NMAAHC Collections Search

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

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

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

See more items in: 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

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: 2012.79.1.51.4ab

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

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

See more items in: National Museum of African American History and Culture Collection
Classification: Clothing-Costume; Clothing-Historical

Data Source: National Museum of African American History and Culture

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, Philadelphia County, 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

See more items in: 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

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

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

See more items in: 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

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

See more items in: 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

See more items in: 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

Bill of sale for a girl named Clary purchased by Robert Jardine for 50 pounds

Written by: Unidentified
Subject of: Jardine, Robert; Ferguson, John, American, 1784 - 1854; Burk, Richard, American; Burk, Susanah, American; Burk, Edmund, American

Medium: ink on paper
Dimensions: H x W (complete): 12 5/16 × 7 3/4 in. (31.2 × 19.7 cm); H x W (top half): 6 1/8 × 7 3/4 in. (15.6 × 19.7 cm); H x W (bottom half): 6 1/8 × 7 3/4 in. (15.6 × 19.7 cm)

Type: bills of sale

Place made: Virginia, United States, North and Central America

Date: January 15, 1806

Caption: Clary and the Fancy Girl Trade, 1806; Black women were the sexual prey of white men since the 1600s. During the domestic slave trade, a new category of enslaved women emerged, known as “fancy girls.” Young and usually light-skinned, these black women were purchased explicitly for sexual exploitation, at rates four to five times the price of women field laborers.; Source: Nancy Bercaw, Curator, Slavery and Freedom
Description: Bill of sale of an enslaved girl named Clary[?] to Robert S. Jardine for the price of fifty pounds. The document is written on yellowed paper in brown colored ink. The document is severely creased and contains numerous holes at center along the creases. It is separated into two pieces. The two original pieces of paper are adhered to a newer piece of paper. The bill of sale begins with “Know all men by these Presents that we / the Subscribers have Bargained, sold, / Transferred and Delivered, and by these Presents / doath Bargain Sel, Transfer and deliver unto / Robert S. Jardine a negro girl named / Clary[?] for the Consideration of Fifty Pounds / Current Money of Virginia…” the document has the names of sellers and witnesses written at the bottom. Additional unrelated writing is written vertically in red ink on the upper left corner.

Topic: African American; Children; Domestic slave trade; Slavery

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture

Object number: 2010.1.117ab

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Classification: Documents and Published Materials; Slavery and Freedom Objects
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 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

See more items in: 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.

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

See more items in: 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

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

See more items in: 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

Bill of sale for a 42-year-old man named Isaac to John Rouzee

Owned by: Rouzee Family, American

Medium: ink on paper
Dimensions: L x W: 7 1/2 x 7 3/8 in. (19.1 x 18.7 cm)

Type: financial records; bills of sale

Place made: Essex County, Virginia, United States, North and Central America

Date: October 24, 1810

Caption: This document is from a collection of financial papers related to the plantation operations of several generations of the Rouzee Family in Essex County, Virginia. The papers date from the 1790s through 1860.
Description: A bill of sale for a 42-year-old "negro man named Isaac." Isaac was sold by William A. Lane to John Rouzee. The signature of Lane appears in the bottom right corner next to the word "seal," which is circled in ink. The signature of a witness, Daniel Branin, appears in the lower left corner. On the reverse is written, "Bill of Sale for negro Isack." The document is handwritten in black ink.
Transcription Center Status: Transcribed by digital volunteers

Topic: African American; Agriculture; Business; Domestic slave trade; Finance; Men

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Liljenquist Family

Object number: 2011.104.1

Restrictions & Rights: Public domain

See more items in: National Museum of African American History and Culture Collection
Collection title: Liljenquist Family Collection
Portfolio/Series: Rouzee Family Papers
Classification: Slavery and Freedom Objects; Documents and Published Materials-Business and Legal Documents

Data Source: National Museum of African American History and Culture

Payment receipt to Rosa Gray for the hire of an enslaved man, Cook

Owned by: Rouzee Family, American

Medium: ink on paper
Dimensions: L x W: 4 3/4 x 8 1/4 in. (12.1 x 21 cm)

Type: financial records; receipts

Place made: Essex County, Virginia, United States, North and Central America

Date: January 28, 1813

Caption: This document is from a collection of financial papers related to the plantation operations of several generations of the Rouzee Family in Essex County, Virginia. The papers date from the 1790s through 1860.
Description: A receipt for payment by Edward Rouzee to Rosa Gray for "hire of negro man Cook the property of Gray in year 1811." The receipt is signed in the bottom right corner by William Noel for Rosa Gray. The document is handwritten in black ink. The paper is torn unevenly at the bottom.
Transcription Center Status: Transcribed by digital volunteers

