This weatherboard-clad slave cabin, listed in the National Register of Historic Places, is currently being moved to the Smithsonian Institution from its original location on Edisto Island, South Carolina. Photo courtesy of The National Museum of African American History and Culture

UPDATE: Curator interview reveals more historical information about the cabin.

Point of Pines Plantation on Edisto Island, South Carolina, had more than 170 slaves before the Civil War working in the fields to pick Sea Island cotton. Not much evidence of the slaves’ daily toil exists now, though, except for a couple one-story, dilapidated cabins–the last physical reminders of the brutal and degrading living conditions of the enslaved, as well as an emblem of the strength and endurance of the nearly four million Americans living in bondage by the time of the war.

Today, the National Museum of African American History and Culture (NMAAHC) announced the acquisition of one of these 19th-century cabins, which was donated by the Edisto Island Historic Preservation Society last month after they received it from the plantation’s current owners. The cabin will travel to its new home at the Smithsonian to preserve the story it stands for.

Slave cabins are held in other museums and collections around the country. However, NMAAHC focused on acquiring one from Edisto Island, says curator Nancy Bercaw, who is in South Carolina this week to oversee the relocation project, is that the Point of Pines plantation was one of the first places where slaves “self-emancipated” themselves before the Emancipation Proclamation. South Carolina’s coastal islands, Bercaw says, were the earliest territories overtaken by Union troops. Point of Pines became a Union stronghold in 1861, and the African Americans living on the plantation, along with other slaves from around the area who had left their owners, declared themselves free.

Photo courtesy of The National Museum of African American History and Culture

Museum representatives just arrived at the plantation this morning to begin the week-long process of taking the cabin apart, piece by piece, and driving it up to the Washington, DC area. Officials say that every board and nail will be carefully numbered and packaged for shipment. The cabin eventually will be reconstructed inside the African American History and Culture Museum, which is scheduled to open in 2015.

Already, dismantling the cabin and examining the site has revealed details about the plantation’s slave community, says Bercaw. The cabin is now understood to have been part of a larger “slave street,” which consisted of up to 25 similarly small dwellings built in a row along a road. Bercaw and her team are working with Low Country Africana, too, to interview local descendents of the slaves. Their stories will supplement the documentation of the community’s history.

“The Point of Pines slave cabin will help us share the living history of a place and the resilience of the people, who, in the darkest days of slavery, built the cabin, cleared the land, worked in the fields and raised their families there,” says  Bercaw. “The cabin will be one of the jewels of the museum positioned at its center to tell the story of slavery and freedom within its walls.”

Lonnie Bunch, the museum’s founding director, says: “Slavery is one of the most important episodes in American history, but it is often the least understood. By exhibiting this cabin, NMAAHC will ensure that the rich, complex and difficult story of the enslaved will be made accessible for the millions who will visit the museum.”

The cabin will be the focal piece of the museum’s exhibition “Slavery and Freedom,” which examines slavery’s role in shaping America and its lasting impact on African Americans.

The Museum currently is in the early stages of construction, but stop by its recently opened onsite Welcome Center to preview what is to come.

On Friday, take a tour of “Changing America,” an exhibition that tells the story of America’s push towards racial equality from the Emancipation Proclamation to the Civil Rights Movement. Photo by Cocoabiscuit, courtesy of Flickr Creative Commons

Friday, May 3: Exhibition Tour: Changing America

This year is a big one for celebrating civil rights; 2013 marks both the 150th anniversary of the Emancipation Proclamation and the 50th anniversary of the March on Washington, in which Martin Luther King, Jr. told the nation he had a dream of equality. Changing America: The Emancipation Proclamation, 1863, and the March on Washington, 1963 celebrates both momentous events with related historical objects, including the pens Abraham Lincoln and Lyndon Johnson used to sign the Emancipation Proclamation and Civil Rights Act, respectively. Today, stop by the exhibition for a tour that explains the various objects’ significance. Free. 2 p.m. African American History Museum.

Saturday, May 4: I Want the Wide American Earth Family Festival

Happy Asian Pacific American Heritage Month! To kick off the month’s celebration of Asian Pacific American culture, as well as to show off its new exhibit I Want the Wide American Earth, the American History Museum has organized arts, crafts and a scavenger hunt today, along with an afternoon of storytelling and spoken word performances. Guests include local writers Wendy Wan-Long Shang (The Great Wall of Lucy), Eugenia Kim (The Calligrapher’s Daughter) and Scott Seligman (The First Chinese American: The Remarkable Life of Wong Chin Foo) and spoken word extraordinaire Regie Cabico. Free. 11:30 a.m. to 4 p.m. American History Museum.

