Watchfires by V.L. Cox

WATCHFIRES

252 Montgomery Street Montgomery, Alabama 36104 www.troy.edu/rosaparks No part of this catalog may be reproduced in any form without permission in writing from the Rosa Parks Museum. Catalog Design by Madeline Burkhardt Catalog Printed by Davis Direct This exhibition catalog was made possible by a generous donation from Joel & Anja Walters. Cover: V.L. Cox, Sugar Shack, Collection of the Artist

WATCHFIRES V.L . COX

Januar y 13, 2022 - Ju n e 1 8, 2022

FOReWoRD “Morn came and went—and came, and brought no day, And men forgot their passions in the dread Of this their desolation; and all hearts Were chill’d into a selfish prayer for light: And they did live by watchfires . . .” - Lord Byron In the dread and desolation of a historic, global pandemic, V. L. Cox built us Watchfires. Watchfires can be beacons, lighting the night sky, helping us to orient ourselves on this planet so that we may find our way home or our escape from it. As a medical and political virus ravaged the country, mornings and nights came and went and blurred the passage of time. In that purgatory, V. L. Cox seems to have panned out so she could see both our Southern past and present simultaneously and all of the connected and tangled pathways that run between them. She could see where white supremacy intersected patriarchy or ran parallel to religious fundamentalism. She could see how far Christian nationalism has veered rightward. She could see the roads of voter suppression and disenfranchisement that go nowhere, taking us back to where we started. Repurposing relics from our whitewashed history, Cox builds us watchfires and sets them aflame so that by their light, we too might see the contours of this maze. By her hands, the robe of a Klansman becomes the canvas of her “Tent Revival;” a handkerchief in a Southern white church lady’s purse in Cox’s “Benevolent Hue” is crafted from a visitor’s discarded Confederate Flag found at Appomattox, where the Lost Cause of Southern secession finally conceded it was lost. Nineteenth-century poet Julia Ward Howe noted that watchfires can be more than a projection of light, they can also be sites of spiritual truth. In the final weeks of 1861 as the Civil War commenced, Howe penned the lyrics to what became “The Battle Hymn of the Republic.” In the first verse Howe writes, “I have seen Him in the watch-fires of a hundred circling camps.” The “Him” she sees in the watchfires is defined in the song’s opening line, which ultimately became the closing line of the last speech that Rev. Dr. Martin Luther King, Jr. gave in Memphis the night before his assassination: “Mine eyes have seen the glory of the coming of the Lord.” The promised land is in the watchfires. Watchfires have also served as warnings and tools of protest. After the Civil War, Julia Ward Howe founded the National Women’s Suffrage Association, advocating for women’s equality and advancement for the next fifty years. During the decade following her death in 1910, tension over voting rights for women reached a fevered pitch. The more radical activists in the National Women’s Party blamed President Woodrow Wilson for stalling their progress, and, in turn, launched their “Watchfires of Freedom” campaign, burning Wilson’s speeches outside the White House and in nearby Lafayette Park. An accompanying banner at the White House protest condemned Wilson directly for his inaction, promising “We in America know this, and the world will find out.” Theirs was a truth-illuminating, protest watchfire, and it surely served as a beacon to other women who knew that democracy was both sacred and incomplete without them—without any of us. V. L. Cox’s Watchfires lights our way to a spiritual and political reckoning of the American past and issues a call to arms that we do not repeat it. Angie Maxwell, Ph.D. Associate Professor of Political Science Diane D. Blair Professor of Southern Studies Director, Blair Center of Southern Politics & Society University of Arkansas

ColuMbia, 2019, 51” x 18” x 10”, Mixed Media 3

“You are a light. You are the light. Never let anyone — any person or any force — dampen, dim or diminish your light ….” - John Lewis

