Monday, June 30, 2014

A Look Back: Charlotte and the Civil Rights Act of 1964 -- Part I

July 2 marks the 50th anniversary of the historical Civil Rights Act of 1964. The Charlotte area played a huge role from the beginning. In this two-part series our Dr. Tom takes a look back on Charlotte's impact in the Civil Rights movement and the actions that lead to the passing of this landmark legislative bill.


The 1964 Civil Rights Act remade the South and America.  The law mandated the end of segregation in “public accommodations”: restaurants, movie theaters, hotels, and more. Congress did not simply swoop down and declare this new order.  Civil Rights activists fought long and hard to put equality on the nation’s agenda. Key actions in that struggle took place right here in Charlotte and the Carolinas.  As we mark the 50th anniversary of the Civil Rights Act, enacted July 2, 1964, it is a good time to share some of those stories.

Since the Plessy v Ferguson decision by the Supreme Court in 1896, racial segregation had been the law of the land.  Plessy held that separate accommodations on trains and in railroad stations, and by extension anywhere else, were OK … as long as they were “separate but equal.”  In reality, things were definitely separate but seldom if ever equal. Segregation was blatant south of the Mason Dixon Line but most communities outside Dixie also had formal or informal “color lines” separating urban areas and businesses into white and black categories.

In Charlotte, City Hall had “white” and “colored” water fountains.  Those actual signs are on display in the Museum's COTTON FIELDS TO SKYSCRAPERS exhibition.  Also at the Museum you can see a re-creation of the Carolina Theater. It admitted only whites; black people went to the Lincoln Theater which seldom showed first-run films. When Independence Park opened in 1903, city law barred black people with the exception of black nannies who brought white children to play.  Such regulations carried over even to the city-owned golf course at Revolution Park, when black youngsters could be caddies but could not play.  One caddie, Charlie Sifford, snuck in at night and perfected his game to the point that he went pro, the first African American on the PGA Tour.

Black people challenged segregation from the beginning.  When North Carolina started requiring African Americans to sit at the back of streetcars in 1906, Charlotte ministers led a boycott, unsuccessfully.  That’s long before Rosa Parks and the famous Montgomery Bus Boycott of 1956.  Another “before Rosa” action happened at Revolution Park golf course. African American doctors, lawyers and other professionals in Charlotte wanted to play golf.  In 1951 they sued to desegregate the park.  The lawsuit meandered through the courts for years, eventually winning in the late 1950s.  If it had been speedily decided, we’d be reading about it in national history books today.

A Look Back: Charlotte and the Civil Rights Act of 1964 continues tomorrow...

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Thursday, May 22, 2014

Guest Blogger: Kevin Vandiver, Charlotte Freedom School Partners

The current Faces of Freedom Summer photo exhibit looks back at the historic 1964 efforts by college students to register African American voters in Mississippi. As part of that project, activists organized Freedom Schools to awaken African American youth to black history and their rights as citizens. Today a new generation of Freedom Schools aims to help young people turn summers into a time of scholarly advancement. Our guest blogger, Kevin Vandiver works as the Development Coordinator for Charlotte Freedom School Partners. 

This summer marks the 50th anniversary of the 1964 Freedom Summer Project, which was a voting initiative for marginalized African Americans.  In addition to galvanizing the people to register to vote, there were about 30-40 Freedom Schools in ‘64, which were started to provide African Americans with an education that they were not receiving in the public school system. The actions taken to educate the surrounding communities was a method that advocates used to go on the offensive against oppression:  Education was a key to Freedom.   Whether it was in a classroom, church basement, or on someone’s front stoop, class was in session!  Taught by college students and other volunteers, the Freedom School students were taught black history and culture, math, and character-building.   The ages of the attendees ranged from small children to the very elderly—with the average age being about 15 years of age.  In 1964, over 3000 people attended the Freedom Schools in Mississippi.  

