artifactwhat this tells us about history, about how it is told. be cast aside. n a stoneware day after -- on a stone where day after day for years men and women were torn from their spouse, their child, shackled and bound and liket and sold and bid cattle on a stone worn down by the tragedy of over 1000 bare feet. feet.housand bare wethe time, the only thing

considered important, the single thing we chose to commemorate as theory with a plaque were memorable speeches of two powerful men. and that block, i think, explains why this museum is so necessary. because that same object , tellsd, put in context us so much more. as americans, we rightfully pass on the tails of the giant who whot this -- the giants built this country, who led armies into battle, who waged seminole debates in the halls of congress and the corridor's of of power.orridors

but too often we have ignored or forgot the stories of millions upon millions of others. who built this nation just as surely. whose calloused hands, whose steady drive helped build cities, erect industries, build the arsenals of democracy. museum this national helps to tell a richer and fuller story of who we are. it helps us better understand , yes, of the president, but also the slaves. the industrialists, but also the

porter. quo,eeper of the status those seeking to overthrow that status quo. cookeacher or the alongside the statesman. story,knowing this other we better understand ourselves and each other. together.s it reaffirms that all of us are americans. -- african-american city history is not somehow separate from our larger americans story. it's not the other side of the american story. it is central to the american story. glory derives not just from

our most obvious triumphs, but how we have gone from triumph to tragedy and how we have been able to remake ourselves. again and again and again. in accordance with our highest ideals. american -- i, too, am american. the great historian, john franklin, who helped get this museum started, once said, "good history is a good foundation for a better present and future." understood the best history does not just sit behind a glass case. understand what

is outside the case. the best history helps us recognize the mistakes we have the dark corners of the human spirit we need to guard against, and yes, a clear eyed view of history can make us uncomfortable. it will shake us out of familiar narratives. but it is precisely because of discomfort we learn and grow and harness our collective nation moree this perfect. that is the american story this tells, one of suffering and the light.

one of fear, but also hope. wondering in the wilderness and then seeing out on the horizon the glimmer of the promised land. it is in this embrace of truth, andest as we can know it the celebration of the entire realcan experience where patriotism lies. as president bush just said, a great nation does not shy from the truth. it strengthens us, it emboldens us.it should fortify patriotism tof understand where we have been

and this museum tells the story of so many patriots. yes, african-americans have felt the full weight of shackles and the stealing -- the stinging lash, but we have dared to run north and sing songs. we have buttoned up our union blues two join the fight for our freedom. we have railed against injustice for decade upon decade, a lifetime of struggle and progress and enlightenment that douglass in frederick 's mighty lien on gays. this museum tells the story of a people -- frederick douglass gaze. leonin

this museum tells the story of a people -- you fell to their -- but it also tells the ,tory of black and white people straight-backed, so full of dignity, on those lunch counter stools. the story of six-year-old ruby , fresh pressed dress, walking that gauntlet to get to school. the tuskegee airmen soaring the to beat a just dictator, but to reaffirm the promise of our democracy and remind us that all of us are created equal. to understandace

how protest and love of the coexist,o not merely but inform each other. how men can proudly win the gold for their country, but still -- st how we can wear and "i can't a breathe" t-shirt and still grieve for our fallen police officers. how this belongs among the cake of the godfather of soul. we have shown how we can float like butterflies, sting like bees, we can rocket into space homemae jemison and still like jackie, stir the pot like we can beyor, and

sick and tired of being sick and tired and still rocksteady like aretha franklin. large, what whitman told claiming multitudes. we are large. full of contradictions. that is america. makes us go. that is what makes us extraordinary. and as is true for america, so is true for the african-american experience. america.t a burden on or stain on america.

or an object of pity or charity for america. we are america. [applause] museumt is what this explains. our stories have shaped every corner of our culture. the struggles for freedom that took place, made our constitution a real and living shaped andested and profoundand made more its meaning for all people. the story told here does not just belong to black america. americans.to all

the african-american experience has been shaped just as much by europeans and agents and native americans and latinos. we have informed each other. we are polyglot. we are a stew. scripture promised that if we lift up the oppressed that our lights will rise in the darkness and our nights will become like the noon day. and the story contained in this museum makes those words possible. and that is what this day is about.

