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-- or on our free c-span app. >> creators from the national portrait gallery, national archives and the library of congress discuss their institutions' exhibits commemorating the nineteenth amendment, which gave women the right to vote. they talked about the creative process behind the exhibits, including determining goals and selecting objects. the berkshire conference of women historians and women's suffrage centennial commission hosted this event online and provided the video. hopkinsjohnson university, a copresident of the berkshire conference. i'm happy to be welcoming all of you to this evening's conversation. i have to extend a special embrace to our members who are tuning in from all over the world today. with this event, we begin a conference weekend, the big berks 2020.

not at the plant for in baltimore at johns hopkins, instead we are knit together with digital sound and image. 2020 marks 100 years since the 19th amendment, and legal protection for women's votes became part of the u.s. constitution. for us as a stories of women, gender and sexuality, the anniversary as an unparalleled opportunity to bring new histories of women's politics to audiences eager to know the whole story of the road to the 19th amendment, and the epic rise of american women to plug power. -- to political power. as our guest curators have visibly laid out in their galleries, this is best told as part of a longer tail of the troubles that attended american voting rights which include moments of courage and cowardice. with manyle beginnings and many which have not yet ended and which are rising to our own time.

color -- cultural institutions are places we convene to make sense of our shared experience and ideally we would have shared the stay together enjoying a museum call before galleries exchanging ideas in a conversation with curators up close and personal. and our not possible hearts ache over the missed opportunity. still this event is a tribute to the power of the library, the museum, and the archive, to bring us together despite distance and the troubles of a global pandemic. we feel now more than ever before, the urgent necessity of community. this event is, for the berkshire conference, to make our enduring commitment to the magic of what happens where we come together as members, new attendees and friends who are meeting for the first time. we will convene again. and we will as a collective of storytellers write the histories of this time, striving to make

meaning out of this very human experience. we owe tremendous thanks to our the women's suffrage centennial commission for their commitment to seeing through this power loved -- unparalleled conversation. thanks to my colleague barbara mikulski who example phis building bridges, searching for knowledge, fostering understanding, and the belief in the power of women and their communities to lead us, even through the troubled unknown. please enjoy this remark will conversation. toill turn things over kelsey who will moderate the discussion. thank you. >> thank you, martha. forto the berks, partnering with us to make the program happen and here's thanks to senator mikulski for your welcome message. we are so lucky to have you as one of the commissioners of the women suffrage 10 tail

commission. -- women suffrage sent 10 tail -- centennial commission, created by congress to coordinate the nationwide commemoration of the centennial of women's constitutional right to vote, during 2020. we had initially planned this as an in person event at the historic headquarters of the national women's party in washington, d.c. telling the story of the history of the suffrage movement. not able to be together in person, we are so grateful to the berks and to our panelists for being willing to shift and working with us to make this webinar happen. huge thank you to everyone in the audience right now who whojoining us, all of you are continuing to commemorate the suffrage centennial and to age ofwomen in this social distancing.

we are also thrilled to have these three amazing curators thisus tonight, for discussion. an inside look at the suffrage exhibits. now, to all our members in the tonight, maybe some of you have been able to see these exhibits in person. haven't had the chance yet. either way, we're all going to theseunique look into exhibits through this conversation. this year, again, 2020, marks 100 years since the 19th amendment was officially the u.s.into constitution. dating back, the right to vote -- [inaudible] >> so our three panelists each theted an exhibition in nation's capitol, exploring the history of women's fight for the in honor of this important centennial. we have with us kate clark lemay from the national portrait

gallery. the national archives. and also from the library of congress. so to get things started, i'm to go to each of our panelistings now and ask -- that you and ask introduce yourself a little bit further. three pieces of information i would love for you to share with us. first, what your role is at your institution. the title of your suffrage exhibit. and tell us a little bit about how first got interested in the history of the suffrage movement. so i'm going to start us off order, when each exhibition opened. kate, i'm going to start with you. us about your role at the portrait gallery, the title of how you firstnd got interested in women's suffrage. >> thank you, kelsey and thank my copanelists and everyone who is tuning in. is a weird circumstance that we're all zooming together but opportunity to have this opportunity. thank you.

