Reopening Nebraska’s black history museum is an uphill struggle
November 18th, 2013
Lincoln, NE — Nebraska has museums dedicated to Latin American culture and history, Jewish history, Czech history and even Welsh history â€“ but none that focus on the experience of black Nebraskans. A group of dedicated Omahans is looking to change that, but itâ€™s a tough road.[audio:https://kvnonews.com/wp-content/uploads/2013/11/GPBHM_WP.mp3]
Photos of historical objects brought to life line the walls of Carver Bank in North Omaha: boxes containing FBI files on Malcolm X, a letter and lock of hair that belonged to a Nebraska relative of Frederick Douglass. One shows a tattered fragment of the Afro-American Sentinel, a black newspaper published in Omaha from 1893 to 1899.
The exhibit runs through January 3rd; Omahan Delores Oham was there on opening night.
â€œItâ€™s an opportunity to learn, and to grow,â€ she said. â€œNot just about my culture, but about Omaha, in that how strong a part of Omaha the black community is.â€
Oham couldnâ€™t help but stare at the images before her.
â€œIt makes me feel like maybe Iâ€™ve been walking in a vacuum,â€ she said. â€œBy coming here tonight, and looking at some of this, (it) makes me think, â€˜Wow. I need to expand my own horizons.â€™â€
She said she wished it were easier.
“The museum is open”
Enter Jim Beatty, the driving force behind efforts to re-open the Great Plains Black History Museum in Omaha, which has items featured in the Carver Bank exhibit. Beatty and his fellow board members will tell you the museum is open â€¦ itâ€™s just the building that closed back in 1997, after years of neglect.
But itâ€™s not like the general public can explore the museumâ€™s collection of artifacts when theyâ€™re locked away in storage. At a recent public meeting about the museumâ€™s future, BeattyÂ highlighted some of those artifacts.
â€œI just found this a couple of weeks ago,â€ he says. â€œI couldnâ€™t believe this.â€
He clicks through a presentation of photographs.
â€œA white-only telephone booth,â€ he continues, eliciting murmurs from the crowd. â€œA white-only telephone booth in Lincoln, Nebraska. Interesting, right?â€
After the meeting, the former chair of Omahaâ€™s Durham Museum said he envisions an ambitious future for the Great Plains Black History Museum.
â€œWe want to show the connection, ideally, with every county in Nebraska and what the African-American experience and legacy has been in that county,â€ he said.
The big goal is a new building, but thatâ€™s still a ways off:Â â€œI would say, conservatively, we are a good 24 months away from anything,â€ Beatty said. â€œThereâ€™s still a lot more that has to be done. We have to identify donors, benefactors, weâ€™d have to select a location, all of that takes time.â€
Museums nationwide are struggling to stay financially afloat, competing for smaller and smaller pots of funding. But for black museums, itâ€™s an even greater struggle.
According to a report from George Washington University, â€œAfrican-American museums are under-funded due to historical barriers, cultural preferences for charitable giving (and) institutional youth.â€
It doesnâ€™t help that Omaha is still a fairly segregated city, said Patrick Jones, a professor of history and ethnic studies at the University of Nebraska-Lincoln.
Weâ€™re still divided in many ways, and thereâ€™s no doubt a museum thatâ€™s focused on race can often run into those kinds of issues, or that can limit the kind of support that it might get,â€ he said. â€œThere are a whole lot of folks in the majority who are not interested in African-American history and donâ€™t always see the value.â€
Jones is active in several programs and organizations relating to black Nebraska history, including doing some cataloging work for the Great Plains Black History Museum.
â€œSmall, historical museums and archives generally face a lot of challenge in terms of getting on peopleâ€™s radar and the awareness that people have about them,â€ he said, â€œand also, most importantly, raising funds.
â€œYou add in the added dynamic of race in our society, and it certainly amplifies some of those challenges.â€
Jim Beatty says when he took over the Great Plains Black History Museum several years ago, the organization had $20.58 in its bank account. Now? Theyâ€™ve raised $142,000. But despite the growth of the museum under Beattyâ€™s leadership, concerns about credibility linger. He acknowledges that given the museumâ€™s past troubles, transparency is key.
â€œWeâ€™ve got to continue to show this community â€“ all community, black, white, brown, all people â€“ that we are relevant, and that we are serious,â€ he said.
Peggy Jones agreed. The professor of black studies with the University of Nebraska at Omaha is working on an interactive performance art piece about Omahaâ€™s black history; she also wrote a play about the first black artist to graduate from the University of Nebraska-Lincoln.
â€œWe have a long, rich history,â€ she said. â€œThereâ€™s a strong sense I get sometimes from younger students – and when I say younger, I mean college students – that are like, â€˜What do I need to know that for?â€™
â€œThere really is a disconnect between, â€˜You know that this happened in â€™54 and this happened last year, does that not tell you something?â€™â€ Peggy Jones said. â€œHistory is not this isolated thing that happened long ago. Itâ€™s something that we live with.â€
She said the lack of awareness about black history â€“ what she calls â€œbenign neglectâ€ â€“ from the community toward institutions like the Great Plains Black History Museum is almost more harmful than outright hostility.
Connecting to the community
Breaching that disconnect between museum and community is key, agreed Samuel Black, president of the Association of African-American Museums.
â€œMuseums donâ€™t operate outside of those communities,â€ he said. â€œSo if you want to tell the story of black businesses in Nebraska (in the) early 20th century, youâ€™re going to have to go to the black community to help you do that. So you have to build those types of relationships.â€
One way Jim Beatty hopes to make those connections is by taking exhibits on the road across the state. At his recent presentation, he told the crowd Nebraska â€œdeservesâ€ to know the history of its black community.
â€œWe want black folks and white folks to walk through this building and understand that we are necessary, we are a part of this community, we are a part of the legacy of this state,â€ he said. â€œAnd we are going to show it, from the Conestoga wagons to the Tuskegee airmen to Michael Anderson, all of that will be displayed.
â€œBut weâ€™ve got a lot of work to do.â€
When asked why he agreed to take over as chair of a destitute, homeless museum with an unsavory reputation, Beatty laughed.
His answer was simple: he loves history, he said. And someone had to do it.
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