that is what this museum is about. too, am american. it is a glorious story, the one that is told here. it is complicated and it is messy and it is full of contradictions as all great stories are. scriptureseares, the , and it is a story that perhaps needs to be told now more than ever. a museum alone will not alleviate poverty in every inner-city or every rural hamlets. it won't eliminate gun violence from all of our neighborhoods or immediately ensure that justice is always colorblind. it won't wipe away every instance of discrimination in a

job interview or a sentence hearing or folks trying to rent an apartment. those things are up to us. the decisions and choices we make. they require speaking out and so ouring and voting values are fully reflected in our values and policies in our communities. but what this museum does show us is that even in the face of oppression, even in the face of unimaginable difficulty. forward.as moved museum provides context for our debates of the past. us someinates and gives sense of how they of all and perhaps keeps them in proportion.

perhaps they can help the white visitor understand the pain and anger of demonstrators in places like ferguson and charlotte. but it can also help black the factappreciate that not only is this younger generation carrying on positions of the past, but within the white communities across the nation we see the sincerity of law enforcement officers and officials who, through fits and starts, are struggling to understand and are trying to do the right thing. us that routine discrimination and jim crow are not ancient history.

in the eye oflink history. it was just yesterday. and so, we should not be surprised that not all the healing is done. we should not despair that it is not all solved. knowing the largest story should remind us how remarkable the changes that have taken place truly are. just in my lifetime. and thereby inspire us to further progress. i this museum can help us talk to each other, and more importantly, listen to each importantly, see each other.

black and white and latino and native american and ourn-american, see how stories are bound together and found together with women in america and workers in america and entre than yours in america s.d lgbt american and for young people who did not live through the struggles represented here, i hope you draw strength from the changes that have taken place. see the power of your own agency. see how young john lewis was. children. who transformed and nation. in the blink of an eye. people, come here and see

your ability to make your mark. the very fact of the state does ,ot prove america is perfect but it doesn't validate the this of our founding, that country born on change, this , thisy born of revolution people thise the .ountry can get better that is why we celebrate. mindful that our work is not yet done. mindful that we are but a waystation on this journey to common freedom and how glorious it is that we enshrine it here on some of our nation realm most hallowed ground. at the same

place where lives were once traded, but also hundreds of thousands of americans of all .olors and creeds once marched how joyful it is that the story takes its rightful place alongside jefferson who declared our independence and washington who made it real and alongside lincoln who saved our union. the g.i.'s defended it, alongside the new monuments to a outward, summoning howo that mountaintop -- righteous it is we tell the story here. for almost eight years, i have been blessed with the extraordinary honor of serving office and time and again -- [applause]

time and again i have flown low over this small on marine one, often with michelle and our and president clinton, president bush, laura, they will tell you, it is an incredible site. across theght washington monument it feels like you can reach out and touch it. at and at night if you turn the other way, you do not just see the lincoln memorial. it is lit up and you can see the spirit glowing from that building. and we do not have many trips left. but over the years, i have always been comforted as i have watched this museum rise from into this remarkable

tribute, because i know years you,now, like all of michelle and i will be able to come here to this museum and not just bring our kids, but ipefully our grandkids, imagine holding the little hand them thedy and tell that are enshrined here and they will be able to do the same. and we will go to the lincoln memorial and we will take them to the washington monument and together we will learn about americans.s delights, and our our triumphs. sufferings, our delights,

and our triumphs. and we will walk away better for it. we have a better grasp of the truth. that much moreay in love with this country, the only place on earth where this story could have unfolded. [applause] monument no less than .he others on this small for, we, too, are americans.

so, from up top -- president bush was -- so, i'm on time. president bush was timing me. he had the over/under on 25. [laughter] let us now open this museum to the world. we have with us a family that went through the arc of our progress, the bomber family, for generations in all, starting with gorgeous seven-year-old christine and going up to gorgeous 99-year-old ruth. [applause] ruth's father, a lie just odom, was born into servitude in mississippi. he was born a slave. as the young boy though, he ran to his freedom. he lived through reconstruction and he lived through jim crow.

but he went on to farm and graduate from medical school. and gave life to a beautiful with awe see today spirit reflected in beautiful christine. equal in the laws of her country and the eyes of god. so, in a brief moment, their family will join us in ringing a first baptist church in virginia, one of the oldest lakh churches in america, 1776 in a grove of trees. and the sound of this bell will be sounded in houses of worship all across this country, and that goal of ringing the bells masturbation more

than a century and a half ago, the sound and the anthem of american freedom. god bless you. god bless the united states of america. [applause] ♪

[bell ringing] [applause] [bell ringing]

[applause]

[cheers and applause] [bells ringing] chatter]ct

♪ ♪ hearting with a

rejoicing -- resound [indistinct lyrics]

give us forever in thy house, we pray [indistinct lyrics] let our heart worldwith the wine of the theee give to

[indistinct lyrics] ♪ >> please join in and sing. singift ev'ry voice and til earth and heaven ring ring with the harmonies of liberty let our rejoicing rise skiess the list'ning let it resound loud as the rolling see -- loud as the rolling sea sing a song full of faith that the dark past has taught us sing a song full of the hope that the present has brought us

facing the rising sun of our new day begun the victory on till is won voice and sing ♪ [applause] >> this concludes the dedication ceremonies for the national museum of african american .istory and culture please stay in your seats. our staff will notify you when it is time for your group to approach the museum and enter. thank you.

