"election methods in the south." and of course in that article he castigated the state of south carolina for its efforts or for the events and activities that had taken place between 1876 and 1890 to disenfranchise african-americans. he talked about the eight box law, for example, in this particular article. this was the law where african-american, of course voters in general, but more specifically african-americans had to come and make sure -- they had eight a different ballot boxes. you had to make sure when you cast your vote, that you put your ballot in the right box or it wouldn't count. he also of course castigated the state of south carolina for allowing the klan and the rifle clubs in the upstate areas, the democratic rifle clubs to sort of run rampant and to shoot and kill african-americans as they tried to vote.

he called on benjamin harrison who was the president at that time to enforce the law, to defend the right to vote in the state of south carolina and in the south in general. were you trying to get my attention? okay. so smalls -- smalls, then, gives us an understanding then of how the civil rights movement that is in the goals of the movement extended back past 1954. now we historians, we argue a back and forth over this issue of when did the civil rights movement begin. and of course those of us who believe that the civil rights movement is a long movement. i had one colleague say to me that the civil rights movement started when the first slave got

off the boat. but then most people, though, will say it started in 1954 with the brown decision and the montgomery bus boycott. well, the long civil rights movement, though, actually does go back to people like robert smalls who indeed were trying to pass and propose legislation that would give african-americans equal opportunity to work, equal opportunity and public accommodations as you have heard. equal access to the ballot, and basically, dignity. and smalls' own life sort of sets the tone for that in that he was a fighter. he challenged discrimination every opportunity and every chance that he got. now some of you, as you heard helen say this morning, i worked

with her family to develop the exhibition that is now at the charleston museum. so i spent a year with robert smalls, you might say. that is, reading all of his works, looking for his pictures, reading everything that i could about him. and again, as you have heard, this man was a very unique individual in that he put to lie some of the beliefs about slavery in this country, some of the beliefs about african-american talent and abilities in this country at a time basically when most people felt if you were black you were inferior. in fact, smalls had one of his colleagues in the house tell him that of course, he challenged him on the spot. so robert smalls, as i said, has had a tremendous impact on the historiography of reconstruction and on the civil rights movement. he has allowed us as historians to use his life as an example

and to challenge the nonsense about ignorant negroes, to challenge the nonsense about african-americans being made and wanting to be slaves and loving their masters, although i have to say smalls did try to bail out the mckees a couple of times. but again, that doesn't mean that he loved them in the way that they said slaves love their masters in the 19th century. so with that, i'll pass it on to -- go ahead. [ applause ] >> good evening. hi, i'm delighted to be here with you and to bring greetings to you from our founding director, lonnie g.baunch at the african-american museum of history and culture. and i've been asked to talk about robert smalls and the future. and he does have a future with

the national museum of african-american history and culture. let me begin by talking about the history and mission of the museum. the national museum of african-american history and culture was established in 2003 as the 19th museum of the smithsonian institution, the largest museum complex and research organization in the world. its mission is to provide for the collection, study, and establishment of programs and exhibitions related to african-american life, art, history, and culture. enacted through congressional legislation, this museum represents a national initiative of profound cultural importance that will impact this nation for generations to come. the museum will bridge a major gap in our national memory by

creating exhibitions and programs focusing on a wide arc of history. slavery, reconstruction, the harlem renaissance, the great migrations to the north and west, segregation, civil rights and a beyond it also will celebrate african-american creativity and cultural expressions through art, dance, theater, and literature. the museum will be located on a five acre site adjacent to the washington monument on the national mall. in washington, d.c. home to the world's largest collection of museums and at the center of one of the most public spaces of the nation. scheduled to open in 2015, the museum exists today through a vast array of programs nationwide, including special

