International African American Museum: A Reclamation of Sacred Ground for Enslaved Ancestors

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When the International African American Museum opens its doors to the public in South Carolina, it becomes a poignant site of homecoming and pilgrimage for the descendants of enslaved Africans whose arduous journey in the Western Hemisphere began on the docks of the lowcountry coast.

Situated in Charleston, overlooking the historic wharf where nearly half of the enslaved population first arrived in North America, this expansive 150,000-square-foot (14,000-square-meter) museum showcases exhibits and artifacts that delve into the profound impact of African Americans’ labor, resilience, resistance, and cultures on shaping the Carolinas, the nation, and the world.

A notable feature of the museum is its genealogy research center, aiding families in tracing their ancestors’ path from their arrival on American soil.

The opening of the museum arrives at a critical moment when the fundamental narrative of Black survival amidst slavery, racial segregation, and economic oppression is being challenged across the United States. The museum’s leaders emphasize that its existence does not seek to counter ongoing attempts to suppress history, but rather to extend an invitation for dialogue and discovery.

“The essence of a courageous and open space lies in meeting individuals where they are and guiding them towards their desired destination,” stated Dr. Tonya Matthews, the museum’s president and CEO. “That is the power of museums. All you need to bring to this museum is your curiosity, and we will take care of the rest.”

With a budget of $120 million, the museum boasts nine galleries housing nearly a dozen interactive exhibits, featuring over 150 historical objects and 30 works of art. One of the exhibits will rotate every two to three times a year.

Upon entering the museum, visitors are greeted by eight large video screens playing a looped trailer depicting the diasporic journey that spans centuries. It encompasses the cultural roots of Africans on the African continent, the horrors of the Middle Passage, and the regional and international legacies forged by the dispersion and migration of Africans across various lands. The screens strategically guide visitors towards large windows and a balcony at the rear of the museum, providing breathtaking views of Charleston Harbor.

A distinctive aspect of the museum is its gallery dedicated to the history and culture of the Gullah Geechee people. Living in isolation on rice, indigo, and cotton plantations along the coasts of South Carolina, Georgia, and North Florida, the Gullah Geechee people managed to maintain their ties to West African cultural traditions and the creole language. In this gallery, a multimedia “praise house” reminiscent of a chapel highlights the spiritual expressions of the Gullah Geechee and demonstrates how these expressions have left an indelible imprint on Black American gospel music.

On the day of the museum’s dedication, the grounds buzzed with excitement as its founders, staff, elected officials, and esteemed guests celebrated the occasion. The program, emceed by award-winning actress and director Phylicia Rashad, featured inspiring appearances by poet Nikky Finney and the McIntosh County Shouters, who perform songs passed down by enslaved African Americans.

Former Charleston Mayor Joseph Riley, Jr., widely credited for conceiving the idea of bringing the museum to the city, emphasized the significance of truth in freeing us to understand, respect, and appreciate the full spectrum of our shared history.

Planning for the International African American Museum commenced in 2000 when Riley proposed its creation in a State of the City address. The project faced challenges in fundraising and underwent changes in museum leadership, leading to the commencement of construction only in 2019.

Originally scheduled to open in 2020, the museum faced further delays due to the COVID-19 pandemic and supply chain issues for necessary construction materials.

Gadsden’s Wharf, a 2.3-acre waterfront plot, served as the arrival point for an estimated 45% of enslaved Africans brought to the United States in the late 18th and early 19th centuries. This historic site sets the emotional tone for the museum experience. Revolutionary War figure Christopher Gadsden constructed the wharf.

The museum’s main structure, suspended above the wharf, is supported by 18 cylindrical columns, ensuring it does not physically touch the hallowed ground beneath. Below the structure, a shallow fountain pays tribute to the men, women, and children who endured the inhumane shackling within the bellies of ships during the transatlantic slave trade.

To preserve the integrity of the shackled bodies outlined on the ground, a walkway has been created through the center of the wharf tribute, discouraging visitors from stepping on this sacred representation.

“There is immense significance in reclaiming a space that once served as the starting point, the genesis of a horrific American journey for captured Africans,” expressed Malika Pryor, the museum’s chief learning and education officer.

Walter Hood, founder and creative director of Hood Design Studios based in Oakland, California, meticulously designed the museum grounds. Inspired by tours of the lowcountry and its former plantations, the landscape features lush grounds, meandering paths, and seating areas, all intended to reflect an ethnobotanical garden. This design compels visitors to recognize how the botany cultivated by enslaved Africans and their descendants has profoundly shaped the Carolinas’ enduring landscapes.

The opening of the Charleston museum contributes to an expanding array of institutions committed to illuminating the accurate history of the Black experience in America. While many are familiar with the Smithsonian’s National Museum of African American History and Culture in the nation’s capital, which opened in 2016, lesser-known Afrocentric museums and exhibits are scattered across the country. Examples include The Legacy Museum: From Enslavement to Mass Incarceration and the corresponding National Memorial for Peace and Justice in Montgomery, Alabama, which explore slavery, Jim Crow, and the history of lynching in America.

Pryor, formerly the educational director of the Charles H. Wright Museum of African American History in Detroit, emphasized that these museums focus on the lesser-discussed and underrepresented aspects of the American narrative. She believes that there is ample space for additional museums—up to 25—to introduce fresh curatorial perspectives and contribute to this ongoing conversation.

The museum has launched an initiative to establish relationships with school districts, particularly in regions where legislation restricts how public school teachers can address race and racism in their classrooms. Recent years have seen conservative politicians banning books in over 5,000 schools across 32 states. Since 2021, at least 16 states have enacted bans or limitations on instruction related to slavery and systemic racism.

Pryor assured that South Carolina’s ban on teaching critical race theory in public schools has not hindered local elementary, middle, and high schools from planning field trips to the museum. She shared that even before the official opening, hundreds of calls and requests for school group visits have been received.

When the museum opens its doors, it aims to provide an opportunity for all visitors to engage with the comprehensive truth of the Black American story, according to Matthews, the museum’s president.

“When individuals step foot in this museum, we hope they experience an amalgamation of emotions,” she explained. “It represents the culmination of our journey and the realization of our mission to honor the untold stories of the African American journey at one of our nation’s most sacred sites.”

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Note: Some information from the original text has been omitted or rephrased for brevity and clarity.

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More about African American history

• International African American Museum
• Gullah Geechee Cultural Heritage Corridor
• Smithsonian National Museum of African American History and Culture
• The Legacy Museum: From Enslavement to Mass Incarceration
• National Memorial for Peace and Justice
• Critical Race Theory