ARTICULATING THE ATLANTIC SLAVE TRADE, MEMORY, IDENTITY AND SPACE by Etulan A. Joseph
“It would be comforting to think that the injustice and inhumanity of slavery had been dealt with and resolved in the eighteenth century or with the Abolitionist movement of the nineteenth. Unfortunately, this is not the case.” - Harvey Chisick
TRAUMA
UNIVERSITY OF WESTMINSTER SCHOOL OF ARCHITECTURE AND THE BUILT ENVIRONMENT MA ARCHITECTURE CRTICAL ISSUES IN ARCHITECTURE
ARTICULATING TRAUMA: THE ATLANTIC SLAVE TRADE, MEMORY, IDENTITY AND SPACE by Etulan A. Joseph
ARTICULATING TRAUMA: THE ATLANTIC SLAVE TRADE, MEMORY, IDENTITY AND SPACE FINAL ESSAY SUBMITTED ON JANUARY 10TH, 2019 ETULAN A. JOSEPH [STUDENT I.D. 1708803] UNIVERSITY OF WESTMINSTER MA ARCHITECTURE CRITICAL ISSUES IN ARCHITECTURE TUTOR: DR. DAVIDE DERIU
ABSTRACT “In a way the object must die twice, first at the moment of its own death and secondly through the subject’s unhitching from its own identification. It is only then that the object can pass into history and that the stones can be set - for mourning and memorial are a phase apart.
(Cousins, 1996, p.41)
The world appears to be in constant
discourse and architectural expressions of the
mutation of cultural and historical narratives,
catastrophe. By examining this event, in its
and likewise, space, when observed, appears
architectural, political, and social frameworks,
to mimic this flux. It also appears that there are
notions of memory and identity are formed and
more events of conflict that lead to trauma in the
interpreted and the agencies of these events are
world today. However, architecture isn’t usually
considered.
associated with chaos until the two meet face to
face on the world’s stage, with events such as
are the traumatic events of the Atlantic Slave
September 11. Architecture distances itself from
Trade and its repercussions articulated in space,
trauma, particularly when one looks to the notion
however, creating a relationship between space,
of purity, order and proportion from the prolific
memory and identity?” This is explored through
figures of Modernism such as Mies Van der
a series of cases, evaluated in order to discern
Rohe and Le Corbusier. However, there exists an
the different approaches and processes in
intersection and more so, a connection, between
articulating trauma into space that act as agents
the two; a place of ambiguity that is generally
of memory and identity.
neglected within the architectural discourse, both in theory and practice. In response to this neglect, this paper seeks to make sense of this ambiguity, examining The Atlantic Slave Trade, adding a layer of criticality due to the lack of
i
The main question being asked is, “How
LIST OF FIGURES Figure 1
The Berlin Jewish Museum Extension by Daniel Libeskind
[Photograph] Courtesy of Studio Libeskind
<https://libeskind.com/work/jewish-museum-berlin/>
[Accessed November 19, 2018]
Figure 2
Urban Memory Edited by Mark Crinson
[Photograph] Courtesy of Amazon
<https://www.amazon.co.uk/Urban-Memory-Mark-Crinson/dp/0415334063>
[Accessed November 19, 2018]
Figure 3
A Slave Being Transported For Sale
[Photograph] Courtesy of Slavery Images: A Visual Record of the African Slave Trade and
Slave Life in the Early African Diaspora
<http://www.slaveryimages.org/>
[Accessed November 20, 2018]
Figure 4
Pamphlet for Slave Auctioning
[Photograph] Courtesy of Slavery Images: A Visual Record of the African Slave Trade and
Slave Life in the Early African Diaspora
<http://www.slaveryimages.org/>
[Accessed December 20, 2018]
Figure 5
Couple Infront of a Former Slave Plantation
[Photograph] Courtesy of New Orleans Weddings
<https://www.neworleans.com/weddings/>
[Accessed December 20, 2018]
Figure 6
Slaves Infront of a Slave Plantation
ii
[Photograph] Courtesy of Slavery Images: A Visual Record of the African Slave Trade and
Slave Life in the Early African Diaspora
<http://www.slaveryimages.org/>
[Accessed December 20, 2018]
Figure 7
Set up of “Vertigo Sea” by John Akomfrah
[Photograph] Courtesy of Lisson Gallery
<https://www.lissongallery.com/news/akomfrah-s-vertigo-sea-opens-at-the-arnolfini>
[Accessed November 31, 2018]
Figure 8
Still from“Vertigo Sea” by John Akomfrah
[Photograph] Courtesy of Lisson Gallery
<https://www.lissongallery.com/news/akomfrah-s-vertigo-sea-opens-at-the-arnolfini>
