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Travel Back to the 20s with The Valentine’s “Ain’t Misbehavin’” Exhibit

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As The Valentine prepares to reopen, we take a look inside their latest exhibit — which heads back to the 1920s to feature Richmond’s culture of the era, and local stars like Bill “Bojangles” Robinson. 

As functions and businesses begin to open again, one of Richmond’s most iconic museums, known for their collection and preservation of the city’s culture, is re-opening. While visitors will have to make reservations to tour The Valentine’s array of exhibits, museum-goers will be able to visit a new exhibit available to the public on July 21st. 

The new addition to The Valentine is named “Ain’t Misbehavin’.” It contains antique outfits and collectables from the Roaring 20s, telling the story of Richmond’s rich culture, the history of legendary dancer and Richmond native Bill “Bojangles” Robinson, and the evolution of fashion through an exclusive collection of women’s dresses, children’s clothes, and menswear. Kristen Stewart, Fashion Historian and Curator of Custom Textiles at The Valentine, describes what you’ll find when you visit. 

“The collection has a really complicated history,” Stewart said. “It was collected at a time when the museum was not the Richmond City history museum, but an encyclopedic museum. Concurrently along with the exhibition, [we] are executing a refinement project.”

During the exhibit’s preparation, Stewart has worked to determine what objects in the customer textiles collection have rich histories related to Richmond. The Valentine plans to care for, and highlight, these objects from the 1920s for perpetuity. 

PHOTO: Courtesy of The Valentine Museum

“There are about 40 dressed mannequins, and those are mostly women’s clothing,” Stewart said. “The vast majority is women’s clothing, with some children’s clothing and a handful of men’s sportswear. You’ll see examples of what women wore as ‘day wear,’ or casual wear. Active sportswear include bathing suits and knickers, which are really fun.” 

The exhibit has an emphasis on what working women in the 20s were wearing. It includes a number of examples of swimwear and sportswear, then moves into a collection of professional women’s clothing. 

“There was this huge influx of women, both graduating and completing higher tiers of degrees,” Stewart said. That influx of women into the workforce a century ago led to a whole new direction in women’s fashions.

“Then, of course, the show has to finish with what everyone is coming to see: 1920s evening wear, which is renowned and bright for its wonderful sparkle,” Stewart said.

The country was booming, and 1920s were a time when people celebrated, partied, and found fun wherever they could. Stewart emphasized the change in atmosphere that occurred due to impactful changes in society, along with the era’s new trends in fashion. 

“The 1920s were a moment when recreational sports were a leisure activity on the rise,” Stewart said. “Consequently, you see a fashion story evolve alongside a social story.”

PHOTO: Courtesy of The Valentine Museum

The exhibit’s title comes from a song of the same name, written in the late 20s and made popular by Bill “Bojangles” Robinson. Born in Richmond, Robinson was one of the most groundbreaking actors and dancers of his time. He pursued a career in acting, and broke social norms as one of the first African-American artists to perform alone on stage. At the time, black men never performed by themselves; only white men were allowed to be the “star” of the show. 

“There was this pleasure of a liberated lifestyle, and some fear and anxiety of the consequential political oppression in response to this liberation,” said Stewart. “The lyrics to ‘Ain’t Misbehavin’,’ to me, beautifully reflect this tension. It’s a really jazzy score that makes you want to misbehave, but the words are speaking the opposite, like ‘saving my love for you,’ and staying true.”

While most of the collection’s garments come from generous donations and The Valentine’s own curation, Stewart notes that a few items will be missing from the museum — unless the community has outfits of their own to offer. 

“We do not have any outfits related to Bill Robinson,” Stewart said. “[It’s] an honest reflection of the fact that we don’t have more material relating to his life. We, frankly, don’t have any actual women’s garments worn by black women in the 20s from Richmond. As a fashion historian, that’s just pure heartbreak, isn’t it?” 

PHOTO: Courtesy of The Valentine Museum

As a historical museum, The Valentine recognizes that the lack of preserved historical garments comes from racial segregation during the era. 

“Even though The Valentine was desegregated, in terms of audience, from the beginning, there was this hesitance,” Stewart said. “There wasn’t the same line of communication that you would have if you weren’t facing, and operating in, a segregated society. In the 30s and 40s, we missed the opportunity to collect these clothes.”

Stewart explained that The Valentine has acknowledged these missing items in the exhibition, and hopes that the Richmond community can step in to donate clothing they may have from the 20s. 