exhibitio exhibitions, an online presence, and numerous educational a programs. in vision, in many ways there are few things as powerful and important as a people, as a nation that is steeped in its history. often america is celebrated as a place that forgets. this museum seeks to help all americans remember, and by remembering, this institution will stimulate a dialogue about race and help to fosse area spirit of reconciliation and healing. there are four legs on which this museum will stand. the first is to create an opportunity for those that care about african-american culture, to explore and revel in that history. second, equally important is the opportunity to help all

americans see just how central african-american history is to all of us. the museum will use african-american history and culture as a lens into what it means to be an american. additionally, the museum will use african-american culture as a means to help all americans see how their stories, their histories, and their cultures are shaped and informed by international considerations. and how the struggle of african-americans has impacted freedom struggles around the world. and finally, as a 21st century museum, the national museum of african-american history and culture must be and will be a place of collaboration. we must be a truly national museum that reaches beyond washington to engage new

audiences and to collaborate with the myriad of museums and educational institutions both nationally and internationally. ultimately, the national museum of african-american history and culture should be a place of meaning, of memory, of reflection, of laughter, of hope. it should be a beacon that reminds us of what we were, what challenges we still face, and a point us toward what we can become. the vision of the smithsonian's national museum of african-american history and culture is to inspire learning and understanding, promote healing, foster dialogue and reconciliation in an a environment that tells the american story through the lens of african-americans. in 2005, lonnie bunch was hired as the founding director of the museum.

the museum will present the african-american story as part of the fabric of american life, a life of freedom, of bondage, of hope and resiliency, of struggle and pain, of successes and triumphs. it allows us to look at american history from an african-american perspective, and by so doing, we can see how important african-american history is to a larger american history. robert smalls is included in the museum's vision, and it includes the stories related to robert smalls and his life and word. in february of -- february of this year, the museum celebrated the groundbreaking.

and president obama was there. and i want to share with you his words in talking about the importance and significance of this museum. he said that moments like this made him think about his daughters, sasha and malia, and what i want for them to take away. i want them to see how ordinary americans can do extraordinary things, how men and a women just like them have the courage to right a wrong. he said i want them to appreciate this museum not just as a record of tragedy, but as a celebration of life. and when we look at, again, robert smalls and the ministers associated with his life, we think of those as some of the ones we have talked about, my colleagues have talked about previously, those that are related to the individual and personal stories, his immediate

circle and family and friends. there are also many other stories of success and celebration that are celebrated beyond that. one of the most significant aspects of his story focuses on him as a self-determined man, a man with a purpose. he is perhaps most remembered for liberating his wife, their children, and the other slaves by commandeering the uss planter. but in addition, there is a great deal of national notoriety that is associated with that heroism. robert smalls also had, again, as my colleagues have mentioned, a most enduring political career that spanned more than 40 years. this was a significant feat for a man who was born into slavery. and although a very shrewd and skilled politician, he was marginally literal, having taught himself to read.

his personal achievements were symbolic victories for millions of african-americans who despite severe limitations redefined and ultimately secured their future in america. in other instances history contains long-lasting consequences that touched the lives of many people across time and space. as dr. dulaney just mentioned, the compulsory education system that operates in south carolina today owes its genesis to smalls and the leaders of the reconstruction era. when he returned to buford, he purchased the mckee home on prince street. the home was a symbol of his wealth and power, a visible mark on the landscape that informed both visitors and passersby that he had achieved a certain

measure of success. he was successful. not only as a politician, but as a businessman and a property owner. he owned and operated a store in buford. he also owned a substantial amount of property from 1866 to 1868 in buford and on the sea islands. in 1870, his net worth in real property was $6,000, and his personal worth was estimated to be a thousand dollars. smalls has been described as, quote, good humored, intelligent, and self-possessed, end of quote. and as a officially independent businessman, such a characterization would imply a person who entertained many people in his home, not only for social reasons, but for the purpose of cultivating relationships with influential leaders, that it would have