Sunday, May 5: Childen’s Day

Keep the Asian Pacific American Heritage Month festivities going! Today, the American Art Museum celebrates Children’s Day, a traditional Korean holiday for kids, with arts and activities inspired by Nam June Paik (1932-2006), an avant-garde musician and installation and video artist whose work is on display in the museum. Kids can play with interactive TV and robot games and go on a scavenger hunt (in case you missed yesterday’s!). Free. 11:30 a.m. to 5 p.m. American Art Museum.

Also, check out our Visitors Guide App. Get the most out of your trip to Washington, D.C. and the National Mall with this selection of custom-built tours, based on your available time and passions. From the editors of Smithsonian magazine, the app is packed with handy navigational tools, maps, museum floor plans and museum information including ‘Greatest Hits’ for each Smithsonian museum.

For a complete listing of Smithsonian events and exhibitions visit the goSmithsonian Visitors Guide. Additional reporting by Michelle Strange.

Smithsonian in snow, circa 1977. Photo by Smithsonian Institution

Looking for something to do today, while the snowy weather conditions persist? The Smithsonian museums will be open for business today. But the National Zoo will be closed Wednesday, March 6, 2013.

Plan your visit, using our convenient Tours app, a free download is available here.

One of the nine students who desegregated Little Rock, Carlotta Walls LaNier (top row, third from right) recently donated her dress (left) from what would have been her first day of school. The group is pictured in 1957 with civil rights activist Daisy Bates, who helped lead the effort to integrate Little Rock. Photo by Cecil Layne, courtesy of the Library of Congress

Carlotta Walls set out for her first day of 10th grade in a new dress. The year was 1957, and the school was Little Rock Central High. Walls and eight other African-American students were stopped by a white mob opposed to desegregation, and the ensuing confrontation between Arkansas and federal authorities took 20 days and Army troops to quell.

Walls recently donated the dress—patterned with numbers and letters—to the National Museum of African American History and Culture. Bill Pretzer, a curator, says her great-uncle bought it thinking, “Desegregating Little Rock merits a store-bought dress.” Walls graduated from Little Rock Central in 1960, after her home was bombed that February.

“I really did want that diploma,” she says, “to validate all of the crap that I had gone through.” Carlotta Walls LaNier, now 70, is president of the Little Rock Nine Foundation, which works for equal access to education.

National Guardsman prevents the students (including Carlotta Walls on the left) from entering the school, September 4, 1957. Photo by Will Counts, courtesy of Arkansas History Commission

For your first day of school at Little Rock Central High School, why was that store-bought dress so special?

“We didn’t purchase too often, to be honest with you, if you understand the Jim Crow South, you couldn’t try on clothes, and so forth, as I grew up. My mother was an expert seamstress, so she just made all of our clothes, including hers. My great uncle, knew that that was the case and he wanted me to have a  store-bought dress to go to my new school, so he stopped by the house and asked my mother, he said, here’s the money and I want you to go get her a store-bought dress.”

Of the nine students, pictured here in their 1957 yearbook photographs, Carlotta Walls was the youngest. Courtesy of Chestnutt Library

What were you thinking life at your new school would be like?

“I knew that we could not do any extracurricular activity…I knew I was giving that piece up but I just figured that the following year I’d be able to get back to extracurricular activities. That part was okay. It was excitement for me, to be going to a new high school, and to be the one that was in my neighborhood. So that was what was going on in my mind.”

“Yes, I saw all of the anger, and the ugly faces across the street, but I ignored them, and I really did consider them ignorant people. To be honest with you, that is what really got me through the whole year, that I knew this was ignorance that was making these statements and not the type of people that I would associate with.”

The evening newspaper’s front page after the students were denied entrance to the school. Courtesy of the Little Rock Nine Foundation

Were your parents worried to send you?

“I think they were more proud of the fact that I had signed up to go without a discussion with them.”

“I know they were nervous by what they were reading, but they also felt confident that we were doing the right thing. When I wrote my book, I read some quotes of my father’s and he felt that, he had served in World War II, I had a right to go to that school and his tax dollars helped pay for that school, for the schooling that went on. And he felt that they didn’t separate his taxes, so why should we be separated as far as going to school?”