“We will have silhouetted figures that acknowledge what’s missing,” Stewart said. “[They] serve as an invitation to black families living in Richmond, who maybe had a great-grandmother from the 20s, who have captured and preserved that time in history through clothing.” 

The 1920s brought historical moments of monumental change to the country, and allowed Americans new freedoms they had not had in the past. With many of the same issues alive in Richmond in today’s world, Stewart notes the parallels between the show and Black Lives Matter protests. 

“It is like a mirror. It feels like the show provides us an opportunity to acknowledge that there have been moments of weakness,” Stewart said. “Young people, in some ways, see more clearly than those who are older than them. [They] certainly are looking at the future with a more clear-eyed vision than their parents are. The youth element that we see on the streets today may see itself reflected in the mirror in this show.” 

Photo and Caption Courtesy of The Valentine Museum

Overall, Stewart hopes that the new exhibit will not only commemorate that time in history, but share information to teach about societal differences and educate through the use of clothing.

“There is some inspiring content,” Stewart said. “We’re inspired by what women were achieving, inspired by what — in spite of segregation — black Richmonders were giving. [We’re] inspired by how Richmond was embracing this rapid pace of change in the beginning of the 20th century… and sobered by some of the dark lessons of that time.”

As The Valentine gears up to open its doors again after the pandemic’s initial closures, Stewart is pleased to see “Ain’t Misbehavin’” be the exhibit to kick it off.

“The reason I’m so glad this is the show we’re opening with is that it recognizes all the tension, pain, and anguish of that period,” Stewart said. “It is also extraordinarily playful, and incredibly fun, because it’s driven by usefulness. It’s recognizing a decade that we refer to as the Roaring 20s. That’s not because people were sitting around twiddling their thumbs — they were having a good time.” 

To learn more about the exhibit, check out “Ain’t Misbehavin’” at The Valentine’s website. Admission to the Valentine is free this summer, but tickets for self-guided tours must be reserved in advance, due to social distancing protocols.

Top Photo courtesy The Valentine

Get Lost In Williamsburg with Phillip Merritt

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The Lost In Williamsburg podcast tells listeners a supernatural story of the city, shifting from the 18th century to present-day through strange and unexplained happenings. 

Phillip Merritt has “No [email protected]%s Left to Give” when it comes to art.

Phillip Merritt is an architectural landscaper by day, and a multi-dimensional artist by night. Merritt is widely known for his award-winning podcast Lost in Williamsburg and his tongue-in-cheek music videos on Vimeo — all of which he writes, plays and slays all by himself under the name 1000 Years From Now. His latest work, a music video titled “No F#@%s Left to Give,” is quite the ode to finding one’s artistic voice, and the freedom to express it no matter what age you are.

While it was always a dream for Merritt to play music, it never came as naturally to him as the visual side of art. “I don’t really play an instrument, although I do have a guitar that I strum along with. When I put together videos, I can strum a few bars and stitch them together,” he said. “I don’t really have much time to practice, especially if I’m writing, so that takes up most of my free time. I use Logic Pro and GarageBand to put together keyboards and other sounds.”

The inclination to create has always existed within Merritt. He got his start as a visual artist, and he’s always had an affinity for sound. The same cannot be said for writing,  even if it’s the majority of what he does artistically in his projects.

“I always hated writing in school when I was younger,” Merritt said. “But now I don’t have to please anyone with it. I can do it however I want; it’s a bit more freeing.” 

Merritt was born in Iowa, then lived in Texas through his formative years before graduating from the University of North Texas. Armed with an undergraduate degree in Drawing and Painting and a graduate degree in Landscape Architecture, he moved to Williamsburg in 1993 at 25 years old to be closer to his partner of (now) 30 years. 

“I always thought Williamsburg was a really fascinating place,” Merritt recalled. “It’s interesting; as a kid, my mom, aunt, and grandmother all loved visiting there. It was so beautiful. There are all of these incredible arrangements of spaces behind all the buildings and paths — it’s a very inspiring place to wander through. The whole thing is kind of ‘work of art meets a museum.’”

Merritt works to shed light on the city’s different layers on his Lost in Williamsburg podcast. Most people think of the town only as a tourist attraction, and it’s easy to forget just how old Williamsburg is. “They did a fantastic job rebuilding these buildings,” Merritt said. “It’s a world-class display of architecture, and I don’t think many people realize that. It’s also a huge step in historic preservation.” 

