African American History and Culture Collection
    Classification
    Documents and Published Materials-Business and Legal Documents
    Data Source
    National Museum of African American History and Culture
  • Barbershop

    Barbershop

    Created by
    McNeill, Robert H., American, 1917 - 2005
    Subject of
    Unidentified Man or Men
    Medium
    silver and photographic gelatin on photographic paper
    Dimensions
    H x W x D (image): 16 × 20 in. (40.6 × 50.8 cm)
    Type
    gelatin silver prints
    Place depicted
    North Patrick and Pendleton Street, Alexandria, Virginia, United States, North and Central America
    Date
    ca. 1945
    Description
    A black and white photograph of a barbershop on North Patrick and Pendleton Street in Alexandria, Virginia. The photograph features three barbers working on clients in the shop. Other clients wait in the background.
    Topic
    African American
    Barbershops
    Beauty salons (Beauty shops)
    Communities
    Hair
    Men
    Photography
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture, Gift of Graham Holdings Company, © Robert H. McNeill
    Object number
    2014.276.2.2
    Restrictions & Rights
    © Robert H. McNeill. Permission required for use.
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    National Museum of African American History and Culture Collection
    Collection title
    Robert McNeill Photographs
    Classification
    Media Arts-Photography
    Data Source
    National Museum of African American History and Culture
  • Dress made by an unidentified enslaved woman or women

    Dress made by an unidentified enslaved woman or women

    Created by
    Unidentified Woman or Women
    Subject of
    Black Fashion Museum, American, 1979 - 2007
    Medium
    cotton (textile), muslin
    Dimensions
    H x W x D (On Form): 47 1/2 x 23 x 20 in. (120.7 x 58.4 x 50.8 cm)
    Waist: 25 1/2 in. (64.8 cm)
    H x W (In box, padded out): 45 1/4 × 22 × 9 1/2 in. (114.9 × 55.9 × 24.1 cm)
    Type
    dresses
    Place made
    Staunton, Augusta County, Virginia, United States, North and Central America
    Date
    1845-1865
    Description
    This is a handstitched long-sleeved dress with a full skirt made from a balanced plain-weave printed cotton. The sleeves are gathered at the back shoulder seam and the shoulder seam is dropped in the back. The bodice is gathered at the front waist and has a neck band with no collar. Both the neck band and the waist band are fussy cut to display the printed design. Piping is attached at the armholes and along the bottom of the waistband. The skirt is gathered at the front hips and the back with a flat panel along the center front waist. On the proper back bodice, three (3) glass buttons are sewn on the left side of the back opening (placket), with four (4) button holes on the right side. At the waist, two (2) decorative buttons are sewn on the right side of the opening, without corresponding button holes on the left side. The hem is turned up 3 1/2". The bodice and sleeves are lined with muslin, while the skirt is unlined. The printed pattern on the fabric is four (4) colors and black, with a base color of reddish brown, on top of which is a repeating pattern of columns of red roses alternating with columns of diamonds and clubs on a cream background inside a black, orange, and red border.
    Topic
    African American
    Clothing and dress
    Slavery
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane
    Object number
    2007.3.4
    Restrictions & Rights
    Public domain
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    National Museum of African American History and Culture Collection
    Collection title
    Black Fashion Museum Collection
    Classification
    Slavery and Freedom Objects
    Clothing-Historical
    Exhibition
    Slavery and Freedom
    On View
    NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse 3, C3 053
    Data Source
    National Museum of African American History and Culture
  • Printed floral skirt worn by Lucy Lee Shirley as a child

    Printed floral skirt worn by Lucy Lee Shirley as a child

    Created by
    Unidentified
    Worn by
    Shirley, Lucy Lee, American, 1855 - 1929
    Subject of
    Black Fashion Museum, American, 1979 - 2007
    Medium
    bast fiber, wool textile, and synthetic fiber
    Dimensions
    H x W (Flat): 18 × 33 1/2 in. (45.7 × 85.1 cm)
    Waist: 24 1/2 in. (62.2 cm)
    Type
    skirts
    Place used
    Leesburg, Loudoun County, Virginia, United States, North and Central America
    Date
    ca. 1860
    Description
    A child's circular skirt in a floral print with a pleated flounce on the hem. The main fabric is a plain weave natural fiber fabric with a cream ground and a repeating pattern of small four-petal flowers in red, purple, blue, and tan. The skirt is predominantly hand-sewn. It has a waistband made from an undyed bast fiber fabric with the floral print gathered and whip stitched to the waistband. The skirt is more closely gathered on the back. There is a slit at the center back that divides the waistband completely. There is no attached closure method, but rust staining at the back opening of the waistband suggests the skirt was pinned to close. The bottom of the skirt has an extra flounce of the floral print that has a series of pleats around the skirt in sets of three alternating with straight sections. This flounce is machine-sewn at the top and 1 1/2 inches from the bottom using blue thread that is possibly a synthetic fiber. The bottom and top edges of the flounce are bound with blue fabric sewn on the bias. The interior of the skirt is lined only behind the extra flounce with a hand-pinked undyed bast fiber fabric. There is a previous repair on the back proper right side of the skirt where a panel of light brown synthetic fabric is hand sewn on the interior of the skirt from the gathering at the waist to the top of the older linen lining on the bottom.
    Topic
    African American
    Children
    Clothing and dress
    Slavery
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane
    Object number
    2007.3.5
    Restrictions & Rights
    No Known Copyright Restrictions
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    National Museum of African American History and Culture Collection
    Collection title
    Black Fashion Museum Collection
    Classification
    Slavery and Freedom Objects
    Clothing-Historical
    Exhibition
    Slavery and Freedom
    On View
    NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse 3, C3 053
    Data Source
    National Museum of African American History and Culture