“Black Monday” was coined to mark the date of the Brown v. Board of Education decision, Monday, May 17, 1954. In protest, the White Citizens’ Council movement in Mississippi, led by Thomas Pickens Brady, a circuit court judge, published this handbook, Black Monday, calling for the nullification of the NAACP, the creation of a 49th state for African Americans, and the abolition of public schools. Courtesy of the Library of Congress

As the youngest, how did you relate to the rest of the Little Rock Nine?

“I listened to the seniors and juniors, even when I was in junior high school, I looked up to those who were older and were doing well, they were role models for me.”

“I must admit as the months went on, I recognized we were all equal in this, so you know my decision making got sharper and more focused, I think I was focused to start with, otherwise I wouldn’t have gone there anyway, but as far as decision making I was making some decisions that were somewhat different than some of the others because I looked at the landscape a little bit differently.”

“One in particular. . .I was thinking about Minnijean [Brown-Trickey] and Melba [Pattillo Beals] and a couple of others who bought their lunch every day in the cafeteria. That was a battleground in my mind that, you knew that you were going to have to deal with being pushed and shoved. . .in line to purchase your lunch. So I brought my lunch every day, so I wouldn’t have to deal with that. I dealt with it enough in the hallways and in the classrooms. My one break was having lunch, so why have to continue that sort of thing in the lunch line?”

Protestors, one with a Confederate flag, gather at the capitol building to protest the reopening of the public schools in 1959. Photo by John Bledsoe, courtesy of the Library of Congress

“Race Mixing Is Communism,” read one protestor’s sign. 1959. Photo by John Bledsoe, courtesy of the Library of Congress

A young kid watches the mob of protestors as they march from the capitol building to the high school. 1959. Photo by John Bledsoe, courtesy of the Library of Congress

But you made it through the first year and then came back your senior year, even after the governor closed the school for an entire year?

“I was determined to finish that year, I was not going to give up, because that way they would’ve won, and I was not about to let that happen. Because of my sports involvement, I was a pretty competitive person. I was just not going to let that happen. I didn’t have to go back, but after awhile, after that first and the second year the schools were closed, I went back my senior year to finish, because I really did want that diploma to validate all of the crap that I had gone through.”

“I remember being back on the campus and the fact that there were no guards there to protect us. I was cautious, there was no question about that, however, I also felt that the senior class members were in the 10th grade with me. . .they had suffered just like I had in a sense with school being out and they were low people on the totem pole too, so now that they were in a leadership position, they were determined not to have the same sort of things to go on. Not to say that they stopped a lot of things, but the tone was different and they didn’t want the schools to be closed either, they were happy to be back in school.”

New York Mayor Robert Wagner greets the Little Rock Nine students, shaking hands with Carlotta Walls on his right and Thelma Mothershed on his left, in 1958. Photo by Walter Albertin, courtesy of the Library of Congress

Why did your mom keep your first day of school dress all those years?

“She just packed it up and put it in the cedar chest. I think not knowing, but at the same feeling that it meant something, she kept it. And I’m just happy she did.”

“This day has been a long time coming,” Barack Obama said last February at the groundbreaking ceremony for the National Museum of African American History and Culture (NMAAHC). The museum, first proposed by black Civil War veterans, was finally approved a decade ago, and construction is now underway.

Today, the museum’s future site is an enormous fenced hole in the ground at the corner of 15th Street and Constitution Avenue on the National Mall’s northwest corner. But visitors are already stopping by the new welcome center that opened in an on-site trailer over the holidays in December.

“The Welcome Center ties in with [Museum Director] Lonnie Bunch’s vision that the museum is open before we have a building,” says Esther Washington, Smithsonian’s director of education. This vision hopes to use modern technology to extend the museum’s reach beyond Washington. In 2007, the museum launched a virtual “Museum on the Web,” and over the past five years, it has opened exhibits in the International Center of Photography in New York City and at the American History Museum.

Panels, a plasma screen and a miniature model of the Mall explain how the idea for the museum came to fruition, kiosks quiz visitors on African American culture and an information desk staffed by volunteers provides the latest updates on the museum’s progress. “People interested in African American history, and interested in American history through an African American lens can see the collection, they can see the public programs we’re doing,” says Washington.

But plasma screens and panels have nothing over the center’s most popular attraction—watching the construction. A row of large windows overlooking the big hole is the new must-see in Washington D.C., particularly for kids.