i'm kate lemay. a historian at the national portrait gallery. my job title is historian. art historian. i have a dual degree in art history and american studies. and i, you know -- [inaudible] >> i came to the idea and it in 2015. the 2020 centennial anniversary. a year in this advance. i just wanted to make sure that -- [inaudible] >> it was actually moved backwards to 2019, which might be, given the light of today's context of a pandemic, i actually think it's incredibly to seeut it's been great what my colleagues have done and institutions,ral together, three institutions,

almost working as a team with history. you.ank so next, carreen, would you like about your role at the national archives, the title of your exhibit and a little about your background and history? >> sure. hello, everyone. you for tuning in to this and a special thank you to kate and janice. it's been a pleasure working with them. i've been associated with them for years now. a panel -- i'm looking forward to. my name is corrine porter. [inaudible]

archives,the national as a curator, it's my job to exhibitions about any history,american are records at the national archives, which are the premier records of the federal government. it's a huge set of history. obviously a vast archive of material. really -- [inaudible] learned that -- to suffrage women's exhibit as a woman and as someone who has been -- [inaudible] >> as long as i've been talking

about history, which is as long as i can remember, i was really opportunityhave an to put this together for this anniversary. >> wonderful. thanks, corrine. same questions to you. your role, title of your exhibit, a little about your background and history. >> sure. thank you, kelsey, and thank you commission and berkshire conference for allowing us this to talk about our exhibit. the library of congress is shall not be denied, vote." fight for the the first part is words from the amendment itself. conveys one of the principal themes that we wanted to show in exhibit. it kind of dispels the notion that women were granted or given insteadt to vote and

hardases the long, struggle, the fight, the years perseverance and and courage and creativity and hope, by generations of women, to achieve that most fundamental participatory democracy, the right to vote. my current position is as chief, but for many years, in that great privilege of building, interpreting and researchcessible for use our vast suffrage collection. the opportunity to dig really deep into those when withirst colleagues i assembled a -- a of photographs from the national women's records, holds, andibrary that led to a short book.

the library was doing a book called "women who dare" and the library decided to do one suffrage. that gave me an opportunity to dig deep. both those experiences were when they helpful assignment came to pull this exhibit together. >> wonderful. so i want to dig a little bit deeper into what each of the exhibits is about, what stories that you each kind of decided to these exhibits and janice, i'm really interested in wereyou said about, as you developing the title, and you wanted to reflect this idea that vote.fought for the women made it happen rather than previous language, that women were granted the vote or given the vote. a reallyhat's important distinction, and just mind, as each of you were conceptualizing your you decideow did what story you wanted to tell? and in particular, were there

the storiesthe way usually unfold that you wanted to address, such as this idea werewomen fought, women not given? so each of you, how did you kind of land on the story you wanted tell? where did you start off from? and were there gaps that you really felt excited about? corrine, let's maybe start with you, if that works with you. >> sure. no problem. you're gonna hear a between howarities janice and i really wanted to tackle this long fight for women's voting rights. but since the narr is the home -- national archives is the of the original 19th amendment, that's certainly where our conversations began, wanted to tackle

the subject. something, you know, that we were really committed to, right was to really dig what it really is to women's -- equal voting the unitedmen in states constitution, because the constitution by design is the -- the process of amending it is extremely difficult. the bar is really high. so i think it's sort of a shift now for historians and lot of morebut a retells of women's suffrage seem to focus on the activities of women, for just a few years, and many of them, women, primarily privileged women. wanted to broaden

what it tookon of to ultimately win the passage of the 19th amendment and the support of that, looking at the totitude of -- that we had employ, the struggle and also women votes inf as class,ace as well longgagement in this struggle, really crucial for the securing theess in constitutional amendment, the to vote. needed to we also recognize that the 19th amendment -- [inaudible] >> didn't give women the right to vote. millions of women were already voters by the time the 19th

amendment was ratified. other jurisdictions had extended rights. so often an aspect of the story really essential to the ultimate success in terms of amendmente proposed and ratifying it, and then, of wanted to also acknowledge that the struggle in 1924.d many women, in particular women color, we wanted to carry far beyond -- [inaudible] at the diversity. women continued to be denied know, essential, you right, tosential rights.oting