  • The Hunted Slaves

    Created by
    Ansdell, Richard, English, 1815 - 1885
    Subject of
    Unidentified Man or Men
    Unidentified Woman or Women
    Medium
    oil paint on canvas
    Dimensions
    H x W: 36 x 60 in. (91.4 x 152.4 cm)
    H x W x D (Framed): 48 3/8 × 72 1/2 × 3 1/2 in. (122.9 × 184.2 × 8.9 cm)
    Type
    oil paintings
    Place depicted
    Great Dismal Swamp, North Carolina, United States, North and Central America
    Great Dismal Swamp, Virginia, United States, North and Central America
    Date
    1862
    Description
    This oil painting depicts a black man and woman beset by three mastiff dogs in a marshy landscape. On the right side of the painting are two human figures who face left across the painting to the dogs.The man stands in a half-crouch between the dogs and the woman, wielding a hatchet in his upraised right hand. Dangling from his clenched left wrist is a pair of manacles, with one cuff broken open. He wears a pair of faintly patterned brown trousers to mid-thigh, and has a red sash around his waist. His body has numerous scars and a round brand or tattoo on his left shoulder. The woman is half-crouched behind him knees bent, both arms raised to shoulder height, palms faced outward as she peers over the man's shoulder. She wears a sleeveless, loosely draped soiled white top, and a brown striped skirt tucked above her knees. Her hair is drawn back and she has small hoop earrings. The dogs are on the left side of the painting, with one of the dogs lying wounded between the two groups of figures. The scene takes place in an area of trampled tall grass with grey water in the background and a livid red horizon. In the bottom right corner there is a striped snake twining up a mossy dead log.
    Topic
    African American
    Antislavery
    Art
    Slavery
    Violence
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture
    Object number
    2009.34ab
    Restrictions & Rights
    Public Domain
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    National Museum of African American History and Culture Collection
    Classification
    Visual Arts
    Slavery and Freedom Objects
    Data Source
    National Museum of African American History and Culture
  • The Hampton Student Vol. XI No. 3

    The Hampton Student Vol. XI No. 3

    Published by
    Hampton University, American, founded 1868
    Subject of
    The Hampton Student, American
    Medium
    ink on paper
    Dimensions
    H x W: 10 x 6 3/4 in. (25.4 x 17.1 cm)
    Type
    newspapers
    Place depicted
    Hampton, Virginia, United States, North and Central America
    Date
    April 15, 1921
    Description
    A student and alumni newspaper for the Hampton Institute. The newspaper consist of black print on twenty-two pages of white paper. This issue looks at Hampton's athletics.
    Transcription Center Status
    Transcribed by digital volunteers
    Topic
    African American
    Education
    Sports
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture
    Object number
    2010.54.1
    Restrictions & Rights
    No Known Copyright Restrictions
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    National Museum of African American History and Culture Collection
    Classification
    Documents and Published Materials-Published Works
    Data Source
    National Museum of African American History and Culture
  • Catalogue of the Hampton Institute. 1886-87.

    Catalogue of the Hampton Institute. 1886-87.

    Created by
    Hampton University, American, founded 1868
    Medium
    ink on paper
    Dimensions
    H x W: 9 x 5 3/4 in. (22.9 x 14.6 cm)
    Type
    yearbooks
    Place depicted
    Hampton, Virginia, United States, North and Central America
    Date
    1887
    Description
    A yearbook for the Hampton Institute. The yearbook consists of black print on paper. The cover is pinkish brown with visible blue fibers. There are no photographs of the listed students. The interior contains forty-six pages.
    Transcription Center Status
    Transcribed by digital volunteers
    Topic
    African American
    Education
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture
    Object number
    2010.54.2
    Restrictions & Rights
    No Known Copyright Restrictions
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    National Museum of African American History and Culture Collection
    Classification
    Documents and Published Materials-Published Works
    Data Source
    National Museum of African American History and Culture
  • Hampton Classes 1871-1898

    Hampton Classes 1871-1898

    Created by
    Hampton University, American, founded 1868
    Medium
    ink on paper
    Dimensions
    H x W: 9 1/4 x 6 in. (23.5 x 15.2 cm)
    Type
    paperbacks
    Place depicted
    Hampton, Virginia, United States, North and Central America
    Date
    1898
    Description
    A reference book with the names and professions of graduates of The Hampton Institute. The book consists of black print on yellowed paper. The binding is yellow, and handwritten text along the spine says: [HAMPTON CLASSES 1871 1898.] The interior contains two hundred and forty-six pages. The interior of the back cover has several numbers written by hand, ink on the page.
    Transcription Center Status
    Transcribed by digital volunteers
    Topic
    African American
    Education
    Credit Line
    Collection of the Smithsonian National Museum of African American History and Culture
    Object number
    2010.54.3
    Restrictions & Rights
    Collection of the Smithsonian National Museum of African American History and Culture
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    National Museum of African American History and Culture Collection
    Classification
    Documents and Published Materials-Published Works
    Data Source
    National Museum of African American History and Culture