1 10 4 https://d1y502jg6fpugt.cloudfront.net/54855/archive/files/061b1127294666cdf407ea14f2fab7fa.jpg?Expires=1787184000&Signature=OuVE0m-QFh369oH5LAiSo2QvmFVIWcq2GABjgb6sw8In0a7FBhQriLan2%7EOY1zY6SRe%7EaVRO64XqCLGlIJXJwr9tQgSzDVzTnS545vHAPMSLFUSEbljCjwJ9BFZuV3fdOkQhYC8FCn%7EUrlwBD7miTu-UwNv2O1hq0JrDHrzRhhocZQMt2CM1qPe3RktdSKqutWi58UiRZqMDLLMVQFWPSd8z6HXec5LJVDxGt3JMkk31xR6Zo0BgEkZLQPAsc5LhpAFItdsdwwEnHDVK3pQXfvqbNdkNCl5mXN0kmf1RekuGsAoCzOA769E-ZFjWHgcJL5GzXc-oXlPXoD-wOG1nuQ__&Key-Pair-Id=K6UGZS9ZTDSZM 9049f3b09a0ad8a7ece8581c54b34427 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Robert E. Lee Description An account of the resource The Robert E. Lee Monument in New Orleans, LA. Creator An entity primarily responsible for making the resource Wally Gobetz Publisher An entity responsible for making the resource available Creative Commons Date A point or period of time associated with an event in the lifecycle of the resource April 17, 2010 Contributor An entity responsible for making contributions to the resource Julia Vargas Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource .jpg https://d1y502jg6fpugt.cloudfront.net/54855/archive/files/1dcad2e91272fb6ed20e4160deb97b2c.jpg?Expires=1787184000&Signature=Pw5Bf16nJyfi8dAYk%7E8p1w05P%7E77J%7EPUyqMq2YkU%7E4IvJ9ORfaQFIP6vrn1SQgyvL96fwWfs453lc-PzbsP-iZ7wS0MlWWisqFXniMyfZdMAxG9VLqUFVU6h7WZMO8iVkhnafZLAHblXyoDaGa8sqTKxF6M2rWu9KtRaUEavhaN8b-E5gSV2-SpgtpPIur4hYH8BHGxAa-qAZei2wjUWEhtzgIBGeOfb2Oz6X2F1jrnGPO4aSzy2Vc0suIhAZqF8ILaYv7GD15J0W39uIOwek64Wm1QshXWRspCNlJifKlksxgDdZdJNY1yk2UNrweny0ipvD5ysoc%7EQvoKQh%7EfTSw__&Key-Pair-Id=K6UGZS9ZTDSZM 44249a919673613859716e5b79a56311 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Robert E. Lee Monument at Lee Circle Description An account of the resource Robert E. Lee Monument at Lee Circle in New Orleans, LA. Creator An entity primarily responsible for making the resource Daniel Lobo Source A related resource from which the described resource is derived Creative Commons Publisher An entity responsible for making the resource available Creative Commons Date A point or period of time associated with an event in the lifecycle of the resource July 31, 2014 Contributor An entity responsible for making contributions to the resource Julia Vargas Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource .jpg https://d1y502jg6fpugt.cloudfront.net/54855/archive/files/63cbdc6d201f87294f4f2cd5bbb868f0.jpg?Expires=1787184000&Signature=M1qN8IW14B51V6%7E0E7Ot4DaWccJFZvAS--N6bPBigEzBJOha%7EjWUbKQ49roVSn%7EMo7vUG8LU2Jy2ewY0trQBMkHsDNr6BLv4Z0I92j%7ExLGARg-LCSW5tY74sWOjB0F19K2hdO4oK84do0gZ16byiP2JYjl4%7E1p-R9zUIPtj1uCDvRiw%7EnKnckFMSI4q-b8tPdlzBiaD486ozSKP-LmQHlQ2HdRtP1BMmwZw8gIGuyBBvf0ttC9tW80--lL%7E8%7EHI10YUUsEq8%7EAdkDlpZciwPgbeMvRtO8lDthVGTTX4Qy3ugtxDT2GfCRMJOLC6HpXSq4xi7aVQmClz7kyzDld-FXQ__&Key-Pair-Id=K6UGZS9ZTDSZM 535b7729df87d225614899423d0b3c4f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Removal of the Robert E. Lee Monument, New Orleans, LA. Description An account of the resource The Robert E. Lee sculpture is removed from its base in Lee Circle. Creator An entity primarily responsible for making the resource Infrogmation of New Orleans Publisher An entity responsible for making the resource available Wikimedia Commons Date A point or period of time associated with an event in the lifecycle of the resource May 19, 2017 Contributor An entity responsible for making contributions to the resource Julia Vargas Rights Information about rights held in and over the resource Free reuse with author attribution in accordance with any of the licenses listed by the author/photographer. Format The file format, physical medium, or dimensions of the resource .jpg Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Orleans: The Jewel of the Confederacy Contributor An entity responsible for making contributions to the resource Luca Azuma, Jon Hall, Nicole Hallenbeck, Julia Vargas Description An account of the resource Overview The New Orleans Collection is a commentary on the contested legacy of the civil war, and an effort to bring to light historical evidence that is very relevant to the circumstances swirling about places of interest in the Southern United States. As the site of physical confrontations manifesting the ideological clashes of our time, the monuments here tell a story about race in America, from the ways in which they were funded and constructed to their significance as objects attempting to narrate history in the United States. Most prominent among the controversies surrounding the city's Confederate legacy was the 2017 removal of the Robert E. Lee statue following the 2015 Chaleston church shooting and the 2017 Charlottesville Unite the Right Rally. Covered closely by national media, the saga was high-stakes, from legal battles to death threats, but the Lee monument finally came down in May 2017. The Mayor of New Orleans at the time, Mitch Landrieu, accompanied the event with a <a href="https://www.youtube.com/watch?v=csMbjG0-6Ak" target="_blank" title=""Full speech: Mitch Landrieu addresses removal of Confederate statues"" rel="noreferrer noopener">speech</a> in which he acknowledged the city's ties to slavery and called for monuments in remembrance of the darker side of New Orleans's history to create "healing and understanding" in the community. In light of these events, our collection explores three monuments as part of the history of New Orleans: the Confederate Memorial Hall Museum, the Battle of Liberty Place monument, and the Charles Didier Dreux Monument, all of which contribute to our understanding of the Confederate legacy in the city itself and the country at large. Why New Orleans? New Orleans’ historical importance rested in its geographical location near the Mississippi River’s mouth and the Gulf of Mexico. The city’s commercial waterway accessibility thereby transformed it into a central sea-trading hub, which, throughout the Colonial and Antebellum periods of U.S. history, also made it the country’s largest slave-market. Its direct participation with and economic dependence on slavery resulted in its Civil War status as the Jewel of the Confederacy, which unified the city’s elite under a socio-political consensus. For most of that war, however, Union General Benjamin F. Butler and his forces occupied the city. That combined with Reconstruction only reinforced the elite’s Confederate sympathies and led to their adoption of the Lost Cause narrative. From the wealth acquired from the Antebellum and Gilded Age economies, they built monuments in New Orleans as totems to the Confederacy, Lost Cause, and White supremacy. The three archives in this collection all contextualize Louisiana’s history as pertinent to one’s understanding of the Confederate monuments and memorials herein. Each archive was chosen for its representation of the following: 1) removal during the post-Charlottesville protests in 2017; 2) removal sometime after 2017; and 3) not removed as of 2020. This collection thereby becomes useful for one’s knowledge of each chosen monument/memorial’s direct connection to the larger history of racism within Louisiana and the U.S. Present Controversies Activist groups in New Orleans are currently organizing to have the city remove its remaining Confederate monuments. Take ‘Em Down NOLA’s website lists Confederate monuments in New Orleans as well as parks, schools and streets named after members of the Confederacy. They also provide background information on the people the monuments are dedicated to and list their status (remaining, removed by the city, removed by protestors, etc.) Take ‘Em Down draws