“Visitors can see the real work that we have done so far,” says Washington. And for a city frequently chastised for government gridlock, a place to go to see progress and industry can be a big draw.

The Museum of African American History and Culture, Smithsonian’s 19th museum, opens in 2015. The Welcome Center currently runs on a limited schedule, on Tuesdays and Thursdays from 10 a.m. to 2 p.m.

The National Museum of African American History and Culture opens in 2015, but you can learn all about it today at its new Welcome Center. Photo by Mike Barnes, Smithsonian Institution.

Let your horse sleep in today. Smithsonian museums don’t open until noon due to weather. Courtesy of Smithsonian Institution

Smithsonian museums in the Washington, D.C. area as well as the National Zoo will open at noon Monday, due to inclement weather.

An early morning round of freezing rain left roads slick with ice as federal workers and schools around the area got off to a slow start. Canada would like to remind us, via Huffington Post, that cold weather has some perks too, eh? Like making it more difficult for some viruses and bacteria to live. Plus you can effectively “wash” your bed linens by hanging them out in the cold. We’d recommend waiting for the rain to stop, though, before you give that a try.

Today, President Barack Obama will take the oath of office for his second term. Courtesy of the White House, 2009

Inauguration day, it’s finally here, along with millions of visitors looking to take in some uniquely D.C.-culture. While our special presidents tour from our visitors guide app will keep you exploring in your spare-time, this post is all about the when, where and how of January 21. Plus, a few select events happening around the Smithsonian, you know, in between the whole inauguration thing.

Hours

On Inauguration Day, January 21, Smithsonian museums on the National Mall are open 10 a.m. to 5:30 p.m. A few museums will open early—the Castle opens at 7:30 a.m., Sackler Gallery, Freer Gallery, Hirshhorn and African Art open at 8 a.m. Mall entrances on the south side will be closed. Visitors will be asked to use the Independence Ave. entrances.

The American Indian Museum and the Renwick Gallery are closed January 21.

The Smithsonian American Art Museum and the National Portrait Gallery are open from 11:30 a.m. to 7 p.m.

The Luce Center at the Smithsonian American Art Museum and the Lunder Conservation Center will be closed Sunday, January 20.

Street Closings

Most streets around the National Mall—including Independence and Constitution avenues and Jefferson and Madison drives—will be closed Monday, January 21.

Metro

The Archives, Smithsonian and Mt. Vernon Square stations will be closed Sunday, January 20 to Monday, January 21, midnight to 5:30 p.m. All other stations will open Monday, January 21 at 4 a.m.

Parking

No Parking on the National Mall after 6 p.m. on Sunday, January 20.

Restrooms

All museums, open to the public during designated hours, have accessible restrooms

Read more.

You know how it goes: Now that you’ve been sworn in, what are you going to do? I’m going to the Smithsonian! Courtesy of Wikimedia

Select Events

Live broadcast of the swearing-in ceremony in Flag Hall in American History Museum, beginning at 11:30 a.m. A live broadcast will also begin at 11:30 a.m. at the African Art Museum.

Inaugural theme walk-in tours, Monday, January 21, 12:30 p.m. and 2 p.m. at the American Art Museum.

For “Super Sonic Weekend: Sounds and Songs of the American Presidency” (all day Monday), Smithsonian Folkways Recordings is streaming audio recordings related to the American presidency, from a 1757 campaign song used by George Washington in his first race for the Virginia House of Burgesses, to presidential speeches and much more.

Tour America’s Presidents at the National Portrait Gallery at 1:00 p.m. and 3:30 p.m.

Select Exhibits

At the National Portrait Gallery: ”Portrait of President Barack Obama” The original artwork, a hand-finished collage by artist Shepard Fairey, from President Barack Obama’s 2008 campaign is on view January 19 – 22. The work is joined by two larger-than-life tapestry portraits of the president by artist Chuck Close.

At the American Indian Museum: ”A Century Ago: They Came as Sovereign Leaders” This photo exhibition focuses on President Theodore Roosevelt’s 1905 inaugural parade and the six great chiefs who participated in the parade arriving with their own purposes in mind and representing the needs of their people.