>> ♪ at last come along overnely days are songife is like a at last [captions copyright national cable satellite corp. 2016] ♪ [captioning performed by the national captioning institute, which is responsible for its caption content and accuracy. visit ncicap.org] [captions copyright national

cable satellite corp. 2016] >> this has been live coverage from the national mall of the dedication ceremony of the national museum of african american history and culture. here on c-span three, we will be reentering the ceremony at 4 p.m., eight p.m., and midnight eastern time and again sunday morning at 8 a.m. eastern time. to continue the conversation and tell us your thoughts on the museum opening, please come to our facebook page -- c-spanhistory, or join us on , @cspanhistory. is on everytory tv

weekend on c-span3. american history tv spoke last week with key members of the design team responsible for the look and feel of the new smithsonian national museum of african american history and culture. we will hear what inspired the andum's distinctive shape the american history gallery. this is 20 minutes. david: hi, in david adjaye. designer.ead i was the principal architect in the team that delivered the materials, the sequence, the feeling when you enter the building. >> what feeling did you hope it would convey? david: that it would connect to this very unique location on the national mall, but also a very

unique feeling to explore the view, and at the top of the museum you have this fantastic panorama video to see right over the potomac river, etc. >> you have an international background. can you tell us about that and how it hasn't informed your work on this very american museum? david: i was born in tanzania. i was born in the heart of the continent. as a teenager, i grew up in london. i started my practice about 20 years ago. my practice is always have an international outlook. we have worked all over the projects, theto center in oslo that gave us the peace prize, but also community projects like schools, building buildings nbc, even before this competition -- libraries, housing in new york. when we were asked to join this competition, it was an

extraordinary moment that we were thrilled to be part of but we felt it was such a complicated project we wanted to form a large team that could deliver the best we could. what perspective has your international background given to your work on the museum? david: it has given me the ability to see the story from a different perspective. it's emotional to me, too, but not in the same way. i do not have family who went through the slave trade in that way. and also in modernity, these struggles of the african-american community reflected the aspirations of the entire black community around the world. it is something we all look to now as a shared narrative. understand the exterior design of the museum was your inspiration. where did that come from?

david: that was from understanding the african-american community comes from the central and west of africa and there is no ofraordinary tradition architecture that creates these incredible structures and i felt that it would be prudent to take -- to make a reference to that extraordinary tradition so african americans now who do not know about those incredible traditions would understand the place they came from have these incredible traditions and that is part of their narrative, part of their history, too. also the work of african american workers who were extraordinary who built the beautiful houses that we know in the south and the incredible work of those houses that are a

signature around the world, predominantly billed by slaves. we wanted to honor that tradition of labor and craft. you see this incredible detail, which is that language. theyese motifs, are evidenced on the exterior plantation homes in the south? david: they are. if you see some of the main houses where they have iron work , it is really about the leif wrapping into grids of iron. we used computer technology to describe the way that the ornament is made. it is really drawing how the ornament is made, which is representative on this building. >> we are standing in the oprah winfrey theater. that is used in the same design. can you expect how? david: it's the exact same

pattern. we wanted you to feel you were in the heart of the building. on the inside, you are the center and the buildings surrounds here. >> the porch element to the museum is significant. can you tell us why? -- david: we wanted to create this idea of living inside, outside, living under shade was very important. so, we worked with our engineers and landscape designers to structureantilevered which creates a microclimate, incredible shade, and draws the winds there. and a hot, summer's day, you're able to come to the museum and just come to the welcome of shade before you continue on your journey and let the cooling effect of those breezes really

on the porch of the water pool. >> tell us about the symbolism. importanter is an foundational element for the community. it also, labor and the south, irrigation and water was very much part of the coastal nature of the agrarian south. i think that is something that the african-american community cannot move away from. also, dr. martin with the king and his words expressed what are being that justice, the justice of water and the elements. spiritual i was very inspired by those words and wanted to use that as part of the reflect -- reflection in the building. when you look in the room, in the memorial room, you will have that effect.

