I think that you can agree that Sydney is really getting a handle on creating displays that highlight interesting items in our Research Room. You will see an addition or two in brackets and italics
below from me as it is very hard for me to not put in my 2 cents worth. But regular readers likely already know that. - Grace Cordial February is Black History
Month, and to honor this, I wanted to fill the display case with materials from
our collection that represent that struggles and triumphs of African Americans
in our country, and more specifically, in our own community. The Lowcountry, particularly
Beaufort, is an extremely special place as it is known to be home to Gullah
culture. There were multiple aspects of African American history in the United
States that I wanted to highlight in my case, so the layout of the case is as
follows:
- ®
Black History in Beaufort
- ®
Gullah/Geechee culture and Shouting
- ®
Basketmaking
- ®
African American Women of Beaufort
The Beaufort District
Collection contains a plethora of materials relating to African American
History in this area. So, naturally, I found it quite difficult to compile all
of my findings into one rather small display cabinet. Foremost, I wanted to be
able to give a general overview on one shelf, then be able to go into depth
about some of my favorite subjects within the remaining shelves. You can’t talk
about Beaufort District history without acknowledging Gullah culture, so the next
and largest shelf is dedicated to Gullah/Geechee history and traditions. Woven
into African American culture is the art of sweet grass basket weaving (see
what I did there?), which is featured on shelf three. On the fourth and final
shelf we have materials that showcase the impact African American women have
had on Beaufort District throughout history.

The month of February is
dedicated to honoring African American history in the United States. Pinned to
the back of the first shelf, you will see a piece that examines the origin of
Black History Month. During the summer of 1915, historian Dr. Carter G. Woodson
and minister Jesse Moorland founded the Association for the Study of African
American Life and History. With the creation of their association, Woodson and
Moorland were able to establish “Negro History Week” in 1926. They purposefully
chose to celebrate during the second week of February because the week
coincided with both Frederick Douglass and Abraham Lincoln’s birthdays. In
1976, President Gerald Ford designated that Black History Week be turned into
Black History Month. Unfortunately, Woodson and Moorland both passed away
before they could see the full effect of their efforts. However, to this day,
Carter G. Woodson is known as the Father of Black History (National, 2024).
To the left of the shelf is a
beautiful purple book titled African
Voices in the African American Heritage by Betty M. Kuyk (2003). Many
scholars believed that African influences in American life were all but lost in
the later part of the twentieth century, however, Kuyk proves that African
values are indeed embedded in the core of American culture. Despite suffering through
segregation, reconstruction, and endless calamities throughout their lives,
African slaves brought unwillingly to North America persevered by holding tight
to their familial and religious values. This act of steadfastness directly
resulted in the survival of African culture in American life. African Voices
in the African American Heritage consists of numerous art pieces from
renowned artist William (Bill) Traylor. Traylor was born into slavery in 1854. He
lived to be 94 years old but only began to explore his artistic talent within
the last ten years of his life. He experimented mostly with colored pencils and
paints. He is now considered to be an “accidental modernist” due to his
abstract depictions of difficult topics such as racism and terrorism in such
simplistic designs (Smithsonian, n.d.). Kuyk successfully fortifies her original
argument by including and honoring Traylor and his artwork within her narrative.
On the opposite side, we have
Defining
Moments: African American Commemoration & Political Culture in the South,
1863-1913 by Kathleen Ann Clark (2005).
As one can infer from the title, this piece is centered around key moments in
African American history. At the time of the book's publication, historians
inclined towards viewing events such as the Civil War and Reconstruction though
too broad of a lens. They neglected to truly analyze how these detrimental
circumstances directly affected minority groups and how these people struggled
to recuperate from the fallout. In the previous piece I shared, Kuyk emphasized
how African American values held strong throughout history, however, that does
not mean that the effort came easy. Countering Kuyk’s narrative, Clark places
emphasis on the countless complications African Americans struggled with in
order to maintain their identity through America’s turbulence. Clark interprets
how commemorations and urban celebrations on days such as Emancipation Day and
Fourth of July provided African Americans with ways of coping and ensuring
their culture and values would prevail.
Pinned to the back of the
case is an illustration from Defining Moments: African American
Commemoration & Political Culture in the South, 1863-1913. I was extremely
excited to open this book and see that the first illustration was from none
other than our own Port Royal! The illustration is titled “Emancipation Day in
Port Royal, South Carolina, 1 January 1863.” [The BDC has an original, too!
It’s SC PRINT 160]. In the piece you can see Black Union soldiers holding the
American flag and celebrating with a band and large group of people. This is
the exact kind of event that Clark references in her book as a celebration of
freedom and discovery of identity.