connections between Confederate monuments, the broader history of the Civil War, and present battles against racism and police brutality. They created a list of objectives and believe that the removal of these monuments is the first step in order for New Orleans to make reparations for its part in the slave trade. There are also groups that work in opposition to activist groups in New Orleans. The Monumental Task Committee is a tax-exempted, non-profit organization in the city that restores Confederate monuments. Their work includes the removal of graffiti from the Charles Didier Dreux monument and the Samuel Lowenberg monument after they were vandalized by protestors. However, their website does not specifically voice support for the Confederacy, merely an admiration for the city’s “world-class art.” They organized in 1989 after crowdsourcing funds to “rescue the abandoned Davis monument on Canal Street.” The volunteers survey the city to count the statues and note any that need restoration. They are currently developing a “newer and more comprehensive city-wide monument restoration plan” and a large fundraising program. Source A related resource from which the described resource is derived 1. Robertson, Campbell. "Robert E. Lee Brought Down from Lofty 133-Year Perch." New York Times (1923-Current File), May 20, 2017. <a href="https://search-proquest-com.lib-proxy.fullerton.edu/docview/2463357215?accountid=9840&pq-origsite=primo">https://search-proquest-com.lib-proxy.fullerton.edu/historical-newspapers/robert-e-lee-brought-down-lofty-133-year-perch/docview/2463357215/se-2?accountid=9840.</a><a href="https://search-proquest-com.lib-proxy.fullerton.edu/docview/2463357215?accountid=9840&pq-origsite=primo"> </a> Duhé, Bailey J. “Decentering Whiteness and Refocusing on the Local: Reframing Debates on Confederate Monument Removal in New Orleans.” In Museum Anthropology 41, no. 2 (Fall 2018): 120-25. <a href="https://doi-org.lib-proxy.fullerton.edu/10.1111/muan.12184">https://doi-org.lib-proxy.fullerton.edu/10.1111/muan.12184</a> 2. Hunter, G. Howard. “Late to the Dance: New Orleans and the Emergence of a Confederate City.” In Louisiana History: The Journal of the Louisiana Historical Association 57, no. 3 (Summer 2016): 297-322. <a href="https://www.jstor.org/stable/43916946">https://www.jstor.org/stable/43916946</a> 3. Johnson, Walter. Soul by Soul: Life Inside the Antebellum Slave Market. Cambridge, Harvard University Press, 1999. 4. Lugo, Liza and Liza Treadwell. How Do Hurricane Katrina’s Winds Blow: Racism in 21st-Century New Orleans. Santa Barbara: ABC-CLIO, LLC, 2014. 5. Marler, Scott P. The Merchants’ Capital: New Orleans and the Political Economy of the Nineteenth-Century South. Cambridge: Cambridge University Press, 2013. 6. Maxon, J. David. “‘Second Line to Bury White Supremacy’: Take ‘Em Down Nola, monument removal, and residual memory.” In the Quarterly Journal of Speech 106, no. 1 (2020): 48-71. <a href="https://doi-org.lib-proxy.fullerton.edu/10.1080/00335630.2019.1704428">https://doi-org.lib-proxy.fullerton.edu/10.1080/00335630.2019.1704428</a> 7. Powell, Lawrence N. The Accidental City: Improvising New Orleans. Cambridge: Harvard University Press, 2012. 8. <a href="http://takeemdownnola.org/why-it-matters">http://takeemdownnola.org/why-it-matters</a> 9. <a href="http://monumentaltask.org/about/history/">http://monumentaltask.org/about/history/</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Robert E. Lee Monument/ Lee Circle, New Orleans Creator An entity primarily responsible for making the resource Alexander Doyle, John Ray Date A point or period of time associated with an event in the lifecycle of the resource 1884 Contributor An entity responsible for making contributions to the resource Julia Vargas, Samuel McMillan (2023) Type The nature or genre of the resource Sculpture Identifier An unambiguous reference to the resource within a given context HIST 402A Fall 2021 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant New Orleans, LA Description An account of the resource The Robert E. Lee Monumental Association was established in 1870 upon the Confederate general’s passing. Led by William Perkins as president, this group of New Orleans citizens, many of whom were Civil War veterans, assembled for the sole purpose of erecting a monument to commemorate Lee. Although cultural struggles between Reconstruction and the Lost Cause narrative delayed plans for the memorial, sculptor Alexander Doyle was commissioned to create the statue [1], while John Ray was to construct the base. The bronze statue was 16 and a half feet tall, weighing in at almost 7,000 pounds. The pedestal on which it stood consisted of a 12-foot granite base and a 60-foot marble column [2]. The monument was unveiled on February 22, 1884 [3] . Its grandiose nature and placement on a traffic circle at St. Charles and Howard Avenues [4] inevitably made the monument a centerpiece in the city. It equated the honor with which the Association wanted to bestow onto their respected leader. The plaza, Tivoli Circle, was subsequently renamed Lee Circle and became a site for future civic celebrations [5]. The dedication day included distinguished guests, from Jefferson Davis and his daughters, Lee’s daughters Mary and Mildred, senators and foreign consuls, to justices of the supreme and state courts, and military officers. Much like other Confederate monuments, the removal of this statue was prompted by domestic tragedies carried out by white supremacists. New Orleans Mayor Mitch Landrieu advocated for removing Confederate monuments in the city after the 2015 massacre of nine Black churchgoers in Charleston, SC [6], citing the harmful sentiments of racism, slavery, oppression, and the Lost Cause that they represent. For a couple of years, legal barriers prevented the swift removal of the monument. The Robert E. Lee Monument was taken down on May 19, 2017, one of four statues removed in New Orleans. <iframe width="560" height="315" src="https://www.youtube.com/embed/csMbjG0-6Ak?start=451" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Source A related resource from which the described resource is derived 1. “Lee Circle,” R.E. Lee Monumental Association, accessed December 2, 2021, https://www.releema.org/lee-circle. 2. “History and Description of the Robert E. Lee Statue at Lee's Circle in New Orleans, Louisiana from the 1930s,” Louisiana Digital Library, 2007, https://louisianadigitallibrary.org/islandora/object/state-lwp%3A7939. 3. “Robert E. Lee,” The Times-Democrat, February 22, 1884, p. 4. 4. “Asset Detail,” National Parks Service (U.S. Department of the Interior, March 13, 1991), https://npgallery.nps.gov/NRHP/AssetDetail?assetID=8037cbec-19ee-4c8f-abaa-d7ec61fd6d09. 5. Shelby Narike, Amber Nicholson, and Herbert Spurlock, “Robert E. Lee Monument - Stop 1 of 4 in the Confederate Monuments in New Orleans Tour,” New Orleans Historical, May 12, 2016, https://neworleanshistorical.org/items/show/1279. 