When we fast-forward 50 years to 2014, we understand that while there has been great change, that there are still miles to go.  In the day when there are still educational inequities, thousands of children not reading by third grade, and the billion-dollar cradle to prison pipeline, there is a continued need education and empowerment to achieve the potential with which every child is born. 50 years later, we can say that the ball has not been dropped.  The legacy of Freedom Summer of ’64 is very alive today!

We believe that Freedom School Partners works with many partners and community members to put children on a path of success, and there is room for all to continue in this work that began so long ago. 

This new education that Freedom School Partners endeavors to offer through its programming builds the character of scholars and interns alike, rebuilds spirits, brings together communities of hope, support, and fosters inter-generational leadership, helping us all to know that We Can—and Must—Make a Difference!  Our efforts to bring about this new education have empowered 4000 Children and 400 college students since its first Freedom School in Charlotte, in 2004. 

I am a part of this work—serving as a Development Coordinator.  I hope to spread the word and garner support for this great movement.  Our work is arduous, but it is good work—and it will change the face of our world.

Freedom School Partners join in solidarity with Ella Baker, who said, “We who believe in Freedom cannot rest until it comes!”

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How has public education changed in the last 50 years? Leave your opinion below or on our Facebook page. 

Freedom Summer/Freedom Schools, Then and Now reception, exhibit viewing and discussion will feature Charlotte Civil Rights activist J. Charles Jones and retired Charlotte Observer journalist Lew Powell. Join us Wednesday, May 28 at 6 pm. RSVP: Julie Attilus at Julie@freedomschoolpartners.org or 704.371.4922.

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Thursday, May 8, 2014

Ask a Curator: Bonnie Gurewitsch, Beyond Swastika and Jim Crow Part Two

Today, we continue our two-part interview with Bonnie Gurewitsch, the curator of our new exhibit, Beyond Swastika and Jim Crow: Jewish Refugee Scholars at Black Colleges. You can read part one here.


What would you like visitors to take away after viewing the exhibit?

My own experience of studying with a black professor at Brooklyn College in 1961-1962 was a highlight of my undergraduate experience. It was my first encounter with a black scholar, and it opened my eyes to the encounter between cultures and the pre-conceived notions people can have about each other. I saw how this played out in the Beyond Swastika story. I would hope that visitors would take away the lesson that the universal values of equality, fairness and kindness are applicable to all people.

How can the experiences of those profiled in the exhibit become lessons for present day students?

The experience of the scholars-immigration and integration into a new society-will resonate with many visitors who are themselves new Americans. Visitors might identify with the strong motivations of the students, who came from backgrounds that were deprived of material things but not of aspirations and the values of hard work. That two such different groups could come together to share experiences, skills, and knowledge and create an integrated world of mutual appreciation on campus, is a model of peaceful co-existence that would be useful today.








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About Bonnie Gurewitsch
Bonnie Gurewitsch recently retired as an Archivist and Curator at the Museum of Jewish Heritage- A Living Memorial to the Holocaust, in New York City. She has been a Holocaust educator and oral historian for more than 40 years, Ms. Gurewitsch was a pioneer in the effort to develop a systematic approach to recording and cataloging Holocaust oral history. Ms. Gurewitsch lectures frequently and has served as consultant to several scholarly and educational projects, including the Survivors of the Shoah Visual History Foundation, founded by Steven Spielberg. 

A SURPRISING CONNECTION
A REMARKABLE LEGACY

Beyond Swastika and Jim Crow tells the compelling but little known story of Jewish professors who fled Nazi Germany during WWII, came to America and found teaching positions at historically black colleges and universities in the South. There they came face to face with the absurdities of a rigidly segregated Jim Crow society.

Discover the connections and encounters between these refugee scholars and their students, and their great impact on each other, the Civil Rights Movement, and American society.

Beyond Swastika and Jim Crow: Jewish Refugee Scholars at Black Colleges is on display now through September 14. 

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Wednesday, May 7, 2014

Ask a Curator: Bonnie Gurewitsch, Beyond Swastika and Jim Crow Part One

At Levine Museum of the New South, we love sharing history with compelling, often surprising stories that help people connect with the past and each other. The new exhibit, Beyond Swastika and Jim Crow: Jewish Refuge Scholars at Black Colleges, does exactly that. 