Moving
on to the second shelf, we have materials related to Gullah/Geechee culture.
The BDC contains an abundance of historical Gullah materials, which made
narrowing down my choices for this shelf really difficult. A little known fact about the Library
system is this: “Beaufort County Library has one of the South’s largest
collections of materials on the Gullah language and sea island culture” that
began during the Beaufort Township Library days. Approximately 15-20% of our
holdings relate in some way to Gullah history and culture. Pinned to the
back of the case you will see an overview of Gullah heritage. Its states
“Gullah or Geechee describes a unique group of African Americans descended from
enslaved Africans who settled in the Sea Islands along the Atlantic coast between
Wilmington, NC and Jacksonville, FL”. Gullah culture is full of so many
different values and traditions, but there is one specific tradition that is
often overlooked that I want to focus on in my display: Shouting.
The
second shelf is dedicated to Shouting, which you can see is defined towards the
back of the case. Shouting is “an improvisation of prayer, music, dance, and
movement as a part of religious expression”. When northern missionaries visited
the Sea Islands during the Civil War and Reconstruction, they were intrigued by
shouting’s significance in Gullah culture.
If you have read any of my
previous display posts, you know that I love to include different media formats
to show how diverse our collection can be. In the front and center of the
second shelf we have a CD titled Hunnuh
Hafa Shout Sumtime!!! by
Marquetta L. Goodwine (1998). [She made this recording before she became Queen
Quet.] This is a collection of Gullah shout songs that are dedicated to “the
Gullah/Geechee ancestral spirits that still walk the Sea Islands of the
Gullah/Geechee Nation”. The material is quite moving.
To the left of Hunnuh Hafa
Shout Sometime!!!, we have Something
to Shout About: Reflections on the Gullah Spiritual
by Sally Plair (1972). This piece is part informational and part
biographical. It provides definitions and origins of shouting as well as presentations
of how to sing them yourself. I thought this would be a wonderful piece to add
to this display with its step-by-step instruction of how shouts are performed.
To the right of Hunnuh
Hafa Shout Sometime!!!, we have a picture book for children entitled Carolina
Shout! by Alan Schroeder (1995). Carolina
Shout! Is a first-hand account of a young girl who is exploring the streets
of her home: Charleston, South Carolina. As she is walking, she can hear all of
these vendors who are, to her knowledge, crying out. However, these songs of
cries are actually shouts. Delia describes in awe what she is hearing all
across the town. She can hear all types of rhythms across Charleston, but the
most compelling of all is the shouts of the street vendors.

Shelf Three concentrates on Basketmaking.
On the back of the display, you can see a newspaper clipping from the February
18, 1992 issue of the Beaufort Gazette. The article is titled
“Basketmaking is Still Art on Coast” and it was written by Ellen Chamberlain, a
University of South Carolina Beaufort librarian. Chamberlain provides an
amazing historical overview of basketmaking. She states that the tradition has
been passed from mother to daughter for many generations, specifically since enslaved
people traveled to North America from West Africa. Men were known to craft
agricultural baskets called “fanners”, whereas women were known to craft smaller
baskets from sweetgrass that are meant for use inside of homes. [Contemporary
sweetgrass basketmakers tend to be gender neutral. Men as well as women weave
sweetgrass baskets of various sizes for various uses.]