[Accessed November 31, 2018]
Figure 9
Still from“Vertigo Sea” by John Akomfrah
[Photograph] Courtesy of Lisson Gallery
<https://www.lissongallery.com/news/akomfrah-s-vertigo-sea-opens-at-the-arnolfini>
[Accessed November 31, 2018]
Figure 10
The National Museum for African American History and Culture
[Photograph] Courtesy of Wallpaper*
<https://www.wallpaper.com/architecture/david-adjaye-national-museum-of-african american-history-and-culture-opens-in-washington-dc>
[Accessed November 22, 2018]
Figure 11
Point of Pines Slave Cabin
[Photograph] Courtesy of the National Museum of African-American History and Culture
<https://nmaahc.si.edu/edisto-island-slave-cabin-communities-and-collecting>
[Accessed December 7, 2018]
iii
Figure 12
Point of Pines Slave Cabin Reconstion in the NMAAHC
[Photograph] Courtesy of the National Museum of African-American History and Culture
<https://nmaahc.si.edu/edisto-island-slave-cabin-communities-and-collecting>
[Accessed December 7, 2018]
Figure 13 The National Memorial for Peace and Justice Exterior by MASS Design Group
[Photograph] Courtesy of The Architectural Digest
<https://www.architecturaldigest.com/story/national-memorial-for-peace-and-justice>
[Accessed December 2 2018]
Figure 14 The National Memorial for Peace and Justice Interior by MASS Design Group
[Photograph] Courtesy of Mass Design Group
<https://massdesigngroup.org/work/national-memorial-peace-and-justice>
[Accessed December 2, 2018]
Figure 15
Sculpture of Chained Slaves by Kwame Akoto-Bamfo
[Photograph] Courtesy of Equal Justice Initiative
<https://eji.org/national-lynching-memorial>
[Accessed December 2, 2018]
Figure 16
Scale of Sculpture of Chained Slaves by Kwame Akoto-Bamfo
[Photograph] Courtesy of Mass Design Group
<https://massdesigngroup.org/work/national-memorial-peace-and-justice>
[Accessed December 2, 2018]
Figure 17
Scale of Hanging Corten Steel Columns
[Photograph] Courtesy of Mass Design Group
<https://massdesigngroup.org/work/national-memorial-peace-and-justice>
[Accessed December 2, 2018]
iV
Cover
[Photograph] Courtesy of Designcurial
<http://www.designcurial.com/news/writing-wrongs-national-memorial-for-peace-and
justice-6764964/>
[Accessed December 27, 2018]
V
INTRODUCTION: ARCHITECTURE AS A THEATRE FOR HISTORY
discussions, documentaries, scholarly papers, articles and books on nationalism and its effects in some years leading up to this global shift. Simultaneously, there has been a number of memorials, museums and exhibitions that intentionally highlight such traumatic events like both World Wars and their catastrophic effects. Daniel
Libeskind’s which
Berlin
Jewish
highlights
the
Museum
“Critique is clearly important: one has to be critical
Extension
Holocaust
in order to understand the structures in order to be
logged in over 7,000,000 visitors by the year
able to understand how to transform them.”
2011 (Jewish Museum Berlin 2018). The 9/11 Memorial designed by Michael Arad and Peter Walker, along with the Museum, has had over
(Schneider and Till, 2009, p.108)
10,900,000 visitors by 2017 (911 Memorial, 2018). Now, examining these two contingencies,
Seldom, architecture haunts; to be so
that is the rise of nationalism as well as the
disturbing that it plagues the mind, continually
increase in the number of spaces that tell of its
seeking out truths, raising questions of today’s
inevitable consequences, one has to ask, did
humanity and responding to its past. Looking at
these spaces serve their purpose whatsoever?
today’s political climate, there is an intensified
If they didn’t, why do we still design and build
narrative
across
spaces that house memories and moments of
the globe, from the Philippines to Turkey; to
trauma? Maybe, along the lines of Rowlands,
countries that have claimed to be leaders and
“some of these spaces designed by architects
examples of democracy and tolerance such as
do not work at the personal level of healing and
the United States of America. What’s even more
reconciliation” (Rowlands, 1998, p.54).
curious is that there has been an increase in
discussions, documentaries, scholarly papers,
am not calling for the erasure of these types of
articles and books on nationalism and its effects
architectural spaces or interventions; such would
in some years leading up to this global shift.