6. Richard Gonzales and Amy Held, “New Orleans Takes down Statue of Gen. Robert E. Lee,” NPR (NPR, May 19, 2017), https://www.npr.org/sections/thetwo-way/2017/05/19/529130606/new-orleans-prepares-to-take-down-statue-of-gen-robert-e-lee. 19th Century CSA Leaders Lee Circle Louisiana New Orleans Removed Robert E. Lee Sculpture https://d1y502jg6fpugt.cloudfront.net/54855/archive/files/46b042249602a4556e5b521c300b31b8.jpg?Expires=1787184000&Signature=tiVnRqxp0tfMbr%7E1yC6QPJt3FOjop3ze5MLZLw6NVIK0srX4XWWwsKtr4XveRB6rkzxxSXkSPuMjb%7EehvDS2Tg7We9vnvkyJ3VLcuU22GSi9E%7EP8sNvqNdLufENY3WSAvksQJLlYiM1tb5P0VsYXQahnDWd-I0wUZmZ7G69kC%7EmWxIAwccNgz27%7EzH8O7jbxO6ekJHUjUA4Iw4QCEdNTlZxuFvBYxVUI8UjbnLgwNVTNrt3Xxv7ZKMve5Uo1xF1CLHSy5YF8ZmwS4hshL0mYgbbzvScPCxVIFvVzNIvn46lbyBYFKvyrmOeZWvE7e6yLWlbuMhmCT0u53ZHHB32I9Q__&Key-Pair-Id=K6UGZS9ZTDSZM 2f7a236567df6dea99b32cf6109f5fb0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dreux Monument Creator An entity primarily responsible for making the resource Wally Gobetz Publisher An entity responsible for making the resource available <a href="https://www.flickr.com/photos/wallyg/4549571145/in/photolist-cxHRHY-cxHRTs-Lae1Ut-KdvhWq-KZVV1u-KdvfNs-2gcWMLQ-KZVWfy-7W2JZP-KHX1Co-KdGEGX-KdGF24-L7mTbW-Kdvh3w-KdGFEt-L3tpb2-L7mXod-L7mWRG-L7mTK1-Kdv9uA-L7mWGU-L3to4c-KHWZzw">https://www.flickr.com/photos/wallyg/4549571145/in/photolist-cxHRHY-cxHRTs-Lae1Ut-KdvhWq-KZVV1u-KdvfNs-2gcWMLQ-KZVWfy-7W2JZP-KHX1Co-KdGEGX-KdGF24-L7mTbW-Kdvh3w-KdGFEt-L3tpb2-L7mXod-L7mWRG-L7mTK1-Kdv9uA-L7mWGU-L3to4c-KHWZzw</a> Date A point or period of time associated with an event in the lifecycle of the resource April 17, 2010 Contributor An entity responsible for making contributions to the resource Nicole Hallenbeck Rights Information about rights held in and over the resource <a href="https://creativecommons.org/licenses/by-nc-nd/2.0/">https://creativecommons.org/licenses/by-nc-nd/2.0/</a> Format The file format, physical medium, or dimensions of the resource JPEG Description An account of the resource Photo of the Charles Didier Dreux monument prior to being vandalized. https://d1y502jg6fpugt.cloudfront.net/54855/archive/files/ffc4cdb08afdef3971b2779202bb8996.jpg?Expires=1787184000&Signature=nQ8Iea6cEB93-qtBLFtqlDdlJMq%7E2zBzSCnm743AoCRVB7R3Zd09vClNd4pWDdjiMR0FqURhyjSLnsFbpkEKSKOEYFPpVdMamsxINDjQax1xufhXigoMs0VIx3KsaCWR00FgVOGhxV3cTHqVkkGKjJ1LyuIXz6puf28fl2cBqtAIJM-Ru33OgNyWMrsQGHYbonjVZVIjbV%7EaqNNan6MoTy1DBvdx%7EI8vpw12upWh3h-B16PIlivrn%7EEr1mNMAg1B7eoyXRxvF6N0Z4lbMurNv%7E5X%7EVSOFt5J6gTI5hTvjNOngVS9xjyDpazpmU7TnuaWZzx9NvCedicUuYZd2cQLFQ__&Key-Pair-Id=K6UGZS9ZTDSZM e21674d4c3d2cebf38bc29c3078e36be Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Damaged Dreux monument. Creator An entity primarily responsible for making the resource Bart Everson Publisher An entity responsible for making the resource available <a href="https://www.flickr.com/photos/editor/26634137897/in/photolist-dTDx3u-SeTvMN-RTWmJj-Rc2NHy-ezc5p-dTDxW1-RTWgJu-Rc2Mf3-RTW6AU-dTDxDA-Rc3kUS-RTVKMq-Rc2ReA-RTXfKU-StLuAc-StKVfp-dTDwAd-ezc54-Rc39Vs-dTxU28-7CN6Pp-dTxT2i-ReF5VB-dTxU9M-StKEhZ-ezc5G-SeVjr7-Sq3SJo-ReF1wr-ReEEst-SeU2Yj-Rc3oES-dTxV3D-dTxUWr-dTDxpb-Sq3J2o-ezc4v-SeU92S-Sq41Qo-ReEzkV-Sq3ZFu-GzyVh6-2jmJ6Xk-2jmFWKC-2jmFWBg-2japgen-b9hsJc-VMuFBR-b95946-26eAeq8">https://www.flickr.com/photos/editor/26634137897/in/photolist-dTDx3u-SeTvMN-RTWmJj-Rc2NHy-ezc5p-dTDxW1-RTWgJu-Rc2Mf3-RTW6AU-dTDxDA-Rc3kUS-RTVKMq-Rc2ReA-RTXfKU-StLuAc-StKVfp-dTDwAd-ezc54-Rc39Vs-dTxU28-7CN6Pp-dTxT2i-ReF5VB-dTxU9M-StKEhZ-ezc5G-SeVjr7-Sq3SJo-ReF1wr-ReEEst-SeU2Yj-Rc3oES-dTxV3D-dTxUWr-dTDxpb-Sq3J2o-ezc4v-SeU92S-Sq41Qo-ReEzkV-Sq3ZFu-GzyVh6-2jmJ6Xk-2jmFWKC-2jmFWBg-2japgen-b9hsJc-VMuFBR-b95946-26eAeq8</a> Date A point or period of time associated with an event in the lifecycle of the resource May 31, 2017 Contributor An entity responsible for making contributions to the resource Nicole Hallenbeck Rights Information about rights held in and over the resource <a href="https://creativecommons.org/licenses/by/2.0/">https://creativecommons.org/licenses/by/2.0/</a> Format The file format, physical medium, or dimensions of the resource JPEG Description An account of the resource Photo of the Charles Didier Dreux monument after being vandalized. https://d1y502jg6fpugt.cloudfront.net/54855/archive/files/6737ff402fd1f3b9204f3e03d4844a5f.jpg?Expires=1787184000&Signature=vxpUC1TIKARDZN6oWTxdWr3GfYJ6jsgYbW2Nhjovj4JNlqGDYrTqLftVVPNA5Y1N5XEcyDiBNPfZCtCDbrmK8QmNPENuNo%7EORazY99UurWEfzC2qY-QSfnJDtFYcoYSrfKU5DOOVTvNiDKyfm0mwF6QJTwNWNNWLFjWaLYgh8lqSynumOFULpU6E9GNEruFCtSNSmiBK9AJXcBNdwqvo9mUg0VDgRrklhVkA6uaF1YSUr0s3HzdtTwMS1H9sVdO5JYs-Y8oWmG5b0wVfOXNC8060O0HtK7tk%7E3kAcAOLNKPn2G0Tiw%7EO2euSjgy9AxUvyQzHVA-LLXyQ30VBW1Yf6w__&Key-Pair-Id=K6UGZS9ZTDSZM b2567552edf95ea8d0ed0d4a1aab28bc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource George Floyd Protest Publisher An entity responsible for making the resource available <a href="https://www.flickr.com/photos/49980867@N08/49977562408/in/album-72157714603030987/">https://www.flickr.com/photos/49980867@N08/49977562408/in/album-72157714603030987/</a> Date A point or period of time associated with an event in the lifecycle of the resource June 5, 2020 Contributor An entity responsible for making contributions to the resource Nicole Hallenbeck Rights Information about rights held in and over the resource <a href="https://creativecommons.org/licenses/by-nc/2.0/">https://creativecommons.org/licenses/by-nc/2.0/</a> Format The file format, physical medium, or dimensions of the resource JPEG Description An account of the resource Photo taken at a Black Lives Matter protest in June 2020. Creator An entity primarily responsible for making the resource James Cage Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Orleans: The Jewel of the Confederacy Contributor An entity responsible for making contributions to the resource Luca Azuma, Jon Hall, Nicole Hallenbeck, Julia Vargas Description An account of the resource Overview The New Orleans Collection is a commentary on the contested legacy of the civil war, and an effort to bring to light historical evidence that is very relevant to the circumstances swirling about places of interest in the Southern United States. As the site of physical confrontations manifesting the ideological clashes of our time, the monuments here tell a story about race in America, from the ways in which they were funded and constructed to their significance as objects attempting to narrate history in the United States. Most prominent among the controversies surrounding the city's Confederate legacy was the 2017 removal of the Robert E. Lee statue following the 2015 Chaleston church shooting and the 2017 Charlottesville Unite the Right Rally. Covered closely by national media, the saga was high-stakes, from legal battles to death threats, but the Lee monument finally came down in May 2017. The Mayor of New Orleans at the time, Mitch Landrieu, accompanied the event with a <a href="https://www.youtube.com/watch?v=csMbjG0-6Ak" target="_blank" title=""Full speech: Mitch Landrieu addresses removal of Confederate statues"" rel="noreferrer noopener">speech</a> in which he acknowledged the city's ties to slavery and called for monuments in remembrance of the darker side of New Orleans's history to create "healing and understanding" in the community. In light of these events, our collection explores three monuments as part of the history of New Orleans: the Confederate Memorial Hall Museum, the Battle of Liberty Place monument, and the Charles Didier Dreux Monument, all of which contribute to our understanding of the Confederate legacy in the city itself and the country at large. Why New Orleans? New Orleans’ historical importance rested in its geographical location near the Mississippi River’s mouth and the Gulf of Mexico. The city’s commercial waterway accessibility thereby transformed it into a central sea-trading hub, which, throughout the Colonial and Antebellum periods of U.S. history, also made it the country’s largest slave-market. Its direct participation with and economic dependence on slavery resulted in its Civil War status as the Jewel of the Confederacy, which unified the city’s elite under a socio-political consensus. For most of that war, however, Union General Benjamin F. Butler and his