>> great. as corrine said, there may be some overlapse in some of -- in some of the thoughts that were going through all your minds as you were planning the exhibits. in the conversations i had with you all, things like representing the diversity of suffragists and telling the 1920, as a journey continued, andcy the things that you all were well.ng about as but i'm curious, you know, what were you thinking as you were out your story line? and thinking about gaps you address, particularly kind of the unique perspective that you were coming from in theking about how to tell story through portraits? >> yes. thank you. wow. wholee you covered like a

smorgasbord there, so thank you for taking the hit for us. the portraitork at gallery. we endeavor to tell the history of the united states through byography, through visual biography, portraits. wanted the driving to be portraits, i wasn't sure, you know, which ones. the portrait gallery has a 22,000 objects in its collection and only a little names of0 of those are women. so i'm dealing with 7.8% of our are women. that's kind of like the symbol all women's history. marginalized in so many ways, which is aggravated, i'm sure, for people who are listening. it makes our work as curators, public historians,

really important, because sometimes we're bridging these stories to people who have never them, even if the expert -- [inaudible] >> the regular person kind of through the portrait gallery, we have a few million year.rs a they're not going to know. a label of 1 50e words. if the story is so complicated, i have to scrutinize those labels over and over again to sure that i'm getting everything right. i am not an expert on women's suffrage. i have become one through this you, it but let me tell was sometimes a very humbling road to walk. so the portrait gallery, my exhibition, when i started, i the portraits of

latinas,merican women, native americans. i wanted to make sure that we quarried this white narrative that we've all been taught in out school and try to point the -- you know, the other players. weren'twomen of color just sitting around, twidding their thumbs. they had to be doing something. were. never been looped into the suffrage history in a way was introspectional. and how history feels in just a singlenot issue focus, suffrage, it's all these different things. attempting to look at the civil war, attempting to of lobbying,ontext sort of where that came from. a lot of great portraits. of i also had the advantage

of -- soinstitution corrine, you both have these incredibly archives -- incredible archives within your institution but because i was working with a restricted amount of named to go outside of the portrait gallery and i just scoured the nation's archives. and i can talk more about that later, if people are interested. to findas hard portraits of black women. just remember, you know, going to the new york public library and looking for a portrait of josephine. and the thing that -- it was folded in half. it was unexhibittable. heart.e my she's in this book we produced but she wasn't in the actual exhibition. i had to make hard decisions like that. and then all the men that were

involved in the suffrage them out.we put have --ure that they they're already relatively well-known. so that was a bit of the process. [inaudible] well known. pretty so we took her over him. so a second idea, the challenges just in general in planning the exhibits, in terms of being able to find the needed to beyou able to tell the story, so thank of bringing up the conversation. janice, is there anything that to add before we go into kind of telling the story through objects, the obstacles there are there about kind of just your general -- >> sure. i think -- yeah. right. i had mentioned, you know, this idea of documenting the struggle. and i think corrine alluded to

wee of the other goals that had. it was similar to what the national archives did. stretchy we wanted to the traditional narrative. i not only -- the story is 1848 to 1920, right? well, no, that's not right. so we wanted to make sure that people understood, coming in, what were those influences that gather in 1848. women, whated these writings did they read, what feminist tracts were they familiar with? so we kind of start the narrative much earlier. corrine, extend it, perhaps not as long as corrine does -- i think they bring more in than we do at the indicatebut certainly that it was a limited victory, that there were women that were excluded from being able to vote in the 19th century. whether they were native american women, women in the