be counterproductive and naive. However, what
Simultaneously, there has been an increase in
I would like to critically address in this essay is a
of
nationalism
spanning
1
As obvious as it may or may not seem, I
deeper issue on architecture’s approach to
experiences of an entire community of people.
trauma, the history, theory, framework or
According to John J. Cummings III (2015) in a
agencies surrounding it and what that means for
Washington Post article, in the United States
memory and identity. These kinds of architectural
of America, there are approximately thirty
spaces are theatres of considerably ominous
five thousand museums of which only one is
histories that not only sit in society as memories
dedicated completely to slavery. This lack of
but also act as a reflection of society and its ever-
spaces that present this sombre event is akin to
changing values, while simultaneously shaping
many other countries in which slaves from the
collective identities and, furthermore, fostering
Atlantic Slave Trade were brought to as well
relationships between space, memory, identity
as the homes of their descendants such as the
and humanity.
United Kingdom, Brazil, and Jamaica. However,
To add another layer of criticality to
this neglects and diminishes the memories and
this issue of trauma and architecture, I have
identity of an entire diaspora; it also dilutes the
intentionally shifted the discourse from the
grim truths of what occurred during The Atlantic
Holocaust. There isn’t a hierarchy to trauma and
Slave trade and the entire system behind it,
pain; however, there are numerous scholarly
leaving room for the resurgence of malignant
works on this event as well as current designs
ideologies that act as a prelude to catastrophic
that have highlighted this catastrophe. The
events.
documented discourse on the subject is only
growing, but it almost even asks the question, is
forefront and would serve as a compass for
there an implied hierarchy? Thus, I am shifting
this essay – How are the traumatic events of
the lens to another tragedy – The Atlantic Slave
the Atlantic Slave Trade and its repercussions
Trade, expanding the scope of the subject
articulated, however, creating a relationship
matter of trauma and architecture. The legacy of
between space, memory and identity?
The Atlantic Slave Trade is absolutely massive,
would be more critical to look at architecture’s
contributing to essentially the development of
articulation of this catastrophe, but the lack of
many modern-day Western societies due to
this specific architectural response poses a
slave labour. Additionally the numerous social,
challenge for such an investigation. Hence, the
political and cultural ramifications of this event
aim of this essay is to evaluate, the approaches
exists in societies, even more so affecting the
used in spaces that highlight the events of the
2
Thus, the question is now brought to the
It
3
Figure 1 The Berlin Jewish Museum Extension by Daniel Libeskind Berlin, Germany
4
Atlantic Slave Trade â&#x20AC;&#x201C; museums, exhibition spaces, memorials, visual media and the like. This essays seeks to collect and express work of this nature that has been done, primarily informing architects on these approaches and how this translation may be adapted and used more frequently in our field. However, to begin, we would first need to fundamentally understand trauma, from its history to its theory and situate ourselves in the appropriate framework for this discourse.
5
TRAUMA AND ARCHITECTURE: SPACE AS A BODY
remembered their traumatic events, and this resulted in these symptoms being placed into law (Ringell and Brandell, 2012, pp.1 – 5).
Sigmund
Freud,
who
was
initially
influenced by Charcot in his early studies of “Architecture – buildings, roads, beach space – is the
hysteria, along with Josef Bauer, later expanded
territory for violence to erupt.”
on Charcot’s work, as well the work done by Charcot’s student – Pierre Janet. In 1880, the term ‘dissociation’ was coined by Janet. A few years
(Figueria and Carvalhol, 2016, p.1)
later, Freud, Bauer and Janet acknowledged that
Architecture and violence need to collide
trauma has a specific cause and not merely ‘an
in order for architects to realize that their distance
agent provocateur’. Freud later then suggested
from trauma is feign. Although as architects we
that it is not only the memories of these events
may debate on what we mean by architecture
that caused hysteria but the deep denial that the
and architectural space, we have a fundamental
event even occurred as well (ibid).
and collective understanding of what this term
encompasses. But what exactly do we mean by
psychoanalytic therapist around the time of the
trauma, a term that’s almost alien to our field?
First World War, reinforced some of the basic
Some of the earliest investigations of trauma
concepts of Freud, Bauer and Janet, particularly
was conducted by the French physician Jean
that of re-enactment. He understood that trauma
Martin Charcot who worked with traumatized
from war can be deemed as normal. These
women at Salpetriere Hospital during the late
studies continued after World War Two, with
19th century. Before Charcot, it was thought
Henry Krystal, a psychoanalyst, describing “the
that hysteria was physiological as the majority of
effect of trauma on the capacity to experience,
patients of this condition were women, stemming
identify, and verbalize feelings as well as
from the uterus. Charcot concluded that hysteria
physiological needs” (ibid).
wasn’t physiological in nature but psychological.