>> we are actually sitting on the washington monument grounds and that is the significance of this particular site, because it kind of refer to it as a knuckle position between the washington the monument, lincoln, jefferson, and so forth. it is -- i would say probably one of the most critical points in the development of the washington monument grounds. and of course, it created, i think, some controversy being on this particular site, and in the end, i think it turned out well placeobably was the right for this particular museum, particularly at this time of our history. >> why do you think it is the right place? well, i think -- this museum, i'm hoping, once it does open in another 10 days will be a feeling element for the -- a

healing element for this country, and maybe even the world. particularly at this time because of what we are going through as a nation, internationally as well. the struggles that are going on issues.races, ethnic i'm hoping that this will be a real learning experience and education for the people that that wee and can see need to heal ourselves and we need to be more than just separate individuals or separate people. >> there are a lot of white marble buildings on the mall and outside of the windows you can see the white house. tell us about the exterior of this building. what does it mean? i willll, first of all back up to when we did the competition for this particular building -- which we were ourunate enough to win, team. at the time we had 60% of the

building above ground. but we went through all of the review agencies here in town, which probably was more my role on this project because i am the washington local architect, and having worked with the smithsonian for more than 35 years on some of their major institutional buildings, i have been able to be in a position to work with most all of the agencies during that time. so, in that review process, it was made clear that the plan of having 60% of the building above ground was too much for the washington monument grounds, and they asked us to reverse that, upch we redesigned and came with the final design you can see here today. but that is only 40% above ground and 60% above ground. in that competition, we had as part of the inspiration of the design the idea of a corona, or

a crown. columnat comes from a that was developed in the west african culture, community, which was the artistic west african community. there was actually on this floor a column, which is the column that was the inspiration for this. if you were to look at it, you crownee a 3-tiered sitting on top of that column -- kerry attended column -- caryo tid column. if we move that from 60% above ground to 40% above ground, that allowed us to put three levels back into the crown, which i think was good. the other part of this that i thought was inspirational in terms of maintaining the idea of

the monument grounds coming all the way through is the entire base of the building was glass. and that is to make sure that you feel like the washington monument grounds continues right through the building and all the way over to 14th constitution. so, there are these great 4 thears that really contain structure and the core of the museum. everything else is supported from that. so, when you look to the outside and you see this wonderful corona and the structure that is there, it is basically coming off the top of the building through a vertical trust all the way down to the bottom, supporting these horizontal trusses that you see here, and to that, was then clad the corona panels, of which there corona panels. >> what you mean by the corona panels? if you are to look to the outside, each of those panels is

roughly 33 by five feet and the design is inspired by wrought iron work that was done by slaves into ralston and new orleans. -- charleston and new orleans. lonnie bunch had the idea, i think -- we took the panels that were done in that wrought iron, did this --jaye connected and came up with this, if you will, modern derivation of that wrought iron panel. so, each one of these has that same feel to it and they moved back and forth. there is a different ferocity depending on where you are in the building. if you look carefully, you will see some have more transparency than others. we go from 65% solid to 95% solid. wherever there is an opportunity for you to connect to the exterior and feel part of the

context of the washington monument grounds and the surrounding area -- the mall, lincoln, the ellipse, the white house, the jefferson memorial, the capitol at the other end, national archives -- all of those are grounding points to establish the context for the museum. so, there is a visual connection that is made to each of those. there is a window over here at the white house. this long window is looking at the washington monument rounds -- grounds to give you the context of the lincoln memorial, also the world war ii memorial, and of course, the washington monument. and then as you move around, you will see various other viewpoints. >> you grew up in the segregated south. hal: i did. >> where did you grow up? i grew up in memphis. i lived there until i went with a college. it was a time in the 1950's and 1960's when there was a great deal of change. and i grew up, went to school in

segregated schools. i went to -- you would go to the department store, and as a young person, you aren't afraid to ask questions, of course, have your parents, and i would say, tell me, why is there a colored restroom? why is there a white restroom? where are -- why are there signs fountainored what her and a white water from? and i was just told, that is the way it is. and i would ask why? aren't we all people? we just have different colored skins. that of course greatly changed, much to my delight. i actually went to undergraduate school at clemson university and the reason i went there, for architecture school, was they were one of the first two admit

