Visual Representation of Black Individuals at the Forefront of Underground Railroad Interpretation

This thesis is grounded in a reflection and analysis of the building of an institution whose foundation and visuals position the narratives of Black individuals at the forefront of Underground Railroad interpretation. In 2018, the Niagara Falls Underground Railroad Heritage Center opened to the public after decades in the making. Its permanent exhibition, One More River to Cross, set in motion a shift in power – of whose stories are represented and shared – generated by visual activism. “Between the American Revolution in 1776 and the end of the Civil War in 1865, thousands of freedom seekers escaped slavery in the southern United States. Many relied on a network of people and places called the Underground Railroad.”[1] The nature of the Underground Railroad was to operate just out of view, to aid and create the opportunities for enslaved persons to make it to free states and Canada. Because it was necessary to keep the movement hidden, evidence of these operations is rarely depicted visually. This thesis explores the creation of the One More River to Cross exhibition and calls for exhibit design and interpretation to be more inclusive utilizing a critical lens, to generate a shift in how we understand the Underground Railroad. I argue that by only exhibiting visuals that are readily available, the most critical elements of history are left out. This in turn continues systemic oppressive practices and behaviors. Throughout the last half century, exhibitions in museums and other educational and public settings rely on visuals used again and again, or that are easily accessible, to depict the stories of the Underground Railroad. These visuals are most often photographs or paintings of white abolitionists, sympathizers and Quakers, and their homes, properties, or material possessions. Black individuals are most often depicted on the run or hiding and are rarely specific persons recognized in a non-demeaning light. This is a result of the continued systemic oppression of Black individuals stemming from slavery, who would not have had the privilege to record, document and display their own stories. When only the visuals most readily available or easily accessible are used in the interpretation and presentation of the Underground Railroad narratives, we often fail to capture the reality of those whose experiences defined the fight for freedom. These experiences are not only representative of the past, but they are also intertwined within our cultures and communities to this day. Museums and caretakers of public history need to expand how they think of utilizing visuals – of whom, by whom, for whom, who is there, and who is not. Every image has power. [1] Network Wall, One More River to Cross Exhibition. Niagara Falls Underground Railroad Heritage Center, 2018

Taking Science Museums to The Edge: How Science Museums Can Advocate for Social Justice, Education and Inclusivity Through Their Exhibits

Science museums have often associated affluent populations and quality education with access to scientific material and content. While these institutions have become more accessible in many ways, they can and should increase their efforts to include BIPOC (Black, Indigenous, People of Color) communities and individuals. As the need grows for diversity in STEM (Science, Technology, Engineering, and Mathematics) fields so does the demand for science museums to include these communities’ needs and wants. This thesis discusses the need for and importance of BIPOC representation in science museums and what museums have already done to include them in their programming and exhibits. This discussion explores solutions to improve museums’ relationships with and trust by BIPOC populations. The aim in this discussion is to create awareness and understanding for the need to include BIPOC individuals in STEM related content, fields, and leadership roles

Project CPS: Curriculum Content + Creative Problem Solving = Successful Integration

The goal of my master’s project is to empower teachers to unlock the Creative Problem Solving potential in their students and open the door to a world of possibilities by providing strategies, resources, and support to integrate CPS into their teaching practice. To achieve this, I have designed a book that presents an original and engaging imaginative characters to foster an immersive and interactive learning experience that will capture the imagination of both students and teachers. Meet the Spirit of Creativity, represented as E. Paul Torrance, along with four Creative Problem Solving Characters who will guide teachers and students through the Lands of Clarification, Ideation, Development, and Implementation. As they progress through the Land of Clarification, the Land of Ideation, the Land of Development, and the Land of Implementation, students earn a Key of Understanding by completing a Problem Solving Challenge. To supplement the book, an accompanying Teacher Guide, which will be completed as an independent study, will provide extended learning experiences for each step of the CPS process and specific examples of how to integrate Creative Problem Solving into classroom content and standards

Interview with Wesley Brett

Wesley Fiske Brett was born on April 19, 1914. In 1937, he received his B.Ed. in English from Keene Teachers College. He taught elementary and high school. He received his M.Ed. in English in 1949 from the University of New Hampshire. While doing his graduate work, he was hired as an Assistant Professor in the new art department at the University where he taught stagecraft. During his time at the University of New Hampshire Mr. Brett was in charge of the Student Workshop (an experimental arts laboratory). In 1959, Mr. Brett became an associate professor of art at the State University College at Buffalo. In 1960, he was commissioned to design a room divider for the college’s use. He called it “Metaphors in Black Walnut.” It was dedicated in 1963 and placed in Moot Hall. It is now located in the E.H. Butler Library. Prof. Brett created the wood design studio at State University College at Buffalo. He retired in 1979. Wesley Brett passed away on October 30, 2013.https://digitalcommons.buffalostate.edu/bsc_oral_history/1029/thumbnail.jp

Interview with former President Paul G. Bulger, 1959-1967

Paul G. Bulger was born July 25, 1913. He received his B.S. in 1936 from SUNY at Albany and his M.S. from there in 1941. In 1951, Paul Bulger was awarded his Ed.D from Columbia University. From February 1959 to June 1959 Dr. Bulger was Provost and Professor of Education at the Teachers College at Columbia University. On July 1, 1959, Dr. Paul Bulger became President of the State University College at Buffalo. His tenure as president saw sweeping changes for the campus. Dr. Bulger led the transformation of the State University College at Buffalo from a teachers’ college to the largest college of arts and sciences in New York’s State University system. He oversaw the planning and construction of new buildings for fine arts, physical education, and science as well as the student union, library, campus school, and residence halls. Among the things that were started and founded during Dr. Bulger’s tenure were the Burchfield Art Center, the Great Lakes Laboratory, the Buffalo State Foundation, and the Siena Program. Dr. Bulger resigned the presidency of the State University College at Buffalo in 1967 to became the associate commissioner of higher and professional education for the Board of Regents in the State Education Department. He stayed in that role for a year before leaving and becoming professor of higher education at the State University of New York at Albany where he remained until 1975. From 1975-1977 Dr. Bulger was principal of Harlaxton College, a branch of the University of Evansville (Ind.), located in Grantham, England. From 1977 to 1987 he held different posts including a visiting fellowship at Cambridge University, scholar-in-residence and special assistant to the president at William Jewell College in Missouri, and was a lecturer at the State University College at Buffalo. In 1988, Dr. Paul Bulger was awarded a Doctor of Humane Letters from the State University College at Buffalo. In 1993, the Bulger Communication Center was named in his honor at the State University CCollege at Buffalo. He passed away on February 8, 2000.https://digitalcommons.buffalostate.edu/bsc_oral_history/1031/thumbnail.jp

Jewett 0183; Building-Structure Inventory Form

https://digitalcommons.buffalostate.edu/parkside_district_jewett/1045/thumbnail.jp

Greenfield 0090; Building-Structure Inventory Form

https://digitalcommons.buffalostate.edu/parkside_district_greenfield/1044/thumbnail.jp

Advertisements; 1957-05-05

https://digitalcommons.buffalostate.edu/rs-ads/1010/thumbnail.jp

Woodward 0297; Building-Structure Inventory Form

https://digitalcommons.buffalostate.edu/parkside_district_woodward/1107/thumbnail.jp