forces occupied the city. That combined with Reconstruction only reinforced the elite’s Confederate sympathies and led to their adoption of the Lost Cause narrative. From the wealth acquired from the Antebellum and Gilded Age economies, they built monuments in New Orleans as totems to the Confederacy, Lost Cause, and White supremacy. The three archives in this collection all contextualize Louisiana’s history as pertinent to one’s understanding of the Confederate monuments and memorials herein. Each archive was chosen for its representation of the following: 1) removal during the post-Charlottesville protests in 2017; 2) removal sometime after 2017; and 3) not removed as of 2020. This collection thereby becomes useful for one’s knowledge of each chosen monument/memorial’s direct connection to the larger history of racism within Louisiana and the U.S. Present Controversies Activist groups in New Orleans are currently organizing to have the city remove its remaining Confederate monuments. Take ‘Em Down NOLA’s website lists Confederate monuments in New Orleans as well as parks, schools and streets named after members of the Confederacy. They also provide background information on the people the monuments are dedicated to and list their status (remaining, removed by the city, removed by protestors, etc.) Take ‘Em Down draws connections between Confederate monuments, the broader history of the Civil War, and present battles against racism and police brutality. They created a list of objectives and believe that the removal of these monuments is the first step in order for New Orleans to make reparations for its part in the slave trade. There are also groups that work in opposition to activist groups in New Orleans. The Monumental Task Committee is a tax-exempted, non-profit organization in the city that restores Confederate monuments. Their work includes the removal of graffiti from the Charles Didier Dreux monument and the Samuel Lowenberg monument after they were vandalized by protestors. However, their website does not specifically voice support for the Confederacy, merely an admiration for the city’s “world-class art.” They organized in 1989 after crowdsourcing funds to “rescue the abandoned Davis monument on Canal Street.” The volunteers survey the city to count the statues and note any that need restoration. They are currently developing a “newer and more comprehensive city-wide monument restoration plan” and a large fundraising program. Source A related resource from which the described resource is derived 1. Robertson, Campbell. "Robert E. Lee Brought Down from Lofty 133-Year Perch." New York Times (1923-Current File), May 20, 2017. <a href="https://search-proquest-com.lib-proxy.fullerton.edu/docview/2463357215?accountid=9840&pq-origsite=primo">https://search-proquest-com.lib-proxy.fullerton.edu/historical-newspapers/robert-e-lee-brought-down-lofty-133-year-perch/docview/2463357215/se-2?accountid=9840.</a><a href="https://search-proquest-com.lib-proxy.fullerton.edu/docview/2463357215?accountid=9840&pq-origsite=primo"> </a> Duhé, Bailey J. “Decentering Whiteness and Refocusing on the Local: Reframing Debates on Confederate Monument Removal in New Orleans.” In Museum Anthropology 41, no. 2 (Fall 2018): 120-25. <a href="https://doi-org.lib-proxy.fullerton.edu/10.1111/muan.12184">https://doi-org.lib-proxy.fullerton.edu/10.1111/muan.12184</a> 2. Hunter, G. Howard. “Late to the Dance: New Orleans and the Emergence of a Confederate City.” In Louisiana History: The Journal of the Louisiana Historical Association 57, no. 3 (Summer 2016): 297-322. <a href="https://www.jstor.org/stable/43916946">https://www.jstor.org/stable/43916946</a> 3. Johnson, Walter. Soul by Soul: Life Inside the Antebellum Slave Market. Cambridge, Harvard University Press, 1999. 4. Lugo, Liza and Liza Treadwell. How Do Hurricane Katrina’s Winds Blow: Racism in 21st-Century New Orleans. Santa Barbara: ABC-CLIO, LLC, 2014. 5. Marler, Scott P. The Merchants’ Capital: New Orleans and the Political Economy of the Nineteenth-Century South. Cambridge: Cambridge University Press, 2013. 6. Maxon, J. David. “‘Second Line to Bury White Supremacy’: Take ‘Em Down Nola, monument removal, and residual memory.” In the Quarterly Journal of Speech 106, no. 1 (2020): 48-71. <a href="https://doi-org.lib-proxy.fullerton.edu/10.1080/00335630.2019.1704428">https://doi-org.lib-proxy.fullerton.edu/10.1080/00335630.2019.1704428</a> 7. Powell, Lawrence N. The Accidental City: Improvising New Orleans. Cambridge: Harvard University Press, 2012. 8. <a href="http://takeemdownnola.org/why-it-matters">http://takeemdownnola.org/why-it-matters</a> 9. <a href="http://monumentaltask.org/about/history/">http://monumentaltask.org/about/history/</a> Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charles Didier Dreux Monument, New Orleans Creator An entity primarily responsible for making the resource Victor Holm and Albert Weiblen Source A related resource from which the described resource is derived 1. Ned Hemard, "Two Fallen Soldiers," New Orleans Nostalgia, New Orleans Bar Association, 2012. <a href="https://www.neworleansbar.org/uploads/files/TwoFallenSoldiers.6-6.pdf">https://www.neworleansbar.org/uploads/files/TwoFallenSoldiers.6-6.pdf</a> 2. Marie Simoneaux, "Statue of Confederate Officer Charles Didier Dreux Vandalized in New Orleans," The Times-Picayune, last modified July 10, 2020. <a href="https://www.nola.com/news/crime_police/article_74136d60-dcce-5a07-b0a1-dba1fd3dcf6c.html">https://www.nola.com/news/crime_police/article_74136d60-dcce-5a07-b0a1-dba1fd3dcf6c.html</a> 3. "2 New Orleans Statues Toppled, 1 Vandalized With Red Paint," The Washington Post, July 10, 2020. <a href="https://www.washingtonpost.com/national/2-new-orleans-statues-toppled-1-vandalized-with-red-paint/2020/07/10/6b583964-c2db-11ea-8908-68a2b9eae9e0_story.html">https://www.washingtonpost.com/national/2-new-orleans-statues-toppled-1-vandalized-with-red-paint/2020/07/10/6b583964-c2db-11ea-8908-68a2b9eae9e0_story.html</a> 4. <a href="http://takeemdownnola.org/why-it-matters">http://takeemdownnola.org/why-it-matters</a> 5. <a href="https://louisianadigitallibrary.org/islandora/object/state-lwp%3A3503">https://louisianadigitallibrary.org/islandora/object/state-lwp%3A3503</a> Date A point or period of time associated with an event in the lifecycle of the resource July 5, 1922 Contributor An entity responsible for making contributions to the resource Nicole Hallenbeck (2020) , Zach Weisz (2021), Samuel McMillan (2023) Language A language of the resource English Type The nature or genre of the resource Granite Monument Identifier An unambiguous reference to the resource within a given context HIST 402A Fall 2020 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant New Orleans, Louisiana Description An account of the resource Charles Didier Dreux died on July 5, 1861, in Virginia at Young's Mill, the first Confederate officer to be killed in the Civil War. He was a prominent figure in New Orleans, having served in the state legislature and as a district attorney. Over thirty thousand people attended his funeral. The monument dedicated to him was unveiled on the 61st anniversary of his death in 1922. [<a href="https://www.neworleansbar.org/uploads/files/TwoFallenSoldiers.6-6.pdf">1</a>]The first archive photo is the statue of Dreux, a marble bust that reads “His last words were ‘boys steady.’ Nobler braver never lived.” The bust portrays Dreux as a morally upright laudable individual representative of the innumerable other Confederates who would follow him in death during the Civil War. Such a representation supports the false narrative of the Lost Cause which ignores what these men were fighting for sustaining the institution of slavery and places them in a sacred space unable to be criticized or reconsidered. The second photo was taken one of the many times that this statue was spray-painted, shown here with the nose chiseled off along with a red anarchist symbol. The monument was also vandalized with expletives in June of 2017 and January/May of 2018. Protestors have also placed a white cloth with red x’s over the eyes on the monument damaging its base during this time.[<a href="https://www.nola.com/news/crime_police/article_74136d60-dcce-5a07-b0a1-dba1fd3dcf6c.html">2</a>] It was toppled at night by a small group of people likely associated with Black Lives Matter along with monuments to John Mcdonogh and Sophie B. Wright on July 8, 2020.[3] The anger relating to these monuments stems from their association with white supremacy which negatively affects the lives of African Americans on a daily basis. The final photo in this archive was taken at a Black Lives Matter protest in New Orleans in 2020 honoring George Floyd, featuring the activist group Take ‘Em Down NOLA. This group (along with other New Orleans activists) have protested the Dreux monument many times and list it on their website along with other Confederate monuments as a symbol of white supremacy.[<a href="http://takeemdownnola.org/why-it-matters">4</a>] NOLA discusses in detail how the history of the slave trade and racism in New Orleans are connected to police brutality and the need for the Black Lives Matter movement. This march was of significant importance to rewriting history because the protesters viewed it as a demand for change and a lesson to the government for not taking action against obvious cases of racism in the country over the years. The symbolism of the protests coupled with the acts of vandalism are viewed as honorary actions in the process of changing the systems of oppression that led to the tragic losses of life at the hands of police officers. For the people of New Orleans Dreux's life as a Confederate officer is reminiscent of the misconduct of many police officers and the continued existence of systemic oppression. 20th Century Charles Didier Dreux CSA Leaders Louisiana New Orleans Protests Sculpture https://d1y502jg6fpugt.cloudfront.net/54855/archive/files/cfb2afff9edad191fc8727c4ee2d8a92.jpg?Expires=1787184000&Signature=aur4HXeZb0JrQaEW4bCuhn0M4AbmRmo31ZEnpH1FjjpyZOb4ZZ1JF4ohaHUQm3nY8kBj28ggK%7E3ThBBMvY%7ELK-QgCQwyTu9yFX3lpxC1i4qRYpTTYXjHQxirAjOmm7b8vUKyGHQkvn7-oGDtolXsoVDc%7EU4j9JD9noa5uiZVQ6OTRDOIc8sk3bg9IYAFI9lz7MFgg9llUbEY8l%7EyZ2IN6FbjUZt%7EyJo00LD6L2VgBkwJVkJhmQSnP05LnJt6qDRJgvy223u9sOPbNL7ziNrRQvFqRms%7Ek8wrNTUE6fs5681uRhCeCWRPwvpHyfEu63PxBGODGFgsHJSNdP5lf5oYIw__&Key-Pair-Id=K6UGZS9ZTDSZM c59d6bc8994c5105aeeafd9429665c2d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Battle of Liberty Place Monument Description An account of the resource The Battle of Liberty Place Monument as it formerly stood on Canal Street prior to the removal in 2017 where the monument was then placed in storage. Creator An entity primarily responsible for making the resource Photo taken by Michael Begley Publisher An entity responsible for making the resource available Wikimedia Commons Date A point or period of time associated with an event in the lifecycle of the resource Photo taken November 1st, 2010 Contributor An entity responsible for making contributions to the resource Luca Azuma (2020), Angela Minning (2021) Rights Information about rights held in and over the resource Public Domain https://d1y502jg6fpugt.cloudfront.net/54855/archive/files/efa67e77006df4f2b455fea4da6cdbaa.jpg?Expires=1787184000&Signature=Ke5qzRNTNV1Pzy%7EQG%7EqZgMqMTevmEMiF9NQSmg0luRNUO2NQUZaoP6IaqL3igTqYTS0%7EwNWRoawPDUvHxmQXavwJJnwXu0blCo3Vr2uPF49Pu3a9Cq%7ESnSy2AsNjQa-3fj3jsaDMbvnVZX8tc1X5M1ecEN-vNNzj5hV5OAlm8QLA2rjPsa%7EZcbunA97ys%7EDTJ6SYaBLmMn%7E5S8CjNB-kjWhzpgwTOKCE4DVrO52sWI-3ygdDQED%7EW82o%7EJql4AHkZGpzciSLfqO7BrsK9xR37-vol6ljWmPS7FvWx7QNyj%7EztEp9DQLs1Pn7BbVo2omfARxZPrEonjl9gc7Q%7EwU2Yw__&Key-Pair-Id=K6UGZS9ZTDSZM c231a088cd01d00813492186cb04fca5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "One side of the monument erected to race prejudice. New Orleans, Louisiana" Description An account of the resource A close-up of the monument reveals the strikingly overt language of white supremacy used here, in contrast with other monuments of this sort that typically couch this message behind a veil of Lost Cause terminology that more vaguely describes the monument as one to a just cause or those who died defending freedom, etc. Originally, no inscription was placed on the monument when it was erected in 1891. In 1932, inscriptions were added which attested to the battle's role in establishing white supremacy in the South. This inscription would be continuously rewritten with more appropriate inscriptions based upon the beliefs and philosophy of modern day New Orleans. Creator An entity primarily responsible for making the resource Dorothea Lange (2020), Angela Minning (2021) Publisher An entity responsible for making the resource available Library of Congress, Prints & Photographs online catalog https://www.loc.gov/pictures/item/2017762996/ Date A point or period of time associated with an event in the lifecycle of the resource Photo Taken July, 1936 Contributor An entity responsible for making contributions to the resource Luca Azuma Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource JPEG Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Orleans: The Jewel of the Confederacy Contributor An entity responsible for making contributions to the resource Luca Azuma, Jon Hall, Nicole Hallenbeck, Julia Vargas Description An account of the resource Overview The New Orleans Collection is a commentary on the contested legacy of the civil war, and an effort to bring to light historical evidence that is very relevant to the circumstances swirling about places of interest in the Southern United States. As the site of physical confrontations manifesting the ideological clashes of our time, the monuments here tell a story about race in America, from the ways in which they were funded and constructed to their significance as objects attempting to narrate history in the United States. Most prominent among the controversies surrounding the city's Confederate legacy was the 2017 removal of the Robert E. Lee statue following the 2015 Chaleston church shooting and the 2017 Charlottesville Unite the Right Rally. Covered closely by national media, the saga was high-stakes, from legal battles to death threats, but the Lee monument finally came down in May 2017. The Mayor of New Orleans at the time, Mitch Landrieu, accompanied the event with a <a href="https://www.youtube.com/watch?v=csMbjG0-6Ak" target="_blank" title=""Full speech: Mitch Landrieu addresses removal of Confederate statues"" rel="noreferrer noopener">speech</a> in which he acknowledged the city's ties to slavery and called for monuments in remembrance of the darker side of New Orleans's history to create "healing and understanding" in the community. In light of these events, our collection explores three monuments as part of the history of New Orleans: the Confederate Memorial Hall Museum, the Battle of Liberty Place monument, and the Charles Didier Dreux Monument, all of which contribute to our understanding of the Confederate legacy in the city itself and the country at large. Why New Orleans? New Orleans’ historical importance rested in its geographical location near the Mississippi River’s mouth and the Gulf of