The exhibit was inspired by Gabrielle Simon Edgcomb's landmark book From Swastika to Jim Crow: Refugee Scholars at Black Colleges and curated by Bonnie Gurewitsch, a recently retired Archivist and Curator at the Museum of Jewish Heritage- A Living Memorial to the Holocaust, in New York City. We had the opportunity to speak with Ms. Gurewitsch for our "Ask a Curator" series. Here's Part One and be sure to visit the Beyond Swastika and Jim Crow exhibit on display now through September 14.



What was your first reaction to the story behind "Beyond Swastika and Jim Crow?"



My first exposure to the story was the film "From Swastika to Jim Crow", by Joel Sucher and Steven Fischler. It was offered to the Museum of Jewish Heritage as a public program. I was among the staff members who previewed it. I was fascinated. I had never heard of Jewish refugee scholars teaching at colleges for black students. When Steven Fischler offered to provide us with contact information and the research notes he had collected during the making of the film, we agreed that we should work on telling this story in exhibit form.

As a curator, what challenges did you face during the curatorial process?

Outlining a story that would accurately reflect the experiences of the refugee scholars and the black students,  then finding the artifacts that would illustrate the main points of that story, and setting the story in the three-dimensional setting of an exhibition. We decided to create parallel background areas, one for the scholars' backgrounds and their immigration to the US, and a second for the background of the students and their decisions to go to college. We brought the two story strands together in the central section of the exhibition-the encounter, and showed the effects of the encounter on both groups.

What have you discovered during your curation of this exhibit? 

In the course of researching the topic, I discovered that the story is more nuanced than it seemed at first glance. Jewish refugee scholars were not generally welcomed at American colleges and universities. Refugee scholars had a very difficult time finding teaching positions; some took interim jobs just to support themselves, such as Prof. Fales and his wife. Teaching at historically black colleges may not have been their first choice, but it was often the only job available. The scholars knew as little about the students and their culture as the students knew about the professors and their background. There was a learning process of getting to know each other. 

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Tomorrow read more about the curation of Beyond Swastika and Jim Crow: Jewish Refuge Scholars at Black Colleges in Part Two. 

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Tuesday, April 22, 2014

Ask an Author: Ed Williams Author of Liberating Dixie

On Monday, April 28 at 5:30 p.m., Ed Williams will discuss new book Liberating Dixie during our New South for the New Southerner series.  He'll join our staff historian Dr. Tom Hanchett for a wide-ranging conversation remembering notable Carolina characters, recalling Civil Rights history and contemplating the changing South.  Please meet Author and Journalist Ed Williams

Tell us about the book.

Liberating Dixie is a collection of writings from my 50 years as a Southern newspaperman. The characters range from Jesses Helms to Jim and Tammy Faye Bakker, with Bill Clinton, Ross Barnett and William Faulkner’s cow also making appearances.  The topics amount to a panorama of Southern life – politics, religion, race, gay rights, the arts, school  reform, college sports, the joys and challenges of family life, as well as Ed Williams’s rules for living. 

Tell about your experiences in the South.

I grew up in the border south, right on the Missouri-Arkansas line about 650 miles west of here. It's cotton country, flat and fertile from eons of flooding from nearby Mississippi River. When I went off to the University of Mississippi in 1960, I felt right at home in every way except one: I thought the Civil War had ended a century before. Many Mississippians didn't.

In the early 1960s Mississippi was celebrating the centennial of that war, and Gov. Ross Barnett was going to rallies clad in a Confederate officer's uniform and telling rapt audiences that their forefathers had fought for states' rights a century earlier and it was their turn to do it now. The state's right he had in mind was preservation of the Mississippi way of life, which included keeping the state segregated and its black residents subservient. Even at that early age it seemed to me unreasonable to think a state could exclude 40 percent of its population from the rights of citizenship, but to Gov. Barnett, and a lot of other Mississippians, it didn't.