bolstered his financial and political success. using one's home to provide social occasions to promote such interests was and continues to be an effective way to build and nurture important associations. as a house slave, smalls would have observed just such interactions in the mckee home. during post war south carolina, he helped to create a new america, a society that changed america. and his home and the richly appointed furnishings would have been part of the material culture that signaled his role and importance in fashioning what he and others hoped would be a permanent elevation of african-americans. the significance of his home is reflected in contemporary descriptions of the wedding

ceremony that was held at first african baptist church in 1890. the news and courier described the wedding and relations to his home. quote, the residence of the groom was brilliantly illuminated, and thither the bridal party with their many friends repaired, and the celebration of the nuptials was concluded by an expensive and elegant supper. the entire community extended to the happy couple their warmest congratulations, end of quote. the life and accomplishments of robert smalls will be featured in two of the history galleries and in different exhibition formats. one will be slavery and freedom, and the other will be the period that examines the era of segregation that followed reconstruction.

the museum has acquired a number of pieces of furniture, as you heard mr. moore mention previously from the smalls family that was part of the home on prince street. the furniture dates from the mid 1850s to the late 1880s. the furniture belonged to and was used by smalls and his family. smalls' home was a show place where he observed the world and the world observed him. it represented the height of his career and was and is an appropriate material example for illustrating the life of an important political and a community leader in buford, south carolina, during the late 19th century. the furniture reflects his success as a political leader and his success as a well to do homeowner. even by today's standards, the

home and its furnishings would be considered impressive and part of a grand way of life. visitors to the museum will have an opportunity to examine the challenges that the nation faced during reconstruction as it grappled with a major shift in the political, economical, social, and demographical structure that had formally defined african-americans as little more than beasts of burdens. the exhibitions will tell many stories, stories of how formally enslaved african-americans transitioned to freedom, and stories of how a significant number of african-americans such as robert smalls assumed important leadership roles as they created an infrastructure for supporting the family, community, church, educational institutions, businesses, and civic and social organizations.

while the furniture will represent the life that he created for himself and his family in post slavery buford, south carolina, he will also be featured in a media production, which tells a larger story of the early period of reconstruction and the important role that he played in shaping and influencing the politics in south carolina and the nation. there are plans to also include him in the second exhibition called defending freedom, defining freedom. era of segregation, 1876 to 1968. and there the furniture will be used to cap their the story of smalls and broadly african-americans as they transition from a period of great triumph and success during reconstruction to a period of codified disenfranchisement, segregation, humiliation, and

sometimes violence. the many stories that we will tell at this museum are stories about people like robert smalls who are part and parcel of american history. the national museum of african-american history and culture will be a place where all can discover, recover, and appreciate that centrality. i hope that you will join us when the museum opens in 2015. [ applause ] >> thank you very much. let's please just give another warm round of applause to our panelists. [ applause ] i'd like to shift a little bit to the second half or so of the program. i'd like to start off with some questions, but i really encourage and hope that we can generate some real activity and

energy from you all as well. and as i mentioned, for anyone who has a question, just please find your way up to the front here, and we'll get right to you. i would also remind the panelists about the microphones. and as we can keep those close to us. for me, hearing this kind of -- these kinds of stories, these kind of talks are really fascinating and illuminating in so many different levels. you know, i'm very intimate with the story as robert's great, great grandson. i've heard about it from my mother, grandmother, aunts and uncles, and i feel a real personal connection to it. but it's always really almost amazing to me to learn about my great, great grandfather from folks who have spent their professional lives studying about him. so it's always a great experience for me. i'd like to ask the panel one of the consistent questions that i get every time that i get up and

talk about robert smalls is if robert smalls, he did all these wonderful things, these amazing things in so many areas and aspects of his life, why is his stature in the country, even though over the last ten years it's certainly grown, but why is he relatively unknown? i mean, if you think about all that he did, i would stack his life and career up against plenty of folks throughout american history. paul revere, many folks. why do you think that robert's stature is relatively muted in sort of the pantheon of american history? >> i'd answer the question by, again, referring to the negative interpretation or the negative historiography related to reconstruction. again, dubois and others after him pointed out all of the things and all the accomplishments of things like robert smalls from 1865 to 1877