At the National Museum of African American History and Culture Gallery in the American History Museum: Changing America: The Emancipation Proclamation, 1863, and the March on Washington, 1963″ In 2013 the country will commemorate two events that changed the course of the nation-the 1863 Emancipation Proclamation and the 1963 March on Washington. Standing as milestone moments in the grand sweep of American history, these achievements were the culmination of decades of struggles by individuals – both famous and unknown – who believed in the American promise that this nation was dedicated to the proposition that “all men are created equal.”

For a step-by-step guide to the greatest presidential hits in the collections, download the FREE app for your smartphone.

Jamie Foxx as Django. Courtesy of Columbia Pictures/Sony Pictures Digital Inc.

For more than two centuries slavery dominated American life, the shadow of slavery shaped everything from politics to the economy, from Westward expansion to foreign policy, from culture to commerce and from religion to America’s sense of self. And yet, contemporary America has little understanding or tolerance for discussions about the enslavement of millions. In many ways, slavery is the last great unmentionable in American public discourse. So I was hopeful and interested when I learned that Quentin Tarantino was to tackle the subject of slavery in his movie Django Unchained.

At nearly three hours long, Django Unchained is as much about slavery as a spaghetti Western is about the realities of the American West. Slavery is little more than a backdrop, a plot device for Tarantino’s musings on violence, loss, individual and collective evil, sex and retribution. The notion of a black man (Jamie Foxx as Django) willing to risk all to regain the wife (Kerry Washington as Broomhilda) who was taken from him when she was sold like chattel is a powerfully compelling narrative, one that is ripe with historical accuracy, drama and pain. Unfortunately, the richness of this story is obscured by the Sam Peckinpah-like violence and by the overly broad characterizations that reduce the character’s humanity to caricature. I understand the power of satire and the fact that it is “just a movie,” but the story of slavery deserves a much more nuanced, realistic and respectful depiction.

There are, however, aspects of the film that successfully illuminate the dark corners of the enslavement of African Americans. Tarantino captures the manner in which violence was an everpresent aspect of slave life that helped to maintain and protect the institution of slavery. The scenes where Broomhilda is viciously whipped or where Django removes his shirt to reveal a lifetime of scars are the movie’s most accurate and most painful moments.  Tarantino also exposes the sexual abuse and the lack of control that enslaved women had over their bodies: to the movie’s credit, it does not shy away from the realities of sex across the color line. While Leonardo DiCaprio’s over-the-top depiction of plantation owner Calvin Candie often brought inappropriate chuckles from the audience, DiCaprio does capture the unchecked and capricious use of power that was at the heart of the plantation system. And Candie’s overly friendly and unrealistic relationship with the black head of his household (Stephen, wonderfully created by Samuel L. Jackson), nevertheless, does reflect the status that some enslaved garnered from their proximity to the master.

Leonardo DiCaprio plays the unsettling Calvin Candie. Courtesy of Columbia Pictures/Sony Pictures Digital Inc.

Yet these moments are far too fleeting in a three-hour movie. One of the biggest disappointments is the depiction of enslaved women. I had been quite impressed with Tarantino’s direction of Jackie Brown, a movie that allowed Pam Grier to explore the limits and the strength of a woman caught in a difficult situation. So I hoped that the women in Django Unchained would have a depth and a sense of completeness that would enhance the film. Unfortunately, the enslaved women are either sexual partners or cowering individuals waiting to be rescued. During slavery, many women struggled to define and to defend themselves in circumstances that sought to strip them of their humanity. Women found ways to maintain a sense of family and a belief in the possibilities of future that they could only imagine. These women do not appear in Django Unchained.

Stephen (Samuel L. Jackson) confronts Broomhilda (Kerry Washington). Courtesy of Columbia Pictures/Sony Pictures Digital Inc.

Quentin Tarantino is a gifted filmmaker but this is a flawed presentation. My only hope is that this film opens the Hollywood door that would encourage others to create movies that are much more respectful and provide a more nuanced interpretation of America’s greatest sin, the institution of slavery–an institution whose impact and legacy still color who we are today.

Lonnie Bunch, the director of the National Museum of African American History and Culture, taught film history at the University of Massachusetts. The museum’s latest exhibition, “Changing America: The Emancipation Proclamation 1863 and the March on Washington 1963,” is on view through September 15, 2013, at the National Museum of American History.

Abraham Lincoln has proved potent blockbuster material. Steven Spielberg’s Lincoln led the pack with a total of 12 Oscars nominations, including for Best Picture, and got the presidential treatment when Bill Clinton introduced it at the Golden Globes awards ceremony Sunday. Though it certainly has its fans, the film, which focuses on the passage of the 13th amendment, has inspired a great deal of analysis and some criticism.