The beautiful scenery is undoubtedly an inspiration behind the podcast. It’s clear that Merritt is a landscape architect; that career choice, however, was also the driving factor in his search for an artistic outlet. It eventually led him to envelope his creative hankerings into a large, 20-episode script. 

“You hear a lot about people following their dreams, and I decided, ‘Why not give it a shot?’ I want to encourage people to try new things. I wasn’t necessarily a writer or a musician, but I just tried it and put it out there. I didn’t really edit myself, so a lot of the stuff I first put out was kind of rough, and not as high-quality. But people shouldn’t care about making ‘bad’ art — it’s more about the attempt to make art. Just getting it out there… do it long enough, you’ll start to improve.” 

Merritt received interest from actors sparked by fliers he put up, but with many roles to fill, he ultimately reached out to friends who didn’t come from acting backgrounds.

“It was awesome to see someone [working] with no experience in acting, who would never get up in front of a real audience,” he said. “Some people gave really terrific performances as complete amateurs. When there’s no camera or audience, it really allows people to feel a bit more free in regards to acting. Not being scared to say yes to something. Together, you can make something really fun and interesting.” 

The dramatic podcast is everything you wouldn’t expect it to be, but in the best way possible. At first, you think you’re about to hear a scary story, but what it turns into transcends any one genre. It’s like The Twilight Zone meets Dawson’s Creek — but slightly gay, ghostly, and full of murder.

The details that set Merritt’s work apart from that of other artists are his refreshingly brazen words, expressed through the dialogue he writes throughout all of his projects. LGBTQ subtleties are common, but he doesn’t fixate on these moments — he lets them lay naturally into the characters’ interactions, as they do in real life. These matter-of-fact relationship moments help normalize LGBTQ relationships in mainstream media, just as they continue to integrate into the fabric of our society. 

The storyline flips between colonial times and the present-day happenings of Williamsburg, intertwining musical breaks that Merritt splices throughout the narrative strategically. His music becomes pieces of the story arch on its own.

Merritt (at left) at Podfest 2017. Photo via Lost In Williamsburg/Facebook

The plot begins by following Thomas Jefferson and Professor Jobriath on a witch hunt, along with a William and Mary student, Aaron, who inadvertently falls victim to the antagonist. Enter Hebexa: a character who haunts them across dimensions, casting curses on other characters that, when they aren’t malicious, are quite entertaining. One example is the love spell she casts in one episode, falling on Thomas Jefferson and a plantation owner’s son. The millennium-teetering storyline is stitched together sonically, much like the foundation of a musical theatre play. Merritt also weaves in a podcast within the podcast, “Cacophony,” a radio show which kicks off Episode Two. Aaron’s character is interviewed on the fictional show about the latest up-and-coming news regarding his band. 

You don’t need to be from Williamsburg to appreciate this podcast. The city is fairly well-known outside the area, and a fun aspect of the show for Merritt was working with locals and their Tidewater accents.

“I got a kick out of sending that out, and having people all over the world hear what makes our area distinct,” he said. However, the themes within Lost in Williamsburg are what make it universally accessible.

To learn more about Merritt’s work, check out Lost In Williamsburg on Apple Podcasts and Soundcloud and hear an episode for yourself. His work in music videos and animation can also be found on Vimeo, at his 1000 Years From Now channel. 

Rooted & Rising: Richmond Thrives With BLK RVA

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“It’s more than just what’s in your history books.” BLK RVA showcases the booming black cultural scene that’s made Richmond what it is today. 

In the last 10 years, Richmond has exploded as a creative hub — in a good way. As someone who was born and raised here, I understand the potential culture this city has to offer, and recently it has acted on that potential. Now more than ever, creative spaces are being opened, small festivals are spread out across the city throughout the year, and even small indie and underground artists are gaining an increase in recognition.

But as natives, this is something we’re all used to; we’re almost unbothered by some of these things, because they happen so often. Yet as we reach 2020, the city has grown into a creative hub not many would have believed possible looking back on it years ago. It’s not the largest hub there is, but it’s definitely there — and it’s definitely working. 

Photo via BLKRVA

Inside of the gears of the City of Richmond, the black community has been working tirelessly to bring more attention to the cultural efforts they’ve produced in our home. What they’ve produced is nothing short of amazing, and it’s been influential to the culture of the entire River City. 