Mexico. The city’s commercial waterway accessibility thereby transformed it into a central sea-trading hub, which, throughout the Colonial and Antebellum periods of U.S. history, also made it the country’s largest slave-market. Its direct participation with and economic dependence on slavery resulted in its Civil War status as the Jewel of the Confederacy, which unified the city’s elite under a socio-political consensus. For most of that war, however, Union General Benjamin F. Butler and his forces occupied the city. That combined with Reconstruction only reinforced the elite’s Confederate sympathies and led to their adoption of the Lost Cause narrative. From the wealth acquired from the Antebellum and Gilded Age economies, they built monuments in New Orleans as totems to the Confederacy, Lost Cause, and White supremacy. The three archives in this collection all contextualize Louisiana’s history as pertinent to one’s understanding of the Confederate monuments and memorials herein. Each archive was chosen for its representation of the following: 1) removal during the post-Charlottesville protests in 2017; 2) removal sometime after 2017; and 3) not removed as of 2020. This collection thereby becomes useful for one’s knowledge of each chosen monument/memorial’s direct connection to the larger history of racism within Louisiana and the U.S. Present Controversies Activist groups in New Orleans are currently organizing to have the city remove its remaining Confederate monuments. Take ‘Em Down NOLA’s website lists Confederate monuments in New Orleans as well as parks, schools and streets named after members of the Confederacy. They also provide background information on the people the monuments are dedicated to and list their status (remaining, removed by the city, removed by protestors, etc.) Take ‘Em Down draws connections between Confederate monuments, the broader history of the Civil War, and present battles against racism and police brutality. They created a list of objectives and believe that the removal of these monuments is the first step in order for New Orleans to make reparations for its part in the slave trade. There are also groups that work in opposition to activist groups in New Orleans. The Monumental Task Committee is a tax-exempted, non-profit organization in the city that restores Confederate monuments. Their work includes the removal of graffiti from the Charles Didier Dreux monument and the Samuel Lowenberg monument after they were vandalized by protestors. However, their website does not specifically voice support for the Confederacy, merely an admiration for the city’s “world-class art.” They organized in 1989 after crowdsourcing funds to “rescue the abandoned Davis monument on Canal Street.” The volunteers survey the city to count the statues and note any that need restoration. They are currently developing a “newer and more comprehensive city-wide monument restoration plan” and a large fundraising program. Source A related resource from which the described resource is derived 1. Robertson, Campbell. "Robert E. Lee Brought Down from Lofty 133-Year Perch." New York Times (1923-Current File), May 20, 2017. <a href="https://search-proquest-com.lib-proxy.fullerton.edu/docview/2463357215?accountid=9840&pq-origsite=primo">https://search-proquest-com.lib-proxy.fullerton.edu/historical-newspapers/robert-e-lee-brought-down-lofty-133-year-perch/docview/2463357215/se-2?accountid=9840.</a><a href="https://search-proquest-com.lib-proxy.fullerton.edu/docview/2463357215?accountid=9840&pq-origsite=primo"> </a> Duhé, Bailey J. “Decentering Whiteness and Refocusing on the Local: Reframing Debates on Confederate Monument Removal in New Orleans.” In Museum Anthropology 41, no. 2 (Fall 2018): 120-25. <a href="https://doi-org.lib-proxy.fullerton.edu/10.1111/muan.12184">https://doi-org.lib-proxy.fullerton.edu/10.1111/muan.12184</a> 2. Hunter, G. Howard. “Late to the Dance: New Orleans and the Emergence of a Confederate City.” In Louisiana History: The Journal of the Louisiana Historical Association 57, no. 3 (Summer 2016): 297-322. <a href="https://www.jstor.org/stable/43916946">https://www.jstor.org/stable/43916946</a> 3. Johnson, Walter. Soul by Soul: Life Inside the Antebellum Slave Market. Cambridge, Harvard University Press, 1999. 4. Lugo, Liza and Liza Treadwell. How Do Hurricane Katrina’s Winds Blow: Racism in 21st-Century New Orleans. Santa Barbara: ABC-CLIO, LLC, 2014. 5. Marler, Scott P. The Merchants’ Capital: New Orleans and the Political Economy of the Nineteenth-Century South. Cambridge: Cambridge University Press, 2013. 6. Maxon, J. David. “‘Second Line to Bury White Supremacy’: Take ‘Em Down Nola, monument removal, and residual memory.” In the Quarterly Journal of Speech 106, no. 1 (2020): 48-71. <a href="https://doi-org.lib-proxy.fullerton.edu/10.1080/00335630.2019.1704428">https://doi-org.lib-proxy.fullerton.edu/10.1080/00335630.2019.1704428</a> 7. Powell, Lawrence N. The Accidental City: Improvising New Orleans. Cambridge: Harvard University Press, 2012. 8. <a href="http://takeemdownnola.org/why-it-matters">http://takeemdownnola.org/why-it-matters</a> 9. <a href="http://monumentaltask.org/about/history/">http://monumentaltask.org/about/history/</a> Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Battle of Liberty Place Monument, New Orleans Creator An entity primarily responsible for making the resource Charles A. Orleans (Sculptor); The Fourteenth of September Memorial Association (Sponsor); Women's Auxiliary Committee of New Orleans (Sponsor) Source A related resource from which the described resource is derived <ol><li> Kendall, John. History of New Orleans, Chapter 23. New York: The Lewis Publishing Company. 1922. http://penelope.uchicago.edu/Thayer/E/Gazetteer/Places/America/United_States/Louisiana/New_Orleans/_Texts/KENHNO/23*.html </li> <li> Nystrom A, Justin. “Battle of Liberty Place”. 64 Parishes. Accessed November 14, 2023. <a href="https://64parishes.org/entry/battle-of-liberty-place">https://64parishes.org/entry/battle-of-liberty-place</a>. </li> <li> “General (Frederick) Ogden Drive”. New Orleans City Council Street Renaming Commission. Accessed 27 November, 2020. <a href="https://nolaccsrc.org/ogden/">https://nolaccsrc.org/ogden/</a> </li> <li> Young, Patrick. “The White League Monument at Liberty Place in New Orleans”. Blog. September 10, 2020. <a href="https://thereconstructionera.com/the-white-league-monument-at-liberty-place-in-new-orleans/">https://thereconstructionera.com/the-white-league-monument-at-liberty-place-in-new-orleans/</a> </li> <li> Chadwick, Gordon. “The Creation of the Battle of Liberty Place Monument,” New Orleans Historical. Accessed December 6, 2020. https://neworleanshistorical.org/items/show/150. </li> <li> Litten, Kevin. “Efforts to remove Confederate monuments in New Orleans go back decades”. The Times-Picayune. Accessed December 1, 2020. <a href="https://www.nola.com/news/politics/article_752f52c2-54b1-5541-ab1d-deef8f98c95d.html">https://www.nola.com/news/politics/article_752f52c2-54b1-5541-ab1d-deef8f98c95d.html</a> </li> <li> Blakemore, Erin. “New Orleans Tears Down Controversial Confederate Monuments” Smithsonian Magazine. <a href="https://www.smithsonianmag.com/smart-news/new-orleans-tears-down-controversial-confederate-monuments-180963023/">https://www.smithsonianmag.com/smart-news/new-orleans-tears-down-controversial-confederate-monuments-180963023/</a> </li> </ol>. Date A point or period of time associated with an event in the lifecycle of the resource 1891 Contributor An entity responsible for making contributions to the resource Luca Azuma (2020), Angela Minning (2021), Samuel McMillan (2023) Type The nature or genre of the resource Granite Sculpture Identifier An unambiguous reference to the resource within a given context HIST 402A Fall 2020 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant New Orleans, LA Description An account of the resource In mid-September of 1874, tensions boiled over in the city of New Orleans and gunshots rang out as the city, divided by the legacy of the Civil War and weary of the “carpet-baggers” and Reconstruction policies, erupted into violence.