That delusion was shattered when Mississippi native James Meredith won a court battle to become the first black student at Ole Miss. His admission sparked a riot on campus. Some students and a lot of angry outsiders attacked the U.S. marshals who had accompanied Meredith. Two men were killed before President John Kennedy sent in federal troops to restore order.

You said, "I believe hostility to dissent has been one of the most destructive burdens of Southern history. How so?

I was working for the student newspaper when Meredith was suing for admission to Ole Miss. The state's newspapers were almost unanimously favored resistance to ending segregation. It seemed to me the press in Mississippi had to bear some responsibility for the violence that broke out when Meredith was admitted.  The press had failed to acknowledge what was plain to see: That a system based on denying the vote and other basic rights of citizenship to 40 percent of its residents could not endure. Many Mississippians believed the demagogues because few voices were raised in disagreement – hardly any in state politics, and very few in the press. 

As a history major at Ole Miss, I became familiar with insights into Southern hostility toward dissent described in "The Mind of the South," the 1942 classic by Charlotte journalist W.J. Cash. The South’s enforcement of regional orthodoxy had  begun more than a century earlier to suppress criticism of slavery. Over time it broadened  to coerce conformity to virtually every  aspect of the Southern Way of Life, from racism to religion. Depending on the offense, the consequences for nonconformists might be mild or harsh, ranging from social disapproval to violence at the hands of the Ku Klux Klan and its co-conspirators.

A Memphis newspaper I read growing up had this motto: "Give light and the people will find their own way." In too much of the South, the hostility  to dissent described by Cash kept people in the dark. 

How did working for The Charlotte Observer limit or  broaden your perspective? 

I came to The Observer as an editorial writer in 1973 because I thought it was the finest newspaper in the South. I still do. The Observer had no sacred cows. No topic was off limits. The newspaper's open and progressive philosophy freed me to write forthrightly about the most challenging and controversial issues of our time.

You have been a Southern journalist for half a century. What changes have you seen on those issues?

As suggested by the subtitle, "...from Ole Miss to Obama," one of the book's major themes is race. Racism is by no means dead, but our region's progress during my career is astounding. We're making progress on some other challenges, too. Look at the advances for women in politics and the workplace. Who would have imagined the rapid transition in society's attitude toward gays and lesbians? And yet some of the region's old problems still hold us back – poverty, poor health, failure to educate an alarming percentage of our children.

The Liberation of Dixie is not an achievement, it's a work in progress. Much remains to be done. But this is true, I think, about the South and about America: It will be better tomorrow than it is today. 

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Share your story of the changing South with us below or on Facebook.

New South for the New Southerner: Ed Williams and Liberating Dixie
Monday, April 28, 5:30 pm to 7:30 pm
Free for Museum members, $12 for non-members. Includes program, wine and a Southern dinner from Mert's Heart and Soul! 
Reservations required: 704.333.1887 ext. 501 or rsvp@museumofthenewsouth.org
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Wednesday, March 26, 2014

Guest Blogger: Patricia Atilano Co-organizer of The Changing South: Women in Poetry & local writer




Being a women in any part of the world, is a passionate challenge that transforms with supreme beauty in her environment.  Woman is beauty, and beauty is woman.



The Changing South: Women in Poetry, is an event by Levine Museum of the New South to celebrate all women. These six amazing women will speak in Libertad from different parts of the earth. They will unite to share with us their experiences, their stories, and their battles. They make a symbolic relay to exorcise their natural fears, from their powerful identity and inspire us with their creative capacity through one of their manifestations of the arts; Poetry.


Let’s surround these women with attitude that celebrate their femininity, their strength, and life itself!


Ser mujer en cualquier parte del mundo, en cualquier sociedad es un reto apasionante que transforma con suprema belleza su entorno.  Mujer sinónimo de belleza, y belleza sinónimo de mujer.  