u.s. territories. certainly, i think, comes through strong in our exhibit, of stretching that narrative. i wanted to expose, as i think colleagues, the class divide, the racial tensions, the regional divide. to show how there had to be sometimes a very uneasy form,ces that had to maybe only temporarily to achieve a certain victory. then, you know, people would break off into different factions. think that -- we have lots of cool documents. but i also wanted to -- [inaudible] >> bring in some objects, and there are a number of objects. an opportunity actually sisterow back from our institution, materials that had come in with the paper collections. we had a collaborative

relationship with the smithsonian, for the purposes of able toibit, we were borrow some of those back. but i wanted to show in some of these non kind of manuscript materials, the creative strategy thatrketing, all the swag they exhibited, where they were corners, you know, talking about the cause. , you know -- thatu comes through. and lastly, i think we wanted to on the images. where, you know, our unique perspective at the that, asame in, in kate mentioned, we're so blessed was -- whileary the movement was still going on. of congress, great friends with susan b. anthony

family and heell enlisted papers while they were still active in the movement. and to those, anthony, the we gotll family, stone, the papers and mary church's papers. chapman catt's papers. theere also able to acquire records of two national organizations, the national american woman suffrage association. i had a wealth of material and i'm also situated in the largest library of the world, an rare books department, wonderful photographs, posters, moving images, cartoons. i'm running out. everything. and my problem was i just had too much information. wassite of what kate struggling with of only being a small amount, and having to go out, i had perhaps

opposite challenge there. >> i just want to say, janice, it was so nice of you to help me when i was trying to figure out what to -- you know, how to use your stuff. great to have that collaborative researching.e were >> so going off of that the the past couple of answers we've gotten from our panelists, we've kind of touched on some of the telling stories through objects as well as objectshis plethora of to choose from. could you each talk a little bit about why exhibits and telling stories through objects is so important to spreading awareness about this history, bringing it to light, educating people about it in kind of a new way? and also, some of the challenges along with telling the story that way. are exhibits so important for learning history?

what are some of the challenges faced when telling the story through objects? janice, would you like to get us started on that one? >> one of the challenges for me, it's an incredibly complex movement with so many individual many -- the state, political level, the national level. it's a -- you know, difficult story. a -- so you have researchers constantly returning, in my case, to the collections in my division, and uncovering new angles that they're exploring and that we're learning about. then, of course, it's, how do we balanceis together and present itsearch and

to an audience that is or theyed in the topic wouldn't come to our exhibits, thathey're not steeped in background. i think that is -- we use this thearch to contextualize items and benefit us as we're trying to research what we have and how to present it. but understand that people are not coming through on exhibits to read're going massive amounts of material. theow do you present it in most accessible way? and i think that is where, you your design comes in. it's huge, how working with the designers and sharing with them your concept of what you're trying to do here and then see know, howcan -- you they work with you on that. know, that iou think would be what i would say in terms of the importance of the exhibits and the collections and the research. they all have to work well

together. but they're for different audiences, different purposes. >> corrine, we heard from kate a minutes ago, kind of that -- telling the story of men in the movement. there just wasn't quite room to depth.get into that in along this line of what challenges did you face and also parts of the story where you were just like, this is not going to fit? of takehave to kind some things out? certainly, you know. the challenge -- [inaudible] of congress -- you know, and the national archives. tonight, on this program. [inaudible] archives isational a repository of all the records of the federal government. and that is billions of, you

pages ofividual documents as well as, you know, photographs, maps, charts, pictures, sound recordings and, of course, artifacts as well. so one of the other challenges i had working on it is that as the, you know, archive of the government, obviously that story, to tell the story of the women's suffrage movement at that national, federal level. course, there's much more to the story than that. so, you know, it definitely took some work. those storiesfind in a mound of records as well. and they were there. not only because suffragists and persistentc