Watchfires 2021 24 x 24 x 21 Mixed Media V.L. Cox found the most extensive history of the origins of Watchfires on the Vietnam Veterans of America, Chapter 333 website and the Palisades 10964 Newsletter: The fires “date back to the Revolutionary War and were used by the Colonists along the Hudson River to alert residents that the British were approaching. The Watchfires were also used as a means of helping soldiers separated from their units return safely. During the Revolutionary war, General George Washington ordered beacons to be built along the Watchung Mountain Range in northern New Jersey. These encampments had unobstructed views of the country east of the range from New York Bay to Springfield; to the west to Basking Ridge; to the south to Middlebrook; and to the north to Orange County. Sentries could easily detect enemy movements from hundreds of miles around and alert the entire region simultaneously by either firing cannon during the day or by lighting a blazing fire at night. Washington tasked General Alexander, Lord Stirling, to build the signal fires on ‘conspicuous hills and mountains’ on the eastern side of the Watchungs, then known as the Blue Hills, to guard against surprise attack out of New York from General Clinton’s forces. The original specifications, subsequently changed by time and location, required logs to be stacked in a grid with each tier at 90 degrees to the one below, 14 feet square at the base rising to 18 or 20 feet, with split wood and brush filling the gaps and a stout sapling in the middle rising 30 feet high and topped with a tarred wick. The wick was lit by gunshot. It took twenty-four men one full day to cut the trees and assemble the logs. Originally, there were 23 beacons stretching over 40 miles from Somerset County to Bergen County, following the edge of the cliffs and appropriating overlooks originally used by the Lenape tribe for their smoke signal fires. Eventually, the beacon fires were extended up the east side of the Hudson River to the Hudson Highlands. The British army attacked twice, but each time, was foiled by militia alerted by the fires.” In the artist’s opinion, separations within the United States have reached dangerous levels, and the deadly global pandemic has made them worse. Foreign countries actively encourage election interference. White Supremacists march openly in the streets. Gerrymandering and targeted removal of voting locations happen as we stand here now. Intoxicating greed and an insatiable lust for power infiltrate and taint our current politics and religion. Manners and respect towards one another have been thrown out like yesterday’s garbage. We have never truly been the “home of the free,” and we continue fighting the same civil rights battles more than 66 years after Rosa Parks’ arrest. Those who have paid the ultimate price to fight against the spread of evil, authoritarianism, and fascism, would be shocked at how the values they fought to protect are being purposefully eliminated. Those heroes and sentinels are gone. Now is the time for us to pick up the light that has fallen and take their place – we must be the Watchfires. Now more than ever, we need the Watchfires to burn again through the night… To light up the darkness as a beacon of hope, strength, freedom, equality, and civility, To illuminate the path that once was traveled, So people can find their way home.

Fraud 2021 23” x 16” x 21” Mixed Media

The ballot box is an authentic ballot box from Shady Grove, Arkansas, from the 1860s. It has a special curved base fabricated on the bottom so it could be strapped on the back of a mule. The mule was then walked through rural communities so the people who lived too far from the polls had the opportunity to vote. Those days are long gone. The heavy wooden crows mounted on the top of the antiquated empty ballot box, guarding the slit where the ballot is cast, represent the highly organized and intentional amount of voter suppression bills that are now being passed and the oppression of Jim Crow. You walk past it, an infrared motion detector mounted inside “caws” the words “FRAUD!” “FRAUD!” Pass the John Lewis Voting Rights Act.

“The

right to vote is precious, almost sacred. It is the most powerful

nonviolent tool or instrument in a democratic society. We must use it.” John Lewis, one of V.L. Cox’s personal heroes, was an activist who “found a way to get in the way.” Lewis began his activism in 1960 while a student at Fisk University in Nashville, Tennessee, where by helping organize sit-ins in protest of segregated lunch counters and was instrumental in founding the Student Nonviolent Coordinating Committee (SNCC) later that year. In 1961, he helped organize the Freedom Rides to integrate interstate transportation and was badly beaten by a white mob in Montgomery for his involvement. Lewis’ prominence led to him being a keynote speaker at the March on Washington in 1963. Throughout his life, Lewis was a champion of voting rights and firmly believed that our vote is the most peaceful protest we can make. In 1965, after initially being met with violence, Lewis, Dr. Martin Luther King, Jr., and other foot-soldiers courageously marched across the Edmund Pettus Bridge in Selma, Alabama, to the state capitol in Montgomery in pursuit of the right to vote. This march was the catalyst that sparked the passing of the Voting Rights Act of 1965. While this was not Lewis’ first foray into activism, it is the one that helped define his legacy of passionately fighting for voting equality. He was elected to the U.S. House of Representatives in 1986 where he became known as the “Conscience of Congress,” became an integral part of the Faith & Politics Institute, and eventually earned the Presidential Medal of Freedom in 2011. As we honor his legacy, we must remember to “get in trouble. Good trouble. Necessary trouble.” The late Representative Lewis left us his watchfire to guard after his passing in 2020. Together, we must continue his legacy by protecting the right to vote and seeking equity for all.