He discovered that his patients had experienced
idea of trauma was conceived, primarily by
incidents such as rape and violence. Through live
Dr.Lindemann, a psychiatrist who specialized on
demonstrations of induced hypnosis, patients
bereavement. In his 1944 article, “Symptomology
6
Abram
Kardiner,
a
psychiatrist
and
It wasn’t until 1942 that the contemporary
and Management of Acute Grief”, he theorizes
events, unconsciously, collectively about people,
about the normalcy of certain reactions to grief
their experiences and the other forces that caused
such as “preoccupation with lost loved ones,
these experiences. We see this predominantly
identification with the deceased, expressions of
in Libeskind’s architectural work that specifically
guilt and hostility, disorganization, and somatic
focuses on what Crinson calls trauma-reflection,
complaints” (ibid). By 1980, the Diagnostic and
unfolding trauma into contemporary spaces.
Statistical Manual of Mental Disorders included
However, just as there are political and social
the term and the concept of psychological trauma
agendas injected into these spaces, there are
which is a psychological, emotional response
political and social constructs that are reinforced,
to an event or an experience that is deeply
created or destroyed by these spaces. As John
disturbing. Since then, trauma has become
R. Gillis, a cultural and social historian wrote
more and more of a prevalent concept within the
in “Commemorations: The Politics of National
social science academic arena as well as the
Identity”, “Both identity and memory are political
contemporary society (ibid).
and social constructs, and should be treated as
Probably one of the most notable books
such… Identities and memories are not things
that actively brings architecture and trauma
we think about, but things we think with” (Gillis,
together is “Urban Memory: History and Amnesia
1994, p.8). Essentially, these trauma-reflection
in the Modern City” – a collection of previously
spaces are important in questioning and, in
unpublished essays edited by Mark Crinson, an
some cases answering, what is just, equal, or
architectural historian, and published in 2005. In
right. They raise issues against or for certain
the introduction written by Crinson himself, he
groups, bringing forth narratives that contribute
makes reference to Freud, highlighting Freud’s
to various political and social agendas and it is
idea that monuments and other architectural
critical that designers and architects are aware
interventions of the like marked traumatic
of this.
experiences; of which Crinson called them
‘mnemic symbols’ (Crinson, 2005, p.xvii). Crinson
architecture
also suggests that architecture is “memory-
relationship between architecture and trauma,
space” of the collective (ibid). Essentially, there
speaking on this criticality of agendas. However,
is a relationship between the mind, body, space,
she looks at the subject deeper and from another
and time; that architecture holds traces of certain
angle, suggesting that architecture itself can be
7
Theresa Stoppani, an architect and theorist,
also
wrote
on
the
Figure 2 Urban Memory Edited by Mark Crinson
8
traumatized, saying “Architecture lives, and in living it can be traumatized” (Stoppani, 2016, p.137). Usually, trauma is investigated in terms of its physical destruction on a body but Stoppani goes beyond this and looks at the field as the body and the discipline’s transformation post a traumatic events, which is 9/11 in her case. What’s unique about her work is the discourse produced around trauma and architecture, drawing reference from Tschumi’s theoretical work as well as works on trauma by Ruth Leys, to articulate the effects of trauma on forms of expression as well as the discipline at large.
From this collation of histories and theories
of trauma and its relationship to architecture, we can therefore suggest there is an importance of memory, of trauma, of form, when articulating trauma in space. However, architects need to address this relationship; and in my evaluation of these trauma-reflection spaces, the relationship with experience, memory and identity would be central. With the Atlantic Slave Trade, there is a collective heritage and collective identity that needs to be embodied when designing. Yes, there is complexity to these considerations, but such considerations create experiences that hold coherent and narrative structures of this traumatic event’s past, its current implications and future of the affected community.
9
THE CATASTROPHE: THE ATLANTIC SLAVE TRADE
of African slavery, between the 16th and 19th century, approximately 12,000,000 Africans entered the Slave Trade of which an estimate of 4,000,000 died on the African continent. Thus, it is believed that the actual number of lives
“It would be comforting to think that the injustice and
lost exceeds the number that were enslaved
inhumanity of slavery had been dealt with and resolved
(ibid). This cataclysm, both immoral and
in the eighteenth century or with the Abolitionist
inhumane, became an agent for the destruction
movement of the nineteenth. Unfortunately, this is not
of individuals, histories, cultures and identities.
the case.”