The black community has helped complete an unfinished circle in the perfect Virginia experience: one that many people who call themselves Virginians have never truly seen before. Luckily for them, a platform that emphasizes this black Richmond experience is here, and sits at our fingertips at this very moment. 

BLKRVA is a platform that highlights black spaces and black faces. It showcases Richmond to travelers from all around the world, working to spread the history and culture of the city to the extent that it deserves. 

Its central base is a tourism website, which features a plethora of black-owned businesses, events, and artists — ultimately it’s everything you’d want to see in Richmond, that you’d never know is right around the corner. 

“We’re the only ones in the Commonwealth to do something like this, and I believe we’re the second in the nation, behind Philadelphia,” said Amy Wentz, Member of BLKRVA Action Team. 

Photo via BLKRVA

Because of our city’s history with slavery and as the capital of the Confederacy, outsiders may have cringed at the thought of visiting Richmond. But with the light in our dark history, we’ve grown with the past, and Richmond is more now than just a scarred city. Much of that is thanks to the very people who were scarred by that history. 

While the black experience is not all there is in Richmond, it’s a major part of the overall Virginia experience. BLKRVA has given this experience a louder voice, telling the public, “It’s more than just what’s in your history books, and you’ll never know until you see it.” 

Their key tagline, “Rooted & Rising,” serves as both a reminder and realization: a reminder of their rich history in the state of Virginia, but also a “call to action,” rising against the negative connotations that come with it. 

Richmond is a hot spot in commemorating the history of America, and with that comes a commemoration of enslaved Africans. Over time, they helped advance Richmond into what it is today, despite the hardships they faced in their lives. 

Though the BLKRVA campaign was only launched earlier this summer, the organizers have been working behind the scenes on this plan for years. They have seen success working with larger black-owned events, such as the Afrikana Film Festival and The Black Restaurant Experience, which brought crowds of people nationwide to see the new cultural perspective Richmond has to offer. As time went on, the members of the campaign noticed a surging trend in foreign visitors coming to appreciate the efforts of black Richmond culture. This led them to reformat their work, bringing a focus to black-owned businesses that are staples of the city. 

Photo via BLKRVA

From there, the BLKRVA campaign was created with Richmond Region Tourism as a one-stop-shop, categorizing all the different black Richmond events for visitors and residents alike. 

Their listings include well over 100 restaurants, attractions, and events that take place across the city throughout the year. Listings include Addis Ethiopian, the Black History Museum and Cultural Center of Virginia, Big Herm’s Kitchen, Treat Shop RVA, C’est Le Vin Art & Wine Gallery, the Hippodrome Theater, Elegba Folklore Society’s Cultural Center, Sheep Hill Bistro, and many more.

Along with highlighting these black spaces in Richmond, BLKRVA also tells the stories of black citizens in the city, focusing on black creatives and writers. With this platform, creatives can explain their day-to-day activities to tell the story of a day in the life of a black Richmonder. Their interviews and features put the spotlight on public figures like Mecca Williams, Nadira Chase, Nickelus F, and Samantha Willis. 

Photo via BLKRVA

“If you want to be as a local would be, these interviews will give you everything you need,” said Wentz. 

It’s not often that people like this are given a voice, which makes their recommendations even more special than before. Ultimately, it fills the visiting experience for those who want to see our city from a different perspective. 

“It’s time for us to start celebrating and uplifting the black experience here; because of the easier access to travelling now, it’s up to us to change that connotation about Virginia,” Wentz said. “And it starts with things like this.”

PHOTO: BLKRVA

A decade ago, Wentz started “BlackRVA” single-handedly, as the original plan for showcasing black events and black-owned business in Richmond. With the help of her action team, she was able to manifest BLKRVA into the large, influential position it’s in today. 

“When I first started it, I had so much going on. I could hardly manage it how it should be… how it is now,” said Wentz. “So I’m very grateful to be able to work with so many different creatives, and bring out the true potential that BLKRVA had to offer.” 

As BlackRVA grew into BLKRVA, a Richmond Region Tourism platform, the potential to highlight the black culture scene in Richmond has grown along with it. They’ve expanded their coverage beyond the Greater Richmond area, and further into surrounding counties like Hanover, New Kent, Henrico, and Chesterfield.

Because of the innovative boom in the city, a new atmosphere has grown. It has allowed BLKRVA to flourish and prosper into successful platform — from one woman’s idea to the powerhouse of a team it is today, time has treated BLKRVA well, and given the team the tools they needed to build the organization up. 