This painting features authentic soil from the edge of the Edmund Pettus Bridge (soil sample pictured right), which is painted on the bottom of his shoes – forever marching forward.

- John Lewis

Good Trouble 2021 80.5” x 36” x 2.5” Mixed Media

America 2020 39” x 19.5” x 20” Mixed Media 10

American Beauty 2016 55.5” x 24” x 11” Mixed Media “The food tasted bland with anticipation. After finally being excused from the dinner table with the last rays of summer light lingering in the sky, we ran outside as the old screen door slammed a noisy goodbye. With sweaty hands, we grabbed our wagons and headed up the steep hill in front of the house. As we reached the top with burning legs and heart pounding courage, we sat down, feet splayed out on each side for balance (and an emergency brake if needed) and leaned forward to launch our trusty rockets into flight. There were big wagons, small wagons, old wagons, and new wagons. Some were steered with a rope, while others had bent handle intact, but with wide-eyed, blistering speed we all had one thing in common; we flew back down towards the house bouncing up and down as the wheels careened over and around rocks, trusting our very lives to a friend to yell out directions and guide us so we didn’t hit a parked car or two in the driveway as we steered carefully and confidently to a final stop. We knew that if we didn’t listen and trust each other at those top speeds, a trip to the emergency room (or the dentist) would be imminent. Despite those scary risks, we kept climbing right back up that hill and kept doing it again and again, laughing with each other, trusting each other, caring for each other, and even riding in each other’s wagons until the sunlight faded on the horizon and our parents’ voices called us in for the night.” – V.L. Cox American Beauty represents lessons of courage, trust, balance, and most importantly, freedom. Despite our differences, we must continue to navigate “over and around” those obstacles that discourage us from working together, trusting each other, and finding happiness as the wheels of time roll forward towards a better tomorrow. 11

Tent Revival 2021 48” X 32” X 17” (Base) Mixed Media One day while talking to an antique dealer out of Atlanta, Georgia, V.L. Cox noticed a tiny old photograph of what she thought was a Revival Tent with a “Knights of the Ku Klux Klan” sign in front of it. The artist had gone to plenty of church revivals in her youth, and it really caught her eye. After looking closer, she noticed the “Religious Services - Sunday Evening - All Welcome” sign sitting right next to it - the Klan and the local Church were sharing the same exact tent. “From what I see today, not a whole lot has changed. White Supremacy is alive and well in the church. It’s ferociously claimed the white pages of the Bible as its own while brutally moving the black letters around at will. The last time I checked, the robe Jesus wore didn’t come with a hood.” - V.L. Cox The Revival Tent is made from an original Klan robe worn by Grand Wizard and Cyclops, Roy Frankhouser Jr. out of Pennsylvania. The remaining materials are fabric, wood, string, light. Original photo included.

A Benevolent Hue 2021 39” x 20” x 8” Mixed Media V.L. Cox created this piece after reading an article from Laura Ellis, a writer with Baptist News Global, talking about how “nice white women participate in white supremacy too.” Ellis states that one of the main foundations of racism is that the “virtue of white women is threatened by the existence of Black men.” They are a “damsel in distress whose sexual virtue, and therefore value, needed to be protected and kept pure at all costs.” Men then commit unspeakable atrocities in the so-called name of honor and virtue as the women stand silent beside them. Take Emmett Till for example. A 14-year-old Black boy, brutally murdered in the prime of his youth for the simple fact that a white woman said he was flirting with her. She later recanted her statement, but not before her words were then forever etched in history. Ellis goes on, “Today, the most frequent weapon white women use to maintain white supremacy is a niceness that downplays racial injustice. The feeling of being uncomfortable about the realities of white supremacy in our communities and the desire for ‘nicer’ conversations are borne out of a place of privilege. White women frequently respond to racism with sadness instead of outrage or optimism instead of action. White women’s niceness is particularly dangerous in churches where niceness is conflated with benevolence.” This piece represents the women of the church who quietly and politely tuck their white supremacy in their purse and stand in front of the holy cross cloaked in privilege and disguise. Their rigid hands and arms remain symbolically locked in prayer in a benevolent charade. The definition of a hue is a form or appearance. A combination of other paint pigments to emulate the real thing.