The African diaspora now has a complex set of interactions with society due to its own memories and narratives, as well as the narratives created
(Chisick, 2016, p.138)
and perpetuated by various racial groups.
It was four centuries of transporting the
Altered narratives can be seen more
bodies of Africans to the Americas by Western
explicitly and architecturally in the southern
European slave traders. The first was completed
states of the United States of America where
in 1526 by the Portuguese, from West Africa
large plantation homes have been revitalized as
to Brazil. They went on to become the largest
tourists stops, commemorating the old South;
Atlantic slave trading nation by trade volume, the
“Harking back to the days when cotton was
British second, French being the third, followed
king,” as an official New Orleans website would
by the Spanish and the Dutch (Klein and Klein,
put it. These spaces have been romanticized
1999, pp.103 – 139).
and used as wedding backdrops, seen as a
Historians believe that on travel to the
mere flashbacks into an almost false history
Americas, approximately 1,200,000 to 2,400,000
and dedicated to times of economic prosperity;
million Africans lost their lives while additional
anything and everything but dedicated to the
captives died upon arrival. This process of
slaves that built and sustained these large
enslavement did not terminate upon arrival
plantations and homes. This intentional omission
and began before departure of African shores.
and appropriation of history permeates the
According to Manning (1992), a specialist in
society, almost giving permission for ignorance
migration in world history and the demography
of an event that lasted for four hundred years. As
10
Figure 3 A Slave Being Transported For Sale
11
Figure 4 Pamphlet for Slave Auctioning
12
13
Figure 5 Couple Infront of a Former Slave Plantation New Orleans, Louisiana, USA
14
15
Figure 6 Slaves Infront of a Slave Plantation New Orleans, Louisiana, USA
16
Freud may say, the architecture, that is the
Slavery in America by Mary Elliott in the National
plantations themselves, has been traumatized,
Museum of African American History and
attempting to deny that a certain harrowing event
Culture designed by Sir David Adjaye and lastly,
has happened. Stoppani also theorizes a concept
The National Memorial for Peace and Justice
very similar to Freud, as she takes both trauma
designed by MASS Design Group. How do
and architecture as ‘temporal becomings’. She
these approaches take these histories, make it
finds that architecture “a complex process of
public while affirming memories and identities?
interactions which affect the body of architecture
What effects do they have? For each, a critical
as well as its pasts, its memories, its narratives,
evaluation of the approach to translation would
and its languages” (Stoppani, 2016, p.137).
be undertaken; taking into consideration the
Trauma-reflection spaces for the Atlantic
tools used to not only simply highlight the
Slave Trade need to not only elaborate the
narratives of this traumatic event but also bestow
trauma spatially but also create responses that
to a community the privilege of controlling
almost go beyond time and space. Looking at
and honouring their memories as well as their
our contemporary design landscape, one can
collective history and identity within society.
see within the recent years that there has been a birth of trauma-reflection spaces or medium on the Atlantic Slave Trade, from museums to film to memorials. However, these spaces address this event from different angles; sometimes it is very architectural, other times, more artistic and in some cases there is no materialisation of new space but the approach uses tools within space to articulate the trauma from this catastrophe. To commence this evaluation of articulations, three approaches would be examined, primarily chosen due to how recent they have been, all done within the past five years - the visual art installation, “Vertigo Sea” by filmmaker John Akomfrah, followed by the curated section on the
17
ARTICULATION I: TRAUMA THROUGH IMAGERY
pieces of literature – “To the Lighthouse” by Virginia Woolf, parts of “Moby-Dick” by Herman Melville, and “Whale Nation” by Heathcote Williams; in addition to other voiceovers. Overall, the work is as jarring and as it is mesmerising.
““The art of witness, rather, bids us to consider how
The work of Akomfrah takes on issues of
a remembered image might gain new hold on our
the human condition - the environment and our
lives and actions.”
ecosystems, migration, post colonialism, conflict and the like. With regards to The Atlantic Slave Trade, “Vertigo Sea” articulates trauma visually.
(Maclear, 1999, p.27)”
Yes, it is not materialized and tangible as what
Terror articulated beautifully would be an
Crinson would refer to as a trauma-reflection
apt descriptor for “Vertigo Sea”; a triple-screen
space but it does, unmistakably, perform the
installation, as seen in Figure 7, produced
task of these type of spaces which is to have
by filmmaker John Akomfrah. With images
a person contemplate on the traumas of certain
drawn from the BBC’s archive of nature films
events. However, there isn’t a direct correlation
and television programmes, it was originally
to the Atlantic Slave Trade; that is, the way that
produced for the 2015 Venice Art Biennale.