“It feels great to know that these places are trusting us with what we do, because it’s never been done before. If we don’t make these places noticeable, they may never get the recognition they deserve,” said Wentz. “It’s one thing to do your own advertising, but to work with a cohesive brand and a team of other businesses just makes the impact more effective.” 

If you want to get involved with BLKRVA, check out their website to become a part of their upcoming events in the 2019 season, or message them to talk about volunteer or donation opportunities. 

Whenever you’re thinking about how to change your Richmond experience, I’d advise paying BLKRVA’s website, at visitblkrva.com, a visit. You may find exactly what you’re looking for. 

Top Image via BLKRVA

Opinion: Worry About Police, Not Just Protestors

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I’m teaching a class in Social Movements this semester. This has proven to be good timing, in the sense that neo-Nazis were just running amok down the street in Charlottesville – how helpful! (Uh, actually no. Murdering Nazis are never “good;” let’s just say it’s been instructive.) On the first day of class we talked a little about what had happened over the summer, and I wanted students to notice something that had surprised me.

The C’ville rally was violent, for sure. But the surprise? It wasn’t the police who were violent.

Empirically speaking, it is in fact the police who most often cause violence during protests. Mainstream media accounts of social movements almost always miss this point; reporters and editors tell the story of how protests “became violent,” or even apply the “violent” label to the protesters themselves. But it is almost always law enforcement that is the source of violence. Bull Connor, the head of law enforcement in Birmingham during the early 1960s, is often held up as an example of police forces driven to brutal repression by a twisted individual. But Connor represents the norm, not an outlier.

This probably shouldn’t be all that surprising. Police departments, as institutions, are organized to maintain order. (British Law Professor Robert Reiner, among others, has argued that modern police departments actually developed in the 19th and 20th century in response to protest politics.) Law enforcement and state authorities are not interested in democratic participation, and often directly oppose such participation if they perceive it as involving rule-breaking.

But this is what social movement activism is, by its very nature, about. Movements seek to obtain political goals by disrupting the normal flow of business. From strikes or boycotts to marches and “occupation” of public or private spaces, movement actors are trying to draw attention from the public and provoke action from authorities. They do this by breaking the rules of “normal politics” -– most people don’t spend their Tuesdays walking down public streets banging drums and waving banners -– and sometimes by breaking laws.

In general, authorities respond to such political disruption in two ways. The first is “co-optation” – they try to acknowledge and blunt movement energy. They invite movement actors to meetings, or even incorporate movement leaders into institutional structures like committees or commissions. (That’s the “co-opt” part.) Activists may feel like they have a voice and can now change things. And hey: sometimes they do! But movement action dissipates.

The other response — and one that is much more immediate in its simplicity — is repression, often through the use of express brutality and violence. This kind of response is pretty obvious in more restrictive regimes: the tanks in China’s Tiananmen Square, security forces likely setting fires in activist camps in Myanmar. But it’s a pretty standard response domestically as well. From early labor activists killed by bullets from national guardsmen, to civil rights protestors in the 1960s being attacked by dogs, to today’s Dakota pipeline protestors being blasted by water cannons in freezing temperatures, there’s a long history of state violence in response to movement activism.

And so it was strange for me to view the eyewitness accounts from C’Ville, where it turns out most of the violence occurred in front of police, but was not perpetrated by the officers themselves. Instead, the police seemed focused on staying as far above the fray as possible, to the detriment of some who were brutally assaulted. It might have required a protest in a famously progressive city, but for once we saw political activists suffer from not enough police action.

Here in Richmond, the C’ville experiences are very much on people’s minds as a confederate rally is planned for the Robert E. Lee statue on Monument Avenue this weekend. It’s unclear to me how many Confederates may actually appear; the police seem to be going by the claims of the organizers, who appear to be a trio of self-aggrandizing merchandise vendors more than anything else. But who knows? Based on my own experience taking on the Confederacy, I know there’s an active network of Lost Cause advocates and deluded amateur historians who are ready and willing to defend “states’ rights,” at least online. Maybe some of them, or (worse) the white supremacist groups stirred up by C’ville, may decide to tag along. And many reports indicate counter-protestors from Black Lives Matter and other groups will appear to challenge the Confederates.