Veneration 2020 28” x 12” x 7” Mixed Media This piece represents the veneration of the Saints: “Very fine people,” Jim Crow, White Supremacy, The Alt Right. Racism, Xenophobia, Homophobia, and Religious Freedom bills allow the refusal of life-saving medical care or a sandwich in a restaurant. They stand vehemently on a platform for the unborn and conveniently turn a blind eye to the sexual abuse of children in cages and the forced sterilization of minorities. Innocent schoolchildren are slaughtered in their hallways. Black lives are being callously extinguished at an alarming rate. Neo-Nazi White Supremacists march under a Christian cross. The politicization of humanity. The blind intoxicating quest for power, and the unquenchable thirst for tax-free money flowing towards yachts, mansions, and secret sexual rendezvous. False prophets - you never hear them talk about Jesus anymore. They have replaced him with something more sinister to worship. Cox has placed a rigid iron Jim Crow standing on the same 30 pieces of silver that represents the timeless reward for betrayal. 17

Voters in Lower Peachtree, Al, 1966, National Archives, Records of the United States Information Agency

The Sugar Shack 2021 34.5” x 34.5” x 24” Mixed Media While on the train to Manhattan one day, the artist was reading the book Carry It On, The War on Poverty and The Civil Rights Movement in Alabama 1964-1972 by Susan Youngblood Ashmore. On page 196, she noticed a particular photograph and could not quit staring at it. The photograph from Lower Peachtree in Wilcox County, Alabama, was one of the most powerful photographs she had ever seen. Cox found more of the story on an original 5/3/66 United Press International Press Photo which stated, “Negro residents of Wilcox County in the heart of the Alabama’s Black Belt line up at a rural store called The Sugar Shack. Rural Wilcox had not a single registered Negro voter prior to the passage of a federal voting rights law last summer. Now Negro voters outnumber whites by almost 2-1.” Being a Civil Rights activist, artist, and visual historian and seeing these people dress up in their Sunday best standing in line for the very first time to exercise their right to vote, really moved Cox. Being a child of the South and a lover of old buildings and architecture, the image of the rural Mercantile Store moved her as well. She could almost hear the creaking of the old wooden boards welcoming the voters as they made their way up the steps to the ballot box. It was inspiring. So much so, she even contacted the Wilcox County Historical Society in Alabama to see if any of the building remained standing or if there was a historical marker of any kind. Unfortunately, nothing is left of the original Sugar Shack. Cox was driven to create a replica of the building during that special moment captured in the old photograph. 21

“I Know Which One You Are” 2017 20.5 x 7 x 2.5” Mixed Media/Installation When V.L. Cox found this old photograph in an antique store, she fell in love with it. She was then told by someone that apparently saw a resemblance after she brought it home, “I know which one you are.” 22

This piece represents a tomboy’s youth filled with wonder, growth, sexuality, and transformation.

Recipe Box 2021 5.5” x 3” x3.5” Mixed Media V.L. Cox received a call from her good friend Shane Westmorland about a piece he found while antiquing. When the package arrived, Cox was sickened by what she saw. It was a small, metal Southern Recipe Box from an evangelical preacher’s wife found at an estate sale in Northern Arkansas. When Cox first opened it up, behind the Biscuit, Coffee Cakes, and Main Dishes, she found a stack of “Come to Church” religious tracts, but behind those tracts was a folded-up piece of paper slipped in. As she unfolded the worn piece of paper, the words “Non-Working Ni**ers” popped out. The obvious hypocrisy was disgusting. At that point, the only recipe the artist saw was: 1. One Christian preacher 2. One Christian preacher’s wife (See the piece A Benevolent Hue) 3. Sprinkle in a stack of holy, religious tracts to saturate the community 4. Add a heaping dose of racism 5. Beat down well. 6. Share and ingest. This recipe feeds many. 23

Scripture 2021 62.75” x 11.75” x 17” Mixed Media This piece is created from an historical 1930 Art Deco New York gambling cabinet that at one time had been outlawed. There are a little over 640 cherries in the glass and wood enclosure, which represent half the pages of the Bible since Cox believes “cherry pickers never read it all anyway.” 24

Phenomena 2016 16.25 x 10.25 x 2.5” Mixed Media Created using vintage wooden parts from an old church pew, an antique steamboat trunk found stored behind a cotton building on Front Street in Memphis, Tennessee, and a vintage 1930s Buck Rogers ray gun dug up from a backyard.