in lobbying the federal government and, you know, for them it took decades to make some headway. but there was plenty to discover there. one of the other challenges i archives ofas the the federal government -- it really reflects the point of the and perspective of entity that, you know, created that archive and also, you know, is really limited to the other individuals or organizations that it interacted with. so especially during this time period and the 19th and early century, who are the federal government primarily and who are they primarily interacting with? men. and most of them were white men. some doing to

it wasn't a real challenge to find records that documented the women's suffrage in particular to find the reporting and those voices, from in particular women of color, you know, oftentimes, we don't -- right to our government officials, don't necessarily -- [inaudible] >> that this is, you know, an african-american woman and, you know -- so that i can, you know, that, you know, that, you know, i included all of the that, youthe stories know, we really wanted to ensure were there in the exhibition. unfortunately, with some creativity -- fortunately, with some creativity, we got there in the end.

but -- i'm sorry. kelsey -- i know there was of this question. >> yes. fitnd i'm trying to everything in all at once. >> that's great. the importance of telling stories through objects and also the challenges that come with that. >> so the one other thing i of our,d is that one you know, challenges, especially -- and, you know, there are challenges especially creating exhibitions, using primarily, you know -- as primarily visual experiences and theres an added challenge to telling stories with a two-dimensional documents and of get the ways to kind around that. the design really was a big one in this case.

but one of those, you know, challenges is also an particular with our archival holdings, because therecords really tell story sort of in a -- [inaudible] wanted to puty that i gotto a story voices different women's voices -- [inaudible] >> why women fought for the vote. and i really tried to pull in as arguments, why women not only wanted the vote needed to vote in know, themselves and their children and their forth,lihoods, so on and so but also it pulls in those personal, individual studies know, just add so

much, you know, nuance and and, you know, this -- historians have a far different task. visitor,verage something that happened over 100 years ago, begs the question, care?o we well, hearing from these women tell us whyds, they to care and why the vote matters so much. that brings us to today as well. >> so we've got some really wonderful questions coming in i'm see audience and that a lot of the questions are ones i also wanted to ask you all. i'm thrilled about that. i think we can kind of go ahead and transition into sharing some thetions we're getting from audience. first of all, if you could each us of the run date of your exhibit. i know yours was in 2019, just remind us when that was.

janice and corrine, remind us your exhibits will be. and in particular, right now moment of social distancing, are there ways for three exhibits, to engage materials online or in other ways? open inhibition was march of 1919 and it ran through 2020.y 5 of you can find a small slice of it on google arts and culture. search for votes for women, women's suffrage, or arts, something like that, you'll find it. we also partnered with c-span, tv, for acan history little tour in two parts. the longest three hours ever. [laughter] >> because i was talking the whole time! there's a variety of

online sources. big,hen you also have this beautiful book that i -- [inaudible] [laughter] >> so, please, take a book. thanks. kate.nk you, thank you for sharing the book, for showing us the book. i wanted to make sure you got that in. about you?t what are some ways people can stay engaged? was slated tobit close initially on september 2020. obviously, unfortunately for us and for all of you, it will be extended. at this pointink all i can say is that for sure it will be through the rest of the calendar year. i don't know how far into 2021 up.ay be able to keep it but certainly hopefully there will be time for all of you to come and see it, because i do think that the setting is the library of

congress, the jefferson designers didthe some really intriguing things to make use of the space. so that would be nice for you to see. you had shown a little bit before we started our discussion, a video that was exhibition phase. online version of the exhibition. and that -- i shared the length that i -- i believe you're probably going to be sharing in the chat box. there. online exhibit is a lot of the collections i mentioned, how you can further -- even if you come to the exhibit and look at the online exhibit, there are even to further your engagement with these materials. we have been madly digitizing a lot of our suffrage collection. so many of the collections that are nowned earlier online at the library of congress. just follow the length. collections from the home page.