Topic: African American; Agriculture; Business; Finance; Slave hire system; Slavery

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Liljenquist Family

Object number: 2011.104.10

Restrictions & Rights: Public domain

See more items in: National Museum of African American History and Culture Collection
Collection title: Liljenquist Family Collection
Portfolio/Series: Rouzee Family Papers
Classification: Slavery and Freedom Objects; Documents and Published Materials-Business and Legal Documents

Data Source: National Museum of African American History and Culture

Memorandum of enslaved men and women hired or not hired for 1794

Owned by: Rouzee Family, American

Medium: ink on paper
Dimensions: L x W: 8 5/8 x 4 1/2 in. (21.9 x 11.4 cm)

Type: financial records

Place made: Essex County, Virginia, United States, North and Central America

Date: 1794

Caption: This document is from a collection of financial papers related to the plantation operations of several generations of the Rouzee Family in Essex County, Virginia. The papers date from the 1790s through 1860.
Description: A document titled at the top "Memorandum." Written in a vertical column, the document lists names and monetary values. Some names have the notation "not Hired." On the reverse is written "Memorandum Negro hires 1794] in the center and "Bond for the year 1794" along the lower left side. The document is handwritten in black ink.
Transcription Center Status: Transcribed by digital volunteers

Topic: African American; Agriculture; Business; Finance; Slave hire system; Slavery

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Liljenquist Family

Object number: 2011.104.11

Restrictions & Rights: Public domain

See more items in: National Museum of African American History and Culture Collection
Collection title: Liljenquist Family Collection
Portfolio/Series: Rouzee Family Papers
Classification: Slavery and Freedom Objects; Documents and Published Materials-Business and Legal Documents

Data Source: National Museum of African American History and Culture

Receipt for purchase of a man named Ned by Edward Rouzee from an estate sale

Owned by: Rouzee Family, American

Medium: ink on paper
Dimensions: L x W: 10 5/8 x 7 1/2 in. (27 x 19.1 cm)

Type: financial records; receipts

Place made: Essex County, Virginia, United States, North and Central America

Date: September 18, 1817

Caption: This document is from a collection of financial papers related to the plantation operations of several generations of the Rouzee Family in Essex County, Virginia. The papers date from the 1790s through 1860.
Description: A receipt written by Th. Matthews for the payment by Mr. Edward Rouzee of the amount of twenty (20) dollars for "his purchase of Ned at the sale of Henry [illegible] Estate." A one-page, single-sided document of handwritten black ink on paper. The paper is torn along the bottom edge.
Transcription Center Status: Transcribed by digital volunteers

Topic: African American; Agriculture; Business; Domestic slave trade; Finance; Men

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Liljenquist Family

Object number: 2011.104.13

Restrictions & Rights: Public domain

See more items in: National Museum of African American History and Culture Collection
Collection title: Liljenquist Family Collection
Portfolio/Series: Rouzee Family Papers
Classification: Slavery and Freedom Objects; Documents and Published Materials-Business and Legal Documents

Data Source: National Museum of African American History and Culture

Letter and payment receipt for hire of enslaved persons owned by Apphia Rouzee

Owned by: Rouzee Family, American

Medium: ink on paper
Dimensions: L x W: 6 x 7 3/4 in. (15.2 x 19.7 cm)

Type: business letters; financial records

Place made: Essex County, Virginia, United States, North and Central America

Date: January 1, 1802

Caption: This document is from a collection of financial papers related to the plantation operations of several generations of the Rouzee Family in Essex County, Virginia. The papers date from the 1790s through 1860.
Description: A letter written by Apphia Rouzee to Mr. Evan Brown in care of William Noel stating "you must hire out all the negros to the best advantage for this yeare and send by him all the cash you have received." The letter is dated January 1, 1802. On the reverse, in a different hand, is a note dated January 2, 1802 recording a payment of one hundred and twenty four (124) pounds and two (2) pence received from Evan Brown and signed by William Noel. The paper is torn on two sides and there are two tears in the center. The paper has been folded and creased many times.
Transcription Center Status: Transcribed by digital volunteers

Topic: African American; Agriculture; Business; Finance; Slave hire system; Slavery

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Liljenquist Family

Object number: 2011.104.14

Restrictions & Rights: Public domain

See more items in: National Museum of African American History and Culture Collection
Collection title: Liljenquist Family Collection
Portfolio/Series: Rouzee Family Papers
Classification: Slavery and Freedom Objects; Documents and Published Materials-Business and Legal Documents

Data Source: National Museum of African American History and Culture

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