Journal 2016 16.25” x 10.25” x 2.5” Mixed Media Finding strength and balance on a long journey. Created using wooden parts from an old vintage church pew, an antique steamboat travel trunk found stored in the back of the cotton building on Front Street in Memphis, Tennessee, and a vintage plumb bob.

HWY 8 2015 36” x 60” x 1.5” Mixed Media

This piece is inspired by the visual V.L. Cox had of the old mercantile stores and the ancient Ouachita Mountains that run through western Arkansas when she drove the highway where she lived. 27

Hornet’s Nest 2020 19.5” x 11.5” x 10” Mixed Media Nothing describes 2016 - 2020 American politics better than this image of a figure screaming. Sculpted from an authentic hornet’s nest found in the woods of South Arkansas. 28

Alarm 2021 20” x 12.5” x 6” Mixed Media More than 800,000 dead Americans is nothing to brush off. Alarm represents how serious COVID-19 has been and how dangerous misinformation can be.

USS Defiance 2017 40” x 11” x 38” Mixed Media Cox found the figure in an antique shop in New York City when she was exploring on her way to Chinatown. The figure instantly spoke to Cox and she found it strikingly beautiful. Cox placed her on a shelf next to a vintage homemade boat she had acquired last year, which sparked the idea for this piece. Cox saw her strength as a woman sailing through difficult times. She reflected on all the women that are now stepping out of the shadows in unity to take their place in history as we fight against oppression and injustice. The figure leads head-forward wearing the gloves of a modern woman, with the stars and bars of the country that can be “just and fair” with the right leader - a leader who will face the headwinds unafraid and steer a wayward ship in a storm to safe port. 30

Before a Midnight Breaks in Storm 2016 54.25” x 12” x 12” Mixed Media This piece is inspired by Rudyard Kipling, one of the artist’s favorite authors. Kipling’s poem addresses his personal anxieties and his frustration with those in power who refused to acknowledge the threat from Germany prior to World War I and their imperial ambitions. These words resonate strongly with Cox in today’s social and political climate. A foreign threat is not as dire of a situation as a separate nation is, and the separatist mentality held by a select few in power. As our nation struggles to move forward towards the future, the pushback of oppression towards those who only want safety, protection, and equal rights, is the weakest link in our country today. In the words of Southern Poverty Law Center’s Julian Bond, “The humanity of all Americans is diminished when any group is denied rights granted to others.” The antiquated string represents the perception of whitewashed perfection and oppression as it holds down the stone infant’s head, directing the plumb bob straight down with no room for innovation or diversity. The pedestal is a wooden porch column from the early 1900s. 31

If The Shoe Fits 2020 12” x 3” x 2.5” Mixed Media

The Mark 2016 97”x 54”x 32” Mixed Media This piece is heavy, uncomfortable imagery. The chalk handprints on the wooden mallet are a reminder of when dishonest carnival game operators called “grifters” found someone who they could entice to keep playing their rigged games, they would then mark the player by patting their back with a hand that had chalk on it. Other game operators would then look for these chalk marks and entice the individual to also play their rigged game. This is the same trick that is happening in society today. Good people are being dangerously misled by these political and religious grifters, full of self-serving arrogance, picking and choosing biblical passages that are misconstrued to inflict harm on others for no other reason than financial gain, or to make themselves seem, and feel, superior over others. The powerful words of Christ are now lost, forgotten, and buried under the stench of pride. This piece is a powerful response to those political and religious leaders, as well as individuals, who use such tricks to trivialize the Christian Faith to divide, marginalize, and damage people. They have succeeded in turning the true message of Christ into a circus or carnival game where they target those that are easily mislead. The goal is to achieve quick cash, status, and personal gain while joyously, intentionally, and violently beating the hell (and the love) out of Jesus. Unfortunately, those people have mastered the ability to encourage others to do so as well.