In the center of the shelf,
you can see a write up on Aleathia Manigault, an extremely talented sweetgrass
basket maker. She learned the craft from her mother as well as her grandmother
and has even passed her knowledge on to her own children and grandchildren (Isn’t
that incredible?!). One of her larger basket crafts won a Mayor of Charleston’s
Purchase Award of $2,000 in 1991. She also won a Merit Award for some hats that
she had crafted in 1993. I found this article in the BDC’s SWEET GRASS BASKETS
vertical file. - and some clipped pictures of a variety of hand-woven sweet
grass baskets. I am very grateful to be able to provide actual visuals of these
baskets to include in my display. I only wish I had a real basket to share!
To the left, we have A
Sweet, Sweet Basket by Margie Willis Clary
(1995). Written for children, this is a sweet fictional story about a young
girl name Keisha. Keisha is learning how to weave sweet grass baskets from her
grandmother. This book is a meaningful tribute to basket weavers in Mt.
Pleasant, South Carolina who have carried on the tradition of basketweaving
from their African ancestors.
To the right, you can see Circle
Unbroken: The Story of a Basket and It’s People
by Margot Theis Raven (2008), another BDC title written for
children. This is a touching story about a grandmother who is teaching her
granddaughter how to sew sweetgrass baskets while also narrating a story from
generations ago. As she is weaving, she tells the story of a young boy in
Africa who was known to weave baskets so tight that they could hold rain. This
young boy was taken on a slave ship and sent to America, and despite this, he
passes this tradition down to his children, who then pass it on to their own, like
it was being done in the current day.

The bottom shelf is dedicated
to African American women in Beaufort District. Pinned to the back of the
display, you will see an article about Charlotte Forten that I found inside of
our vertical file titled: GRIMKE, CHARLOTTE FORTEN (1837-1914). Forten, who was
originally raised in Philadelphia, was sent to live in Salem, Massachusetts. She
attended school and studied education. She went on to teach in the Salem School
District while also continuing her own education. She was soon asked to travel
to Port Royal to help educated newly freed slaves during the Civil War. During
her time in Beaufort, she witnessed bloody battles that she wrote about in her
own journals. She spent the remainder of her life teaching and writing essays
and poems.
Shrill
Hurrahs: Women, Gender, and Racial Violence in South Carolina, 1865-1900
by Kate Côté Gillin (2013) provides a new and extremely important view of how
gender roles and racial violence were weaponized against African American women
following the Civil War. While there was an obvious social and political divide
between men and women at the time, there was and even more sinister divide
between black women and white women. Instead of building bonds to work together
to achieve freedom and equality for all women, white women villainized black
women and opposed their right to female autonomy while only advocating for
their own. There was a harsh disconnect between women. There were the white
women who were fighting against black women, and there were also white women who
would advocate for black women, but only when it benefited them. This is a book
that emphasizes the struggles that African American women have fought through
and how their bravery inspired future generations to continue the political and
social actions to change circumstances for the better.
Beside Shrill Hurrahs,
we have Ah
Tulk To De Dead All De Time: Religion Among Gullah/Geechee Women of the
Carolina Lowcountry by LeRhonda S. Manigault-Bryant (2008).
This is a compendium of Gullah women’s history. This book centers around the
core of what it means to be a Gullah/Geechee woman in the Lowcountry. Manigault-Bryant
explains that the ethnography of Gullah culture includes religion, patois,
spiritualism, and most importantly: ensuring their African identity lives on
through these traditions.
Finally, we have my favorite
piece of the entire display: Daughters
of the Dust: The Making of an African American Woman’s Film
by Julie Dash (1992). Julie
Dash is an American filmmaker who attended UCLA film school. In her time at
UCLA, she participated in something known as the L.A. Rebellion: A Cinematic
Movement in which UCLA School of Theater, Film and Television students fought
for affirmative action policies to be put in place in order to increase the
enrollment of students of color in UCLA's film program. Dash went on to be a
renowned filmmaker. She wrote and directed Daughters of the Dust, which
was America’s first nationally distributed African American feature film. This
book takes the reader through the making of the movie and even includes a copy
of the screenplay for the film. [There are circulating DVD copies of the film
in some of the BCL’s Local History sections in case you still have a DVD
reading device.]

Before I end, I’d like to share
one final item. It’s really interesting and on display – just not in the
exhibit case. When you enter the BDC you will see two bookshelves to your
immediate right. This is where we display materials that are new to our
collection. Recently, we got a noteworthy book: Gullah/Geechee
Blessing pun de Sea by Marquetta L. Goodwine. It
is the first book in the BDC to have A.I. generated illustrations and represents
the ever-evolving state and use of technology.
If you are interested in any of the materials I have shared today, or
wish to explore our collection for yourself, appointments are always a good
idea. Send an email to bdc@bcgov.net or give us a call at 843-255-6468. I hope to
hear from you soon!