and you'll get to the suffrage that search box. and they'll pop up. but for those of you that particularly may be looking for something different to do while you're at home, help us transcribe these. we have a project called "by the and we are -- we're people to volunteer and help us transcribe these that the so transcriptions will be brought maininto the library's search engine and making it more also franklyand making it more understandable to many younger people who have -- for those hand written, personal items, they're particularly important. to stay connected thehelp grow this field and resources for future study. >> wonderful. what about --

[inaudible] >> sure. so there's a website which has a includinginformation, pages, online exhibit exhibits. i'm racking my brain, trying to think of the exact url. archives dotums gov. you can get there from the home page for sure. at thisheard, the show point is through january 3 of 2021. i don't know if we will end up extending the exhibition time.

keep your eye on archives.gov or, of archives --onal with all major platforms as well. if there's any information on any changes to that exhibition we'll be sure to put that out on all of those platforms. tour --ave a [inaudible] onwith american artifacts american history tv. that you can also find as well a more in-depth. >> wonderful. i feel like there's people that acceptancetheir theyhes at the oscars and forgot somebody, so i need a --

i have a companion book. just didn't have the prop. but it's available. >> yeah. so -- to everyone in the audience, you know, there's so wonderful resources that each of your institutions have that go with the exhibit. definitely follow up by e-mails, everyone in attendance tonight, and share of those wonderful resources so that everyone can have them right in front of you and can continue learning the history, experiencing these virtually for right now. so we'll make sure to share those as well. to make sure that i remind people at the end as well. can also look at going to theys by website. i'll send a reminder about that end and we'll send that with the additional resources as well.

so another question i'd love to kind of share from the audience of our panelists, could you each please tell us about in your exhibit that best exemplifies the story of movement's suffrage that you were trying to tell in your exhibit? so interpret that question as will, and i imagine it's difficult to narrow down, but orld you tell us about one two, either your favorite objects from the exhibit or ones goodyou think really are symbols of what you were doing. who wants to start? >> i can go first. have a really love for our portrait of ida b. wells. that was taken when she was years old. poised.s perfectly she has her hair up and it's set with a hair comb. and she's wearing a beautiful

.ress these are very specific details, that womene signals of the 19th severally were centuryo each other -- were giving to each other to say amam a dignified woman, i educated, i am successful." an for black women, that was especially powerful political statement because of the culture ofh the failure reconstruction, that they were the turn of the century. as many of you are probably wells was not only a suffragist but a journalist advocated for anti-lynching recently --only [inaudible] federal. the so what i like about this is that it her

showed her kind of at the cusp her own activism. was893, her best friend lynched in memphis, tennessee. and as a journalist, she and she about it that ofd the death, and his two friends. they were lynched by a white mob because they were successful doing well in business. and when ida b. wells protested through her newspaper, her offices were burned. about her this biography, knowing that she was basically, you know -- had to and memphis for her life, be in exile, you're able to read even more -- with even more awe, if you will. is she beautiful, this gorgeous dress, even this lace bodice.

in the lace, you have an elm embroidered -- i can't even imagine how hard that would have do. to she had it taken in chicago by sally mcgarity, a white photographer. her photographer -- she was a suffragist, a sem nis, so she -- feminist, so she wasn't going to any photo studio. she wanted to make sure that she was in if control of her image and she could probably trust a woman to help her do that. ice one of the reasons why i the reasons one of why i love objects. it's one of the reasons why i love my job, because you get think that portrait reaches a younger woman in ways that maybe other objects don't. they just are kind of lost with young people. so that's my favorite object. >> janice or corrine?