The Changing South: Women in Poetry, es un evento del Museo Levine del Nuevo Sur (Levine Museum of the New South) para celebrar a todas las mujeres.
Estas seis mujeres luchadoras que conversan en libertad, de diferentes partes del mundo, se unen para compartir con todos nosotros, sus experiencias, sus historias, y sus luchas.

Hacen un simbólico relevo, un ejercicio de exorcismo de su medio natural, de su ponderosa identidad, y que nos inspiran con su capacidad creadora, a través de una manifestación de las artes; la poesía.

Contagiémonos de la actitud de estas mujeres, que celebran su feminidad, su fuerza y la vida misma.

by Patricia Atilano


Co-organizer of The Changing South: Women in Poetry & local writer


Join us this evening for a special poetry presentation at 5:30p.m.  

Share your story below.

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Tuesday, March 11, 2014

Diggin' History Through Music and Dance: A.M. "Toni" Tupponce



Many performers and women‭ ‬often recall a moment‭ ‬when they‭ ‬“found their voice.‭”‬ Where and when did you find your voice‭? ‬How has it impacted what you do both as a vocalist and an individual‭?

Finding‭ ‬“my voice‭”‬ has been a journey that I am still on‭…‬with no arrival date or end place in sight.‭ ‬From the time that I first started singing as a solo or lead vocalist in college‭…‬.my instructors and mentors called me a‭ ‬“torch singer‭”‬.‭  ‬I was only interested in singing songs that evoked some kind of emotion in the listener‭…‬I wanted to touch them somewhere.‭  ‬Whether I was singing R&B,‭ ‬Blues,‭ ‬Jazz or Gospel‭…‬if I did not connect with the lyric and the melody,‭ ‬truthfully,‭ ‬I did not care to sing it.‭  ‬I was subsequently convinced that if I wanted to‭ ‬“work‭”‬ I had to broaden my repertoire and skill set to sing songs to get people‭ ‬“dancing‭”‬!  I also believed,‭ ‬but not for long,‭ ‬that my voice and range needed to be higher‭!  ‬So I tried to force this natural contralto of mine into a stronger soprano.‭  ‬That only led to frustration and could have led to injury.‭  ‬As I got older and listened more to the truly great vocalists‭ ‬….Carmen McCrae,‭ ‬Billie Holiday,‭ ‬Nancy Wilson,‭ ‬Dinah Washington,‭ ‬the late Eva Cassidy and Phyllis Hyman as well as Donny Hathaway and of course Sarah Vaughn‭ (‬whose range is off the charts‭)‬…and‭  ‬so many others‭ ‬…I learned that I only need to sound like the best‭ ‬Toni that I possibly can.‭  ‬So now,‭ ‬while getting people on their feet has its place for me‭…‬.‭ ‬when I sing‭ ‬I go for the emotional jugular and make no apologies for it‭…‬whether the song touches you to tears or crazy laughter‭…‬.I just want to‭ ‬feel what I sing and to share a conversation with the other musicians and the listener that says we‭ ‬“get‭”‬ each other‭! ‬The impact has been that I am probably more vulnerable much of the time.‭  ‬And,‭ ‬I hope,‭ ‬I am more authentic.‭  ‬My goal is to always perform as if I may never get the chance to do it again.‭  ‬I do not always meet that mark‭…‬.and I am disappointed in myself when I don‭’‬t because I think I‭’‬ve cheated my audience and myself
"Toni" Tupponce



As we‭ ‬celebrate‭ ‬Women‭’‬s History Month,‭ ‬what women‭ ‬–famous or not‭—‬have influenced you‭? ‬How‭? ‬What do you hope your example is for young women today‭?