Reflection (Self-Portrait) 2021 48” x 60” x 1.5” Mixed media This piece was created after the artist caught her reflection in the mirror of an old Civil War-era wardrobe where she was storing flags (Pride, American, and Confederate) for future art projects. One afternoon, she heard the creaking of the wardrobe door behind her. Her cat had jumped on top of the wardrobe and had jarred the door open. As she turned around, she caught her reflection in the mirror with the lone Confederate Flag ominously peeking out from the shadows. This piece was inspired from the photograph she took with her phone at that moment. This moment was a stark reminder that no matter how much you try to educate yourself and pull yourself out of ignorance, myths, and whitewashed history of the South, that upbringing and close-minded environment will always remain in your background. The struggle at family reunions, the painful conversations with your elders, teaching the youth perpetuated disinformation of hatred and discrimination, all in the name of “heritage” and “southern pride,” never goes away. Cox was taught that the Civil War was fought over “states’ rights,” “Northern aggression,” and “the taxation of goods.” Boys Cox knew in high school started a ‘BTA’ (Back to Africa) Movement in school and plastered flyers on the walls outside of classrooms. A cross was burned by a local boy in the yard of a woman who dated a Black man. Another woman who dated a Black man, and whose father was in the Klan in South Arkansas, was murdered one night with her young interracial child and buried without an investigation. When a relative suspected that the artist was gay, she was pulled outside of the house in the backyard and told “Well, at least you’re not dating any N***ers.” The “N” word is still used openly to this day in South Arkansas. Progress since then? Some. Not enough. She has had to sever ties with several of those boys, now full-grown men, who continue to spew their filthy lies and hatred while hiding behind tainted scripture. No, the past never leaves you, but facing the truth is the first step toward change.

About the Artist V.L. Cox was born in Shreveport, Louisiana and raised in Arkansas. She acquired a Bachelor of Fine Arts degree from Henderson State University in 1991. A professional artist of 31 years, Cox’s recent work has been highly active in projects that involve Human Rights and Equality. In 2015 in protest of HB1228, a dangerously written Religious Freedom Bill, she launched her National End Hate Project, a narrative body of work that looks at our history of past and present discrimination, gender issues, and social culture. The End Hate Door Installation, based on segregation era doors, was installed twice on the steps of the Arkansas State Capitol then twice at the base of the Lincoln Memorial in Washington, D.C. The response was overwhelming. Images of the door installation went viral and were seen on Yahoo News, USA Today, in numerous newspapers across the country and as far away as India and South Korea. This powerful series employs authentic and found objects that create a visceral presentation commenting on raw emotions and relevant human rights issues that are still relevant today. They convey messages that are aggressive, violent, disturbing, irreverent, and even humorous, but all show us as a society where we’ve been before and where we can’t allow ourselves to go again. While working as an artist in Dallas, Texas, Cox worked in the scenic industry constructing and painting large backdrops for theatrical organizations such as the Dallas Opera, the Dallas Ballet, and the Los Colinas Film Studios. Some of the productions include: The Nutcracker and Phantom of the Opera. Cox also painted the background for the National Civil Rights Humanities Awards in Memphis, Tennessee where Leah Rabin, wife of slain Israeli Prime Minister Yitzhak Rabin, spoke and presented the award for freedom. In 2020, Cox was one of twenty artists in the nation featured in a billboard project titled Ministry of Truth: 1984/2020, which was described as providing “a platform for artists to comment on the current state of US politics and increasing polarization just in time for the election.” The twenty billboards were placed at various locations across New York City; the project was named one of “The Most Important Moments in Art in 2020” by The New York Times. Cox currently resides in her live/work studio in the artists’ district of Peekskill, New York. www.vlcox.com

The Rosa Parks Museum’s Mission The Rosa Parks Museum is an active memorial to the life of civil rights icon Rosa Parks and the lessons of the Montgomery Bus Boycott that brought racial integration to transportation and international attention to civil rights. Located in downtown Montgomery, Alabama at the site where Mrs. Parks was arrested, it is the nation’s only museum dedicated to Rosa Parks. Our mission is to honor her legacy and that of the boycott by providing a platform for scholarly dialogue, civic engagement, and positive social change. The museum’s collection contains a number of historically significant artifacts including the original fingerprint arrest record of Mrs. Parks, a 1950s-era Montgomery city bus, original works of art including statuary and quilts, court documents and police reports, as well as a restored 1955 station wagon (known as a “rolling church”) used to transport protesters.

Rosa Parks Museum Staff Donna Beisel, Assistant Director Madeline Burkhardt, Adult Education Coordinator & Curator Ashley Redic, Office Assistant

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