>> yeah. favorite -- it changes, you know. it depends on my mood. it depends on what may be happening in the news. because ito fudge, wanted to talk about one item, at i have to talk about manuscript first. let me mention, there's a that susan b.er anthony -- [inaudible] toi think it speaks volumes their partnership, to how they had the most -- you know, an incredibly successful partnership in terms of the, you the duty.ing typical -- and this is in a lot of the correspondence that you read about the they laids, incredible guilt trips on one another to get them to do more and more. and who is keeping, you know, kind of a -- who is not doing enough? this letter, anthony writes

to stanton, because she had to giving a talk. and she can't, as she put it, document, so she turns to them, who she considers the better writer. your teleworking mothers out there who are balancing, you and child care, you'd love this letter, because anthony just says, no matter, you have babies -- you balance one baby on the knee and have the floor and let your boys buzz around. get to the task, because the womanhood -- it's just a great letter. no relationship. anould also say there is item that -- and you probably also experienced this, corrine and kate, where you can't get -- you think, oh, this is cool but no idea until you generally research it, the underlying story. an example, one item

that exemplifies that really patternere's a doll the we found, folded up in breckenridge family papers. it was this little suffragy doll. it was this little card buy a doll.ale, what was fascinating, during artist, cincinnati artist, makes this doll pattern thisbviously part of grassroots movement, called buy where average people were being asked to buy bales of help the cotton industry that basically was, you calamitous fall as a result of the closing of the export markets in europe. but what's fascinating about ist item in the beginning how smart suffragists were. anna howard shaw was president

at that time of nawsa and she $50 and gave them state suffrage14 chapters in the south and said, cotton. saver, with the southern manufacturers, the southern legislatures. so, you know, what turned out -- i thought it was just a cool this little suffrage doll actually revealed a very interesting story about the strategies that they had in terms of trying to turn the south. didn't work but they tried. you?rrine, what about can you narrow it down? >> i -- [laughter] route.o janice's >> i will restrict myself to one. i wanted to talk about another questionut since the

was -- i mean, i don't think -- suffragehe woman movement is so broad and multifaceted, it's hard to pick one record. record thatone tells the whole story. forgive me if i kind of fumble through this a little bit. that comes to mind for me is a letter that was 1923.n in a couple years after the 19th amendment was ratified. addressed tos president calvin coolidge. to him, pleading help her seek beence because she had turned away when she went to

birmingham,vote in alabama. emotional letter. it's so powerful. you can see how frustrated, you know, she is at this moment in time. what's even -- she has brothers who served in world war i, one of whom lost his life to this country in a war, keeping the world safer for democracy, and you can just -- i even -- you know, i really honestly can't even put it to words, because i can't you get a sense of what that must feel like but you can't really know. more remarkable shet the letter is that

also -- it's the only record i looked at, and hundreds if not, you know, thousands of petitions and letters from arguing -- it's the only one i found where an african-american woman, three constitutional amendments, the 14th, 15th and 19th amendment, which she should have the right to vote. 1923 andere she is in she is turned away when she register and vote. andit's a remarkable powerful letter. but it also connects, you know, so many, you know, woman -- the woman's suffrage movement is really just -- it's important but it's just one chapter in narrativeknow, long for thengoing struggle

right to vote in this country. really kind ofer bridges many of those struggles signals for other women strugglethat the itself continues as well. a moment inw, it's this long national conversation that is taking place really, you since our nation's founding about, you know, what our rights are. specifically, you know, what our voting rights should beand who entitled to them, which, you is a conversation that continues to be debated up through today. >> so we are just about out of time. if any ofwant to ask you have any final thoughts share, any lessons we can learn from studying this

history today. end?ast thoughts before we to say that it the threely big that major federal institutions have put so much time, energy, money, exhibitionsto major about women's history, because hard to recognize -- you know, like how many in the audience -- i wish we could see them, a show of hands -- have you ever been in a major exhibition, more than 80 objects, and had it be about women and only women, women's history? mean, it'sian, i very -- to see how many exhibitions are about world

war ii, world war i, et cetera, that are punctuated as male and presented as male history when half the population were women. they were there too. i just want to say that it really important that institutions have addressed women's history in such a big way. that we can continue. out.ted to put that >> i'm glad we have this big tor, this centennial year, really amplify these stories more than ever. have that be just the beginning of continuing to women's stories as part of just the standard narrative.story much, kate, so