an african-american into the architecture program. a fellow by the name of heart tt, whoo -- harvey gan graduated, and also became the mayor of charlotte in north carolina. it has been a wonderful experience for me personally to see the change that has happened. the i first worked with native american community, we did the cultural resource center for the smithsonian and then we did the national mall. it you learn a lot about a culture that is different than yours and i'm hoping that will be the case when people come to this museum. we have all learned definitely something different by being involved in this museum, and i'm hoping it will have the same change effect on the people that visit. >> where are we standing? robert: we are standing in the

african-american history gallery. >> what are the history gallery's? robert: we actually had to excavate down 75 feet to get to the lowest level of the museum. what you're seeing is a chronological sequence of galleries that basically tell the story of african-american history from the middle passage all the way through modern times as you bend upwards through the building. >> what design elements will robert: iind here? think one of the things you will notice is how it expands and contracts inside the mezzanine levels. you get a very intimate relationship with the more casework that you see in the lower levels, whereas if you step out into the main chamber you are experiencing the 65 foot

roof, so i think there is an interesting dichotomy of space within. >> your company was designed in the construction of the museum. tell us about the chronology. along with airm group out of north carolina, by the time the museum opens next week, we will have worked on the project for close to 10 years. max von, who is the dean of architects, our late partner who passed away during the competition, he and the fremont group through north carolina, they had an offer in the program two years prior to when the competition was announced. the project was -- the competition phase was for about a year, i think it was in our with david adjaye and

associates and the smiths group the building. 60% of the building is below grade. one of the things you will relationship was inverted to complete the city block. but we found it had a much more intimate relationship with the monument room by pushing more of the program below grade. the history gallery does not want light. so it's a really interesting relationship top to bottom. >> museum director lonnie bunch has talked about the mall being america's front yard. keeping that in mind, what was behind your conception of the history gallery and how it connects, not only to the mall, but the exterior design of the building. the main thing you see is the

atrium. it is nice to see that light wash down into the chamber as intoove lower and lower the building, you are going further and further back in time , so there is like. i think that is one of the unique sequences into the building. the ascension into the light. thematically, it follows that, too. >> tell us about the symbolism we see here in these galleries and behind the narratives that are told. robert: the narratives, we have to give credit to ralph applebaum and associates. they were the exhibit designers. our job was the base building package that describes volumes. some of the more interesting pieces that you see like the home and train car, the segregated train car, we had to go through to understand how to put simple things in it -- like spring colors, electricity, mechanicals. there were certain pieces that had to go into the building they

were very critical to the completion of the project. it was a real race getting it up to the ground level so it could move upwards. hope visitors will take away from these history galleries? robert: we get this question a in comparison to the 9/11 museum, which our firm .esigned in new york city i think the thing that the the 9/11nefits from is museum is a story that has been sold for 15 years. i think it is a very good barometer for how we are doing as a society. >> there is a snapshot of that history behind you. tell us about that element as visitors first enter the history gallery.

robert: this is the synopsis top to bottom. this is an introduction into what you will see in the history gallery. you're watching american history tv, all weekend, every weekend on c-span3. to join the conversation, like us on facebook @cspanhistory. >> our c-span 2016 campaign bus is in ohio this week, asking students and voters what questions would you ask of the candidates at the debates? in dayton, ohio. for me, the most important issues in election are all of the higher education issues that affect millennials. i think our federal officials in that wed to make sure are creating higher education that is affordable for students and also making sure we do not with 17 generation

trillion dollars in debt and a medicare system that will not be there for us when we need it. my name is jeremy. i'm a sophomore. my most important issue is education both k-12 and university level. i think k-12 education needs to be more equitable. it needs to benefit all students regardless of their zip code, the race, or their socioeconomic status and we need to make college more affordable. major. medical science for me, the most important issue is health care and where this election will be in the next term. my name is josh. i'm a junior at audubon university. my most important issue is education. i think fostering it am young age is really important and there are discrepancies that the two candidates need to expound upon to see what we have to offer here.

>> voices from the road on c-span. >> next on american history tv's --el america" then details the soviet war against not the 9041 and 1943. why we fight is a series of seven films created during world war ii by hollywood director and u.s. army major and a team of experienced writers, composers, directors, and technicians. films were intended to explain the troops the reasons behind the war effort, but were eventually shown to the american public as well. almost 90 minutes, the battle of russia but they positive spin on the communist soviet union as a necessary ally in the war against teller. celebrating the sacrifice of the russian people and many battles

including moscow, leningrad, and stalingrad. the film in in 1943 when the soviets are beginning to reclaim lost territory from the invading german army. ♪