No matter who shows up, it is clear that RVA Police Chief Alfred Durham has learned at least one lesson from C’Ville: the police are not going to stand down. In press releases and a series of community meetings this week, the Chief and his officers have stressed a zero tolerance for any threatening behavior. (Of course, thanks to VA’s generous open-carry laws, rally attendees are not allowed to bring bats or nunchucks but are welcome to bring their assault rifles.)

On one hand, Durham’s approach is a good thing: the RVA police won’t stand idly by while neo-Nazis fire into crowds or beat a counter-protestor with metal bars. But as a scholar of social movements, I can’t help but be worried about an increased police presence. More authorities don’t always mean more safety. In fact, over the history of movement politics, it means the exact opposite. We’ll see this weekend.

But just a word of warning: if you brave Monument Avenue, don’t just keep an eye out for protestors.

*This article was originally published in RVA Politics and can be found here. 

 

Cover photo by Voice of Detroit

Opinion: Removing Confederate statues is Richmond’s easy way out

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After the violence and hatred that ravaged Charlottesville, Richmonders could be excused for thinking the swift removal of our city’s prominent Confederate statues along Monument Avenue may be the best way to prevent further chaos and bloodshed. However, such an approach woefully neglects Richmond’s unique moral obligation to contend with its legacy of racism as the former capital of the Confederacy.

Other cities may follow Baltimore’s lead and tear down their statues in the night, but for Richmond to do so would deprive its citizens—and our country as a whole—of an ideal opportunity to confront head-on the prejudice of the past that continues to plague us.

The growing demands for the statues’ rapid removal are the result of our state and city being swept up in an overheating national dialogue on diversity and white nationalism. Yet Monument Avenue is a local landmark that deserves the careful consideration of and input from our community. Richmond should strive to be a model of racial reconciliation and tackle our Confederate heritage in a transparent, public, and comprehensive manner rather than let the toxic national dialogue dictate a hasty response.

Simply tearing down a handful of statues is too easy of a fix to an extremely complex problem, and such an action would rob us of a vital educational tool through which to have a necessary, but difficult conversation about the history of racism in Richmond and Virginia. We are a state which chose “massive resistance” over integration and shut down our public schools in 1958 and 1959 rather than allow white and black children to learn together. Richmond’s segregated neighborhoods provide a perfect picture of the pernicious effects of redlining—the practice of disqualifying minority areas from receiving home loans.

The University of Virginia in Charlottesville was once a pioneer of eugenics—the “science” made notorious by the Nazis, which sought to improve populations through controlled breeding and forced sterilization. In fact, Virginia did not repeal its forced sterilization law, which disproportionately affected blacks, until 1974. Removing statues alone won’t remove the lasting legacy of white supremacy in Virginia.

To overcome our dark past we must flesh out our history, not erase it.

Removing the statues by tucking them away in a museum makes it all too easy for us to forget the sins of the past and their continued impact today. Instead, we must alter the sites’ official information and place these statues in the context of their creation: the post-Reconstruction era when membership of the Ku Klux Klan exceeded four million and white nationalists reclaimed state governments from federal oversight. The final statue on Monument Avenue was completed in 1929, sixty-four years after the fall of the Confederacy; the statues are less about the people they memorialize than those who erected them. Installed to re-establish white supremacy in Virginia, the statues represent a glaring display of white dominance over the capital that must be dramatically altered in order to reclaim it as a space for all Richmonders.

In the modern era, to heal society after civil war and genocide—and slavery was nothing less than a slow genocide—typically a truth and reconciliation process must take place, something our country has never truly attempted. Richmond bravely undertook such an effort in 1996 with the installation of a statue of Arthur Ashe, a local tennis hero and symbol of black achievement, to cap off the five Confederates. We should continue that work and expand the figures ensconced on Monument Avenue. Dialogue with the community should help decide which Virginians to include, ranging from prominent civil rights activists and lynching victims, to abolitionists, to slave rebellion leaders.

As the evolving discourse around white nationalism and the legacy of the Confederacy transforms the statues from symbols of black oppression to emblems of white guilt, people are becoming ever more comfortable with simply removing them. Anti-racism activists shouldn’t fight to remove the statues just as their symbolic power is beginning to make people uncomfortable about the legacy of racism. They should instead harness their prominence to drive conversations on outstanding racial issues from affirmative action and inequities in education to justice reform and reparations.

We must never forget that there was a time in our history when white men would rather die than see black people set free. Like the concentration camps of the Nazis, these statues must be preserved as the odious symbols of hate that they are, and put to use to educate society against the evils of tribalism and prejudice.