My first influence was my Mom‭…‬.she was a‭ ‬real‭ ‬“youngster‭”‬ when I was coming up.‭  ‬She‭’‬d finished college and worked a little by the time she had me‭…‬.but she had the heart of a child and a tremendous‭ ‬“Mom psychology‭”‬ that defied her youth.‭  ‬She gave me the grounding even in the mid‭ ‬1950‭’‬s to embrace myself as a black girl and to see it as‭ ‬beautiful.‭ ‬I was placed in the position of desegregating a small Catholic parochial school in my hometown in Virginia when I was‭ ‬5‭ ‬years old.‭  ‬Without that grounding,‭ ‬I would have come out of that experience a very different young woman.‭   ‬Second was my Aunt Emma‭…‬.who taught me that loving someone does not guarantee you that they will love you back and you have to live on‭…‬still whole and loving yourself.‭  ‬I admired icons like Fanny Lou Hammer,‭ ‬Myrlie Evers,‭ ‬Josephine Baker,‭ ‬Angela Davis,‭ ‬Lena Horne,‭ ‬and my Speech and English instructor in college,‭ ‬Miss Mary Bohannon‭…‬she took no prisoners and expected excellence in written and oratory expression.‭  ‬She cared nothing about embarrassing you when you were wrong and when you did well,‭ ‬it was no more than she expected of you.‭  ‬Most people dropped her course as soon as they drew the short straw with her name at registration‭!  (‬she‭’‬d‭ ‬love hearing that as scared‭ ‬as I was of her‭!)



A Sign of the Times is finishing‭ ‬this year‭’‬s Diggin‭’‬ History Through Music and Dance series on Wednesday.‭ ‬What has this program meant for you and the band‭? ‬What has stuck with you about how audiences have responded‭?



This is our third season of‭ ‬“Diggin History‭…”‬ at the Levine Museum of the New South‭!  ‬In terms of what it‭’‬s meant‭…‬I can only speak for myself‭…‬its been wonderful.‭  ‬I am so proud of my husband‭’‬s tenacity in putting this series together and pulling it off.‭  ‬It only gets better each year,‭ ‬I think.‭  ‬Because we‭’‬ve focused on the history of Black people from throughout the African Diaspora this year‭…‬it has drawn me closer to the shared history with sisters and brothers who are Hispanic‭…‬whether from Brazil,‭ ‬Venezuela,‭ ‬Haiti,‭ ‬Cuba,‭ ‬Mexico or Puerto Rico‭…‬.we are related through our ancestral lineage,‭ ‬our enslaved history,‭ ‬our tenacity and our music‭!  ‬Is that not awesome‭?  ‬That connection should bring us together in this community‭…‬.and I pray we will stop letting the media or the powers that be keep us apart.‭  ‬We can get beyond the spoken language‭…‬every time,‭ ‬as Tyrone says,‭ ‬that we say:‭ ‬“1,‭ ‬2,‭…‬1,‭ ‬2,‭ ‬3,‭ ‬4‭…‬..‭”‬ and the rhythm kicks off into something fierce‭!   ‬The audience response has been tremendous.‭  ‬The numbers keep growing.‭  ‬And best of all,‭ ‬people want to know MORE‭!  ‬This year they are requesting bibliographies and young people are asking for recommended reading to begin their journey of knowledge‭…‬it doesn‭’‬t get any better than that.




In your experience,‭ ‬where do art and activism meet‭?



Art and activism meet everywhere that we are.‭  ‬Art is a reflection of society at any given time.‭  ‬It is reflected in everything from rap music and hip-hop to the messages that we are tolerating on television and in the movies.‭  ‬The greater the actual numbers of‭ ‬“minorities‭”‬ the more negative the media message.‭  ‬I do not think this is accidental.‭  ‬So art has to challenge that‭…‬speak truth to the masses in ways that it can be heard,‭ ‬envisioned,‭ ‬shared and embraced.‭  ‬Our ancestors hid their messages in the drums,‭ ‬lyrics of spirituals,‭ ‬carvings‭…‬.so nothing is new‭!‬  I used to want art to be pretty and make me feel good‭…‬.and I still do.‭  ‬But I think that art should also make me a little uncomfortable at times‭…‬shake me up and make me reconsider my position and question what I know.‭  ‬That‭’‬s why I love that we are having our dialogues at the Levine‭!  ‬The museum has stepped out into some uncomfortable territory at times‭…‬.and I thank you for it.



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