Akomfrah articulates the Atlantic Slave Trade
The triptych installation runs for forty-eight
isn’t at the centre of the film. It sits parallel to
minutes, producing a discordant narrative on the
the other topics of the installation. This is why
ocean while simultaneously giving a sensorial
this triple-screen set up is quite interesting. The
experience that leaves a viewer feeling a bit
installation presents the tragedy on one screen
dissolved, unstable, unbalanced – like vertigo.
while the other two present alternative situations;
The recurring scenes that showcase the historical
setting up scenes of emotive adjacency which
cruelties of the ocean is an overwhelming visual
creates a dialogue between situations that may
assault. Narratives of the whaling industry,
seem independent but nevertheless, they have
slavery and the refugee crisis, are generated as
correlations.
images are montaged, rearranged to bring forth
something new. The visuals are then further
turns it into an agent for memory and identity. By
charged sonically, with readings from three key
presenting these narratives, especially ones that
18
Akomfrah’s takes narratives of trauma and
19
Figure 7 Set up of “Vertigo Sea” by John Akomfrah London, England, UK
20 13
Figure 8 Still from“Vertigo Sea” by John Akomfrah London, England, UK
21
Figure 9 Still from“Vertigo Sea” by John Akomfrah London, England, UK
22
are considered minor in the larger context of society, in an explicative way, he opens up a channel for questions, scrutiny, deconstructions and interrogation of ideologies, systems and structures. These social, political and historical constructs are less injected and more presented or rather, existing. What occurs is an audience understanding there are different facets of a wider conversation of history, memory and identity that have been ignored; and in not being didactic, it ends up being brutally effective and left open for discussion.
23
ARTICULATION II: RECONSTRUCTING HISTORY IN THE MUSEUM
permanent exhibitions such as Power of Place which explores migration in the context of the African American experience (Smithsonian, 2016). The centrepiece of the museum, however, is the Slavery and Freedom exhibition curated by Mary Elliott; an area that explores the intricate narrative of the legacy of the Atlantic Slave Trade
“And so this national museum helps to tell a richer
on African Americans and America itself. Despite
and fuller story of who we are. It helps us better
many of the objects that are preserved in the
understand the lives, yes of the president, but also
exhibition, one of the most striking is a slave cabin
the slave, the industrialist but also the porter, the
from the Point of Pines Plantation holding 170
keeper of the status quo but also the optimist seeking
slaves prior to the Civil War. Located in Edisto
to overthrow that status quo, the teacher, or the cook,
Island, South Carolina, it was deconstructed and
alongside the statesman. ”
rebuilt inside the museum; an evocative relic of memory, history and trauma.
(Barack Obama, 2016)
The cabin as an object is unrelenting in
its interpretation to viewers; it is wrapped in a
Opened on September 24th 2016, the
violent and oppressive history and rejects any
National Museum of African American History
other type of narrative, housing 9 to 12 slaves at
and Culture embodies the narrative of the African-
a time for more than 165 years. It covered about
American
David
30 square metres and not designed for comfort
Adjaye, the building, a triptych of sorts – being a
or security. Thus, here, memory and identity are
museum, a memorial and a space of celebration
not simply presented and avoids being didactic,
– sits in the National Mall which is a landscaped
but it actively plays a role in the articulation of the
park in Washington D.C. The 400,000 square-
traumas that are held in the cabin itself as well as
feet, three-tiered facade museum is a space that
the wider story of slavery that’s connected to the
democratizes cultural and historical legacies,
cabin. It situates itself as both a singular memory
taking stories and associations and composing
for a family but also as a collective memory of the
them into a dialectic space.
black community, connecting to the generations
of the Meggett family who occupied the cabin
experience.
Designed
by
Within the museum, there are ten
24
Figure 10 The National Museum for African American History and Culture by David Adjaye Washington, D.C, USA
25
Figure 11 Point of Pines Slave Cabin Point of Pines, South Carolina, USA
26
27
Figure 12 Point of Pines Slave Cabin Reconstion in the NMAAHC Washington, D.C, USA
28
throughout generations from 1853 (Shah, 2018) and also speaking of the thousands of African American families that have been affected by slavery in such living conditions. The cabin is participatory in the social and historical agenda of the museum which is to turn the countryâ&#x20AC;&#x2122;s gaze towards the stories and memories of the African American that it actively chose to lose consciousness of.