and thereafter. but when the democrats retook the south, they literally tried to wipe out all of the history that had taken place, wipe out the stories about people like robert smalls and create these myths. see mr. moirdock in the audience how south carolina had rewritten history to write black people out in particular and people who challenge the system like robert smalls out of it. so we're recovering it. we're reclaiming it. we're reclaiming it now. but we're picking it up after i would say a good almost 100 years where, you know, it was literally wiped out of the history books. >> i would also add that in the

case of smalls and people like robert smalls, really, this first generation of african-american political leadership, i think one of the basic assumptions that many people have made in america is that their interests have only been in promoting the interests of people that look like them. and that's absolutely incorrect. robert smalls and members of this first generation of black political leadership were interested in promoting the economy, the economic development of south carolina and other places where they serve, interested in, you know, promoting public education for everyone, civil rights legislation that would benefit everyone. but there has been this attempt to kind of narrowly portray them when they've not been portrayed as being inept and corrupt and so on, then pigeon holed them as

merely being quote/unquote representatives of a black people. and that's just absolutely incorrect. it's been a way of marginalizing them, i think. >> and just a little comment on that. you could look at smalls as being localized, staying in south carolina, staying in the low country where if you look at frederick douglass, the speaking tours, the going to europe, the great amount of literature he wrote versus what smalls really didn't produce much writing at all. i think you see that smalls keeps himself very much in to the local area. and as dr. dulaney said, then when south carolina is redeemed, you begin to lose your knowledge of robert smalls. >> i agree with my colleagues, but i want to take a different perspective and say that i think that robert smalls is the name at least is well recognized by

young people. they might not know of all of his accomplishments, but they would recognize the name very much as they would recognize the name of harriet tubman. so i think that in many ways he had been recognized. again, they might not know all the details associated with him. >> to come on up to the side here. >> i would like to add a very small part and attempt to add to your question. >> please. >> one of the unfortunate problems in terms of history is that we don't have visual identification of us as a people in most cases. so in our school systems, there are no visual imagery of the

great robert smalls. and if you don't have visual imagery in your schools and in your churches, then our children, the generations of children are just not going to be familiar with the facial imagery. now we speak about the literal nature of robert smalls. and indeed, he did not write much. but when you look at your church bibles, one of the most interesting aspects of a church bible, it certainly was when i was a child, was the paintings in the bible that illustrated the stories. so if you don't have visual imagery of african-americans also in the case of our arts, the lacking in terms of supporting visual artists, if the stories are not told and the stories are not supported, ie collects, and placed in institutions where our youth have an opportunity to visually connect with them, then many of

these people will be forgotten. one of the most illustrious period in our recent history is that of the wpa period when under the auspices of president roosevelt and mrs. roosevelt, it was perhaps the largest point in time in america where images of african-americans were displayed throughout the country. after the closing of the wpa period, most of that work was ordered destroyed because they did not want it on the open air market. but unfortunately, in the destruction of the work, we know whom the works were destroyed, and that was certainly mostly of african-american people and women. thank you. >> thank you. i'd also -- he didn't introduce himself, but this is jonathan green who is a wonderful, wonderful artist and specializes in art in the low country here. thank you for that.

i'm going to get you in just one second. i want to speed through just a couple of quick questions. and if you all could speed your answers along with me, that would be great. dr. powers, you talked about some unusual kinds of things about robert smalls' life, the fact that he and his wife lived in an apartment, that he was negotiating her purchase as it was. it seemed like if you think broadly about robert's life, that there were a number of instances where sort of lightning was striking. the relationship that he had with his master, the relationship that he was able to have with his mother, the fact that he was able to live kind of on his own, you know, in charleston, the fact that he was able to pull off this vision to commandeer the planter. a number of kinds of things. are there any thoughts about why and how he -- i mean he was able to come