[1]The Crescent City Democratic Club, which changed its name to the Crescent City White League shortly before these events, was led by former Confederate general Frederick Ogden in their attempted coup against Governor William Kellogg, seeking to replace this Republican with the more favored loser of the election of 1872, the pro-segregation Democrat John McEnry.[2] Notably, the police force was an integrated force with white and black officers and the state militia made of up black regiments after being surrounded at the statehouse was disarmed and disbanded.[3] The coup ultimately failed with the arrival of federal troops, but the event effectively ended the strong reconstruction policy in New Orleans.<a href="https://demo4hist402a2020fall.omeka.net/items/show/14#_ftn3">[4]</a> In 1891, local groups including the Fourteenth of September Monument Committee (a group created specifically for this purpose) and a Women's Auxiliary Committee built the Battle of Liberty Place monument on Canal Street, commemorating this event.<a href="https://demo4hist402a2020fall.omeka.net/items/show/14#_ftn4">[5]</a> The monument has been removed and returned to great controversy several times, with the most recent removal in 2017 following the Charleston church shooting in 2015.<a href="https://demo4hist402a2020fall.omeka.net/items/show/14#_ftn5">[6]</a> What makes this monument stand out is its commemoration of an act of rebellion against the United States government outside of the Civil War and the frankness of the language on the monument itself. Most monuments in this archive were raised to figures associated with the Civil War rather than a post-war event. While its form is similar to many others, more than many other monuments it represents the direct repudiation of the Reconstruction by white Southerners. The directness of which it was used to support white supremacy can be seen in the inscription shown in the second image added in 1932 which directly celebrates the end of Reconstruction and the continuity of white supremacy.[6] This monument serves to exemplify why this archive is necessary and useful. This monument serves to illustrate a valuable point regarding all the monuments documented in this archive. As can be seen from the inscription added in 1932 these monuments are not static, but rather evolving areas where memory and history meet. What a monument means is dependent on the process of its creation and the historical context in which it is being viewed. As monuments physically chang so too do they ideologically change whether they have additions or elements removed. A monument's are not sacred or immutable and are dependent upon the will of the public to exist. The removal of this monument reveals how the narratives that these monuments support are themselves not invulnerable and can be dismantled. 19th Century Louisiana New Orleans Obelisk Reconstruction Removed https://d1y502jg6fpugt.cloudfront.net/54855/archive/files/b1c354c005d87b741c2e0601e090f850.jpg?Expires=1787184000&Signature=m7Jpg0r3pon5maI1YV2clxVX6QrUKlzIsuqshPnQnHhW6o3V7QFecV4eI7VdZngk0Zt2Q1%7Ejwyk4r8fvn2G1FT3A1U0GoqaYzMLES-cF-K3Yqv0Ssvr6nUM9rKwn6AzS3Q3nFdRzoVqLu7Mb6hgI9JyV7iTYIyjTCVkCF1S4c0vOfAJD9NisdAlJj1HQIbUoMwfeZq8jXwwxnLgtmOR7x7-qezu5SwVw7cbYXHQs8sHpYQHv6U2n9yINOp3f8oQr6FjvXSriUVTh5BYrsVQx53COC-2q-BTkk%7En16PGKH-5jhvH9xDCmJuCAnALd1mtPzrs6aOeSdB-x5pvK1I3pKw__&Key-Pair-Id=K6UGZS9ZTDSZM 691f350014f7ed21e58901e07abebc06 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Confederate Memorial Hall, Howard Memorial Library's Annex Creator An entity primarily responsible for making the resource Detroit Publishing Co. Publisher An entity responsible for making the resource available <a href="https://commons.wikimedia.org/wiki/File:Confederate_Memorial_Hall_NOLA_DetroitPub.jpg" target="_blank" rel="noopener">“Confederate Memorial Hall, Camp Street, New Orleans, La., early 1900s.” Photograph. In Wikimedia Commons.</a> Date A point or period of time associated with an event in the lifecycle of the resource c. 1906 Contributor An entity responsible for making contributions to the resource Jon Hall Rights Information about rights held in and over the resource <a href="https://creativecommons.org/share-your-work/public-domain/" target="_blank" rel="noopener">Public domain</a>; per Wikimedia Commons: "<a href="https://www.loc.gov/pictures/collection/det/item/2016803143/" target="_blank" rel="noopener">This work</a> is from the <a rel="nofollow noopener" class="external text" href="https://loc.gov/pictures/collection/det/" target="_blank">Detroit Publishing Co.</a> collection at the Library of Congress. According to the library, there are <a rel="nofollow noopener" class="external text" href="https://loc.gov/rr/print/res/102_det.html" target="_blank">no known copyright restrictions</a> on the use of this work." Format The file format, physical medium, or dimensions of the resource JPEG Description An account of the resource This artifact’s depiction of the memorial hall revealed how the building itself and its location affirmed the post-Reconstruction Lost Cause narrative New Orleans’ economic elite espoused. The hall was built in response to the Louisiana Historical Association’s need for a repository for all the Confederate-era artifacts they collected from the grassroots, and thus initially served as an annex of the Howard Memorial Library [1]. At its dedication on January 8, 1891, the Battle of New Orleans’ 76th anniversary, speeches from Association members like Joseph A. Chalaron expounded the hall’s significance as a “guard” for the “sacred and inspiring objects [that] require our love and protection” [2]. The local newspaper corroborated his sentiment with their insistence that “[t]he Gods may be on the side of the conquering Greeks, but human sympathy will always be with the heroic Hector and his unfortunate but never dishonored cause” [3]. Union General Benjamin F. Butler’s occupation of New Orleans during the Civil War, and Reconstruction itself strongly influenced such statements of “conquering Greeks” and a consequent need for the hall as a protector and propagator of New Orleans’ autonomy. As said autonomy became wedded to the Lost Cause, the site itself was on Camp Street, which historian Lawrence N. Powell argued was a “cross-street, just behind Magazine, [that] probably got its name from the campo de negros...a slave camp” [4]. Thus, this hall’s location directly anchored its creators’ post-Reconstruction Gilded Age Lost Cause intentions to the city’s Colonial and Antebellum-era slave-trading past. Source A related resource from which the described resource is derived Endnotes <ol> <li><a href="https://medium.com/the-envoy/to-whom-does-one-pray-at-the-battle-abbey-of-the-south-72fa76c2577c" target="_blank" rel="noopener">Giacomo Bagarella, “To Whom Does One Pray At the Battle Abbey of the South?” in “The Envoy,” in Medium (Sept. 3, 2017)</a>;<a href="https://www.jstor.org/stable/10.1525/tph.2011.33.4.35" target="_blank" rel="noopener"> Reiko Hillyer, “Relics of Reconciliation: The Confederate Memory and Civil War Memory in the New South,” in The Public Historian 33, no. 4 (Nov. 2011): 39-40</a>;<a href="https://www.jstor.org/stable/43916946" target="_blank" rel="noopener"> G. Howard Hunter, “Late to the Dance: New Orleans and the Emergence of a Confederate City,” in Louisiana History: The Journal of the Louisiana Historical Association 57, no. 3 (Summer 2016): 299 and 319</a>;<a href="https://www.jstor.org/stable/4232594" target="_blank" rel="noopener"> Samuel Wilson Jr. “The Howard Memorial Library and Memorial Hall,” in Louisiana History 28, no. 3 (Summer 1987): 238-40.