However, whatâ&#x20AC;&#x2122;s even more intriguing
than the stories and history the cabin holds as an enigmatic object, is the conversation that were birthed during its dismantling. According to Elliot (Smithsonian, 2017), the cabin was dismantled within a week. During this process of disassembly, the community showed up. The community werenâ&#x20AC;&#x2122;t only the descendants of slaves but descendants of slave owners. This blending of histories and experiences, though one of tension, prompted conversation among the entire community. What this conversation illustrates is that as polarizing and grim the circumstances were, they still belonged to this entire community. Thus, these initial ideas of the community and identity it serves or the ones who participates is then challenged and blurred. The cabin holds the traces of this community, collectively and they serve as constructs in their thoughts and understanding of the iniquitous history.
29
ARTICULATION III: THE MEMORIAL
enslaved were warehoused, draws the collective African American story from enslavement to lynching to the current day racial injustices
“Lynchings were a way to threaten and terrorize, he
such as mass incarceration, segregation and
says. Fingers and toes were amputated for keepsakes,
police brutality. The memorial also has on its
picture postcards of the events were sold. Newspapers
grounds several works by black artists such
published advance announcements. Families packed
as Ghanaian artist Kwame Akoto-Bamfo who
picnics and made an outing of it, hoisting young
created sculptures of groups of partially clothed
children up onto shoulders to witness the violence.”
slaves struggling in chains, a sight that confronts visitors upon their entrance to the memorial grounds (ibid). This trauma-reflection space is
(Schumacher, Journal Sentinel, 2018)
very tangible, architectural and political in nature.
Set in the birthplace of the civil rights
The architects and artists seek to hit visitors with
movement in the United States of America –
a heavy reminder of what has happened, not
Montgomery, Alabama – is a covered square
only on the site but across the United States.
that hosts 805 hanging corten steel human-
sized monuments; each rectangular element
some elements that are associated with the
symbolizing a county in the United States that
Atlantic Slave Trade such as the chains on the
experienced racial terror lynching. Over 4,400
sculpted human figures as well as the hanging
names of victims of this historic brutality are
rectangular pieces. The size of these elements
engraved in these columns for “crimes”, some
are striking, being at human scale; the hanging
as simple as walking behind a white woman
monuments as well. This design decision is
(The Architectural Review, 2018). Designed by
cohesive throughout the entire memorial. With
MASS Design Group, The National Memorial
the sculptures, it forces visitors to look these
for Peace is the first and only memorial that
metal bodies, which one connects to a past
commemorates victims of past racial and social
physical body, directly in the eye; an almost
injustices, specifically victims of lynching in the
harrowing task for anyone, I would presume.
United States. Even more tragically, it was only
This use of scale to tug at visitors’ emotions,
recently opened, on April 26, 2018. The hilltop
triggering at times an almost false memory. The
memorial, which occupies the site of where the
field of steel elements are each 1.8m in length
30
The memorial translates trauma through
Figure 13 The National Memorial for Peace and Justice Exterior by MASS Design Group Montgomery, Alabama, USA
31
Figure 14 The National Memorial for Peace and Justice Interior by MASS Design Group
32
Figure 15 Sculpture of Chained Slaves by Kwame Akoto-Bamfo The National Memorial for Peace and Justice Montgomery, Alabama, USA
33
Figure 16 Scale of Sculpture The National Memorial for Peace and Justice Montgomery, Alabama, USA
34
(Solomon, Designcurial, 2018), rusted to a mud
memorial has an effect not only on the community
brown. Unlike the artists’ works on the ground that
it honours but also engages other communities
are of literal human figures, the human form is
as the Cabin did. Michelle Browder, a tour
abstracted to these rectangular elements. When
guide that specializes in the civil rights sites in
one enters the memorial’s covered square and
Montgomery, has commented on the impact of
meets the first set of columns, it is face to face,
the memorial; the physical materialization of
and names of victims and counties can be seen.
such a traumatic event. “It’s like for the first time
However, as one proceeds to walkthrough the
in their lives, it makes sense to them. We’ve
memorial, the floor begins to slope downwards
had some pretty remarkable conversations with
and the columns begin to rise until they are over
people from all over, and not just white people,
the visitor. Space is darker, names are harder to
who were realizing for the first time how these
read; looking up becomes burdensome. A visitor
things tied together,” (Teaching Tolerance, Moon,
then somehow becomes a spectator, which is
2018).