corrine. thank you so much for being here tonight. thank you so much for the important work that you've done your exhibits, telling stories, to really women'sthis story about fight for the vote. thank you for being here. once again, to our audience members, we will follow up by e-mail with all of these wonderful resources we talked to each exhibit. also that -- [inaudible] >> the women's suffrage centennial commission has partnered with the national thesees to distribute free displays which can be, you know -- they can go up 2020, beyond 2020 and they also come with digital reworkings. if you'd like one of those, book 27.e by june or contact us for more information. thank you again to our

panelists. to berkshire conference, for partnering with us on this program, for martha jones, to senator mikulski for your toderful remarks and everyone who tuned in tonight. ourtay tuned again on website, for upcoming events, events for the time being. again.ou all kate, janice, corrine, thank you for the wonderful discussion. thank you. >> thank you. you.ank >> thank you. >> thank you, everyone. and happy centennial!

>> you are watching american tv, covering history c-span style, with event coverage, eyewitness accounts, archival films, lectures in classrooms and visits to museums and historic places, all every weekend on c-span3. >> tonight on reel america, we from theour films 1940's and 1950 that profile industries negatively affected by the coronavirus pandemic. andauto, dairy, restaurant airline industries. here's a preview. youerhaps there are jobs never thought of as being an

important part of the great american economy pattern. but every basic task is essential to the necessity and of all in this blessed land of all of us. west or south, no matter where you go or what you are looking for, you'll find somebody working. working is a part of the vast interlocking and thatrk of production leaves the raw material to finished product. turpentine is the first link in conveyor belt that winds its way from south to east to west to north to portland, to portland, oregon. >> although in the modern dairy innt, butter is churned large mechanical churns, the butter maker must know how to of high a product quality.

may acquire this knowledge on the job from an experienced collegein a regular dairy course or in one of the makingourses in butter and milk operation which are given at a number of the agricultural colleges and universities. in the same way, cheese making for scientific methods have improved and standardized the making of ofese and the knowledge chemistry and bacteriology is work.ial in this ♪[music] likes to eat! ♪[music] >> of course, each may have his own individual preference but no matter whether it's the hot dog the county fair or a full course dinner at the ritz, there's no denying that people like to eat. food is the high spot in our whether it's aboard

a speeding train or in our lunchroom around the corner, for man must eat. secret ofn lies the the growth and popularity of one of our biggest industries. the restaurant. business employing over two million persons and over $2 billion worth of business annually, all because eat, like to eat an don't like the work of fixing their own food. >> air transportation has proved factor. vital it is a rapidly expanding industry embracing many trades professions. an industry employing thousands of persons. example, to keep each over 100n the air, workers are needed on the ground. many are engaged in office work. the reservations comprises aom specialized group.

it is here that schedules, rates, reservations and related are communicated directly to the public by telephone. interesting but requires tact, sales about and a voice. well-modulated another reservations job is at the ticket counter. the dutieser, include the actual issuing of tickets through direct personal contact with the public. in many departments, the work is handled in shifts or around service characterizes the industry. >> watch all four programs p.m. eastern, 7 p.m. pacific, here on american history tv. war,xt, on the civil hancock of the american civil 18637seum talks about the richmond bread riots. she describes the inflation and scarcity of goods that led hundreds of poor and working class women to protest. the trials and laws

passed in the aftermath. minutes, paul knicks talks about his book, the aristocrat who became france's most daring anti-nazi commando. lectures instern on universityaver state professor little teaches a class about the u.s. military in the kelly: so the richmond bread riot. one thing that struck me when i was going over this part, 1 -- talk, one that i was going over a few years ago. it seems more relevant today than back when i wrote it. because today, we can definitely go to the source and not be able to find everything we want to, such as hand sanitizer or toilet paper or pasta. and this was one of the big problems that provoked the bread