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189 Notes Introduction 1. emily Dennis harvey and bernard friedberg, eds., A Museum for the People: A Report of Proceedings at the Seminar on Neighborhood Museums, held November 20, 21, and 22, 1969, at MUSE, the Bedford Lincoln Neighborhood Museum in Brooklyn, New York (new york: arno Press, 1971), ix. The Museums collaborative was a “cooperative program of eighteen new york city museums working jointly on the development of decentralized museum services for the city’s schools and communities,” (“about the editors,” n.p.). The brooklyn children’s Museum, which was in the midst of constructing a new building, opened the bedford lincoln neighborhood Museum as a temporary museum. The site was deliberately modeled after the anacostia neighborhood Museum. brooklyn children’s Museum, “Who We are: history,” www .brooklynkids.org/index.php/whoweare/history. 2. harvey and friedberg, A Museum for the People, ix. 3. ibid., xi. 4. ibid., ix. anacostia neighborhood Museum director John kinard and studio Museum in harlem director edward spriggs also attended the conference, as did representatives from a few traditional museums, including the Whitney Museum of american art. grassroots arts and community organizations, such as the nyc art Workers coalition, also participated, along with intellectuals from the newly emerging field of black studies. 5. benedict anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism (new york: verso, 1991). 6. harvey and friedberg, A Museum for the People, 34. for additional information on carew’s establishment of the new Thing art and architecture center in 1967, see “overcoming cultural Racism: Profile of a black community arts center,” Music Educators Journal 58, no. 3 (november 1971): 42–45. 7. harry Robinson, president of the aaMa from 1986 to 1988, and Joy ford austin, then executive director of the aaMa, argued that the “black museum movement emerged in the 1950s and 1960s to preserve the heritage of the black experience and to ensure its proper interpretation in american history. in this way, black museums instill a sense of achievement within black communities and encourage cooperation between those communities and the broader public.” african american Museums association, Profile of Black Museums (Washington, D.c.: african american Museums association; nashville, Tenn.: american association for state and local history, 1988), ix. 8. arlene Davila, “el barrio’s ‘We are Watching you’ campaign: on the Politics of inclusion in a latinized Museum,” Aztlan 30, no. 1 (spring 2005): 159. also see karen Mary 190  notes to pages 5–7 Davalos, “exhibiting Mestizaje: The Poetics and experience of the Mexican fine arts center Museum,” in Latinos in Museums: A Heritage Reclaimed, ed. antonio Ríos-bustamante and christine Marin (Malabar, fla.: krieger, 1998), 39–66. 9. african american Museums association, Profile of Black Museums, 4. 10. for a comparative study of south african museums and african american museums, see Robyn kimberley autry, “Desegregating the Past: The Transformation of Public imagination at south african and american Museums” (PhD diss., university of WisconsinMadison , 2008). 11. harry c. boyte and sara M. evans, Free Spaces: The Sources of Democratic Change in America (new york: harper and Row, 1986), 17–18. 12. ibid., x. 13. The black museum movement also may be contextualized within what Joseph Rhea has identified as the much broader “Race Pride Movement” of the 1950s–1970s. according to Rhea, those who subscribed to the Race Pride Movement did not necessarily belong to one specific ethnicity, race, or organization. yet the goal of those who participated in this movement was shared: the achievement of “national cultural recognition.” as Rhea states, “the net result of their efforts was the cultural transformation of a nation that had already experienced a major legal revolution [i.e., the civil Rights Movement].” Joseph Rhea, Race Pride and the American Identity (cambridge, Mass.: harvard university Press, 1997), 4. 14. stokely carmichael and charles hamilton, Black Power: The Politics of Liberation in America (new york: vintage books, 1967), 38. 15. James Del Rio, “The conspiracy,” 1963, folder 2, box 16, series ii, Detroit commission on community Relations—human Rights Department collection, Walter P. Reuther library (hereafter WPR), Wayne state university, Detroit, 9. 16. carmichael and hamilton, Black Power, 34–35, 42. 17. Peniel Joseph, Waiting ’til the Midnight Hour: A Narrative History of Black Power in America (new york: henry holt, 2006), xiv. 18. With carmichael’s use of the term “black power” at a march honoring James Meredith in 1966, a new movement centered on black empowerment and retaliation is said to have officially begun, just as the...

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