exactly what lynchings were to white Americans
at that time – a spectacle, an event, violence to
melancholy and acrimony, rightfully so, there is
be witnessed. One then feels implicit in it all, an
after visiting the memorial and having such an
arduous sense to confront.
overtaxing experience. Additionally, this effect
Compared to Akomfrah’s “Vertigo Sea” as
has extended into the classrooms of several
well as the Slave Cabin in the National Museum
Montgomery and Alabama schools as a number
of African American History and Culture, this
of student groups have been visiting memorial,
articulation is the most direct and the most
engaging young individuals in the very real
harrowing. The tangibility of the expression
history of Alabama and the United States of
contributes to this. Additionally, even though
America. Schools have also begun integrating
all three are open for social engagement, this
the memorial and the history it recounts, into
memorial does so the best due to its size. Part
their curriculum, according to Browder. By this
of the legacy of the Atlantic Slave Trade is ‘made
sort of response to the memorial, it would forge
public’ – displayed openly, highlighting the
a space for such narratives and histories to be
trauma that followed the catastrophe, striking
taught and done so correctly; raising awareness,
conversations and creating a new consciousness
restoring memories, and empowering African-
of truth and reconciliation. Furthermore, this
American identities.
35
Browder has also stated how much
Figure 17 Scale of Hanging Corten Steel Columns The National Memorial for Peace and Justice Montgomery, Alabama, USA
36
CONCLUSION: TRAUMA. MEMORY. IDENTITY. FUTURE.
Furthermore, they all seem to be more about owning the collective memory and making reconciliations versus causing resentment; which each articulation does so differently. “Vertigo Sea” used the image, stemming from visual
“The true paradises are the paradises we have lost,”
culture and the act of witnessing, montaging
(Bastea, 2004, p.5)
images and layering with sound which present narratives for interpretation. Whereas, the Point
The social salience of architecture has
of Pines Cabin was an articulation through the
a considerable impact on communities of
object: a small structure that tells of specific
catastrophe, both on the community the trauma
familial
has affected, and the community that levied the
generations. The National Memorial for Peace
trauma. Despite this, architecture’s approach to
and Justice materialized space that abstracts
trauma and creating trauma-reflection spaces
racial terrorism, prompting reconciliation and the
has only been addressed within the last two
owning of the collective American history. Each
decades, both in theory and practice, thus
of these articulations prioritize the collective
producing the gap within the discourse. With
memory and identity of the black community;
regards to the legacy of the Atlantic Slave Trade,
using black identity and its evolution from
this lacuna is greater.
this specific trauma as an agency of creation.
Looking at the three cases, one can see
They navigated the nuances in articulating
the end effect of each approach which is the
these histories and memories with sensitivity.
activation and stimulation of public conversation
What these spaces do is acknowledge the loss
on the trauma brought from historical and
incurred by the people and nations and accept
political context of the Atlantic Slave Trade.
that violence and suffering has occurred, and in
These articulations encapsulate a constellation
turn would be remembered. They also highlight
of narratives, emotions, memories and nuances
the survival, hope and resilience of a historically
and present them to the public. They are about
oppressed group. Thus, the interaction between
creating a geography of remembrance that
historical narratives and contemporary spaces
serves the community, reflect the society and
operate as a construct of not only understanding
allows for strengthening of social fabrics.
the individual, the community and the society,
37
and
communal
struggle
through
but also for celebration.
Interestingly enough, even though they
all speak of the trauma that affected a specific group of people, they also seem to also speak of trauma that can be understood on the human scale. What can be seen is the ebb and flow of human violence, a shared experience. Though the Atlantic Slave Trade directly impacted the black diaspora, they pose questions for any human such as: “What if it were me?” “What if I were in that grim situation?”
Now, in order to reconcile there needs to
be truth. These articulations of trauma look at the larger story of human tragedy and cancerous ideologies. Through effective approaches, they become manifestations of the best and worst of the human experience. They bear the massive weight of history and ask arduous questions that sometimes are not easy to answer, but necessary in order to proceed into the future, together.
38
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THE ARTICULATION OF TRAUMA THE ATLANTIC SLAVE TRADE, MEMORY, IDENTITY AND SPACE FINAL ESSAY SUBMITTED ON JANUARY 10TH, 2019 ETULAN A. JOSEPH [STUDENT I.D. 1708803] UNIVERSITY OF WESTMINSTER MA ARCHITECTURE CRITICAL ISSUES IN ARCHITECTURE TUTOR: DR. DAVIDE DERIU