Quoted in the Los Angeles Review of Books as part of a scholarly breakdown of the film, Brooklyn College Professor Cory Robin writes that abolition was a “process by which slavery collapsed under the pressure of federal arms and the slaves’ determination to place their own liberty on the wartime agenda.”

It’s this side of the story, the immense and ongoing efforts of slaves, that director of the African American History and Culture Museum Lonnie Bunch wants to highlight in the exhibit “Changing America,” which pairs the Emancipation Proclamation with the March on Washington, which took place 100 years later.

“It isn’t simply Lincoln freeing the slaves,” says Bunch. “There are millions of people, many African Americans, who through the process of self-emancipation or running away, forced the federal government to create policies which lead to the Emancipation Proclamation.”

For more background on the proclamation, check out Megan Gambino’s document deep dive.

“Changing America: The Emancipation Proclamation, 1863 and the March on Washington, 1963“ is on view at the American History Museum through September 15, 2013.

The March on Washington was organized in conjunction with the 100th anniversary of the Emancipation Proclamation to call on the country to fulfill its promise. Photo by Warren K. Leffler, August 1963, courtesy the Library of Congress

In the midst of the Civil War, between writing the first and final drafts of the Emancipation Proclamation, Abraham Lincoln stated, “If I could save the Union without freeing any slaves I would do it; and if I could save it by freeing all the slaves I would do it.” On January 1, 1863, the final version was issued as an order to the armed forces. One hundred years later on a hot summer day, hundreds of thousands of individuals marched on Washington to demand equal treatment for African Americans under the law.

The year 2013 marks the 150th and 100th anniversaries of these two pivotal moments in American history and in recognition a new exhibition opens December 14, “Changing America: The Emancipation Proclamation, 1863 and the March on Washington, 1963,” produced jointly by the National Museum of African American History and Culture (NMAAHC) and the National Museum of American History (NMAH). Lonnie Bunch, NMAAHC director says he, along with NMAH curators Harry Rubenstein and Nancy Bercaw, chose to pair the anniversaries not just because the March on Washington was seen as a call to finally fulfill the promise of the Proclamation, but because together they offer insights into how people create change and push their leaders to evolve.

An uncertain fate met slaves who ran away to Union lines. Contraband slaves at Foller’s Farm, Cumberland, Virginia. May 14, 1862. Courtesy Library of Congress

For example, says Bunch, “It isn’t simply Lincoln freeing the slaves. . . there are millions of people, many African Americans, who through the process of self-emancipation or running away, forced the federal government to create policies which lead to the Emancipation Proclamation.”

In the same way the March on Washington put pressure on John F. Kennedy to draft the Civil Rights Act of 1964, so too did the actions of abolitionists and enslaved people force Lincoln’s government to respond.

Rubenstein calls Nat Turner’s bible a symbol of rebellion.  Though Turner led a slave uprising in 1831, the very act of learning to read was seen as a sign of rebellion. Courtesy of the African American History and Culture Museum

Artifacts like Nat Turner’s bible, Harriet Tubman’s shawl and a portrait of a black Union soldier and his family together with Lincoln’s proclamation tell stories of self-emancipation before and during the war.

Slaves, who had run away and established the so-called freedmen’s villages, were demanding to be allowed to fight with the Union, even as they were initially considered “contraband of war.” The presence of their huge tent cities—in Memphis an estimated 100,000 rallied— established along the Mississippi River, the East coast and in Washington, D.C., served as a constant reminder, a silent daily witness, to the president.  “They were pushing the war toward freedom,” says Bercaw.

Another change advocate: Gospel singer Mahalia Jackson, at a 1957 Prayer Pilgrimage for Freedom in Washington, D.C., lent her voice to the chorus of activists. Courtesy of the Library of Congress

Bunch says the curatorial team worked with Civil Rights legends, like Representative John Lewis, to understand how the March was organized from within. Highlighting the role of women in the numerous civil rights organizations that helped orchestrate the event, the exhibit again models the diverse roots of change.

“When I look at this moment,” says Bunch, “it should really inspire us to recognize that change is possible and profound change is possible.”

 ”Changing America: Emancipation Proclamation, 1863 and the March on Washington, 1963″ runs through September 15, 2013 at the American History Museum.