</a></li> <li>Wilson Jr., “The Howard Memorial Library,” in Louisiana History, 240; Bardes, “Defend with True Hearts unto Death,” in Southern Cultures, 32 and 38.</li> <li>Hunter, “Late to the Dance,” in Louisiana History, 319.</li> <li>Lawrence N. Powell, The Accidental City: Improvising New Orleans (Cambridge: Harvard University Press, 2012), 349.</li> </ol> Reference <ul> <li><a href="https://npgallery.nps.gov/AssetDetail/NRIS/75000852" target="_blank" rel="noopener">“Confederate Memorial Hall.” In the National Register Digital Assets.</a><a href="https://npgallery.nps.gov/AssetDetail/NRIS/75000852" target="_blank" rel="noopener"></a></li> </ul> https://d1y502jg6fpugt.cloudfront.net/54855/archive/files/86ac80a22bc87a9343e67b7abf7440aa.jpg?Expires=1787184000&Signature=jq63edHuYNBT3lUMaVLyeX9cjGytVKE3p0k2Z0-WtSqVSJ9XxuUmJnyROfpUsLTcX6xwD0CZPUffmCVjihaPQKTP%7EoGzhtI3FT5TQXH4uiGIn%7Ep6lbcuCL7-Y0EQpMZmv2Sg6ph9E2fwzdTdbtqs2q3c1GfekCsFq3vPlEW1GqNW1T2qI3SsuPYy0dYVNWA6iNQFVPED0o8SH-Nthsp8I-L9wPyjb2UsqA-FMw1WJnrVm774pBL42PZKRTCplfzpFX069iSpbIhrVXSS89Jey%7ExzYKyScsLM%7Edmsr1PiNUEq199kiIqB5ur9pYDAwnsAMryxf7xrijNZUGI8HaQ1NA__&Key-Pair-Id=K6UGZS9ZTDSZM 35acd00a5de1cedf12faf76b63e90778 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Confederate Battle Flag before the "Battle Abbey of the South" Creator An entity primarily responsible for making the resource Unnamed photographer for Tulane University's Jambalaya yearbook Publisher An entity responsible for making the resource available <a href="https://commons.wikimedia.org/wiki/File:New_Orleans_-_Tulane_Jambalaya_1969_-_Confederate_Hall_-_crop.jpg" target="_blank" rel="noopener">“Confederate Museum, New Orleans, late 1960s.” Photograph. In Wikimedia Commons.</a><a href="https://archive.org/details/jambalayayearboo74edit/page/40/mode/2up" target="_blank" rel="noopener"></a> Date A point or period of time associated with an event in the lifecycle of the resource 1969 Contributor An entity responsible for making contributions to the resource Jon Hall Rights Information about rights held in and over the resource <a href="https://creativecommons.org/share-your-work/public-domain/" target="_blank" rel="noopener">Public domain</a>; per Wikimedia Commons: "This work is in the public domain in the United States because it was published in the United States between 1925 and 1977, inclusive, without a copyright notice." Format The file format, physical medium, or dimensions of the resource JPEG Description An account of the resource This artifact’s emphasis on the museum’s sign and Confederate battle flag further demonstrated how its intrinsic politicization through its creators’ Lost Cause narrative clashed with the Civil Rights Movement. Confederate veterans used the hall consistently as a meeting space during its early years, and politicians like Huey P. Long “took...personal interest in the matter, ‘so as to preserve to the Confederate Veterans the use [there]of’” [1]. That collaboration, and the battle flag’s presence in this photograph directly reflected Richmond, Virginia’s Confederate Museum president Waite Rawls’ assertion that “the Confederate flag was used as a symbol of white supremacy in the civil rights era” [2]. Through its publication in Tulane University’s 1969 yearbook, this artifact contributed to said “symbol[ic] use” and further institutionalized a White supremacist, Confederate paradigm in New Orleans. That process thereby continued the generational transferences the memorial hall’s creators intended for its visitors and stakeholders. Source A related resource from which the described resource is derived Endnotes <ol> <li><a href="https://www.jstor.org/stable/4232594" target="_blank" rel="noopener">Samuel Wilson Jr. “The Howard Memorial Library and Memorial Hall,” in Louisiana History 28, no. 3 (Summer 1987): 241-42.</a></li> <li><a href="https://search-proquest-com.lib-proxy.fullerton.edu/docview/914713767?accountid=9840" target="_blank" rel="noopener">Mary Foster, “Civil War museums changing as views continue to evolve,” in The Charleston Gazette (June 30, 2006)</a>; <a href="https://medium.com/the-envoy/to-whom-does-one-pray-at-the-battle-abbey-of-the-south-72fa76c2577c" target="_blank" rel="noopener">Giacomo Bagarella, “To Whom Does One Pray At the Battle Abbey of the South?” in “The Envoy,” in Medium (Sept. 3, 2017).</a></li> </ol> https://d1y502jg6fpugt.cloudfront.net/54855/archive/files/daec53e6076cfd2bb117c23b1efcf700.jpg?Expires=1787184000&Signature=qMAClQ0QFgZrgIP4jtWRRLE50bFSm1hdaelfodj7fBgAKEJ2bM-9scpBpgLqRJNgaVoaarGgqCujr1gNm7%7E91zzhpOH2rv9jXJXjMgEDaAR%7E4mLlrvNJ2JiRgajE%7EWrOgxKhweQGyPMg1scJkz3G72aqBvp5Hn3wg-kV26FHMaNUaCd61YfkFBzMoeYNw8aWHk9qDQuWZRuWPeVDv8FdnLyiDxp-n6fzYws4JUGVgE%7EPUORFYkdXTqp9T9wQWDxWHwInrvjwMKHVYnfAhhSKZNftUL7KtQVbXacEhY%7EJHS12ILhJCn%7EU9mQq5fVabQ2IEytioD4qyb7wH-5i3hWkjg__&Key-Pair-Id=K6UGZS9ZTDSZM ff89d3dd8c2327a3121dc4b829dff53c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Confederate Memorial Hall Museum beside the Ogden Museum of Southern Art Creator An entity primarily responsible for making the resource NastyCanasta Publisher An entity responsible for making the resource available <a href="https://commons.wikimedia.org/wiki/File:Confederate_Memorial_Hall_New_Orleans_LA_south_view.jpg" target="_blank" rel="noopener">NastyCanasta, “Confederate Memorial Hall New Orleans LA south view.” Photograph. In Wikimedia Commons.</a> Date A point or period of time associated with an event in the lifecycle of the resource September 21, 2017 Contributor An entity responsible for making contributions to the resource Jon Hall Rights Information about rights held in and over the resource The photograph is licensed under the <a href="https://creativecommons.org/licenses/by-sa/4.0/deed.en" target="_blank" rel="noopener">Creative Commons Attribution-Share Alike 4.0 International</a> license. Format The file format, physical medium, or dimensions of the resource JPEG Description An account of the resource This artifact situated the museum in contemporary contexts with its sign, flags, and the Ogden Museum of Southern Art next door. As the latter tried to evict the former in 2000, both museums waged an “eight-year court battle” until the Ogden conceded [1]. The public response to said legal dispute echoed back to similar militant rhetoric as the hall’s dedication used, with words like “battle” and “under siege” that were then repurposed under a “heritage” narrative. As its intrinsic politicization ran against the city’s cosmopolitan narrative since the Civil Rights era, the museum relied upon “heritage” for its Confederate identity retention and obfuscation thereof. The three flags and sign consequently represented said process in effect, especially how the Confederate national flag replaced the battle flag from the second artifact [2]. Nonetheless, the museum became indirectly involved with responses to the 2015 Charleston church shooting when Lee monument protestors burned a Confederate battle flag they bought from the museum for $22 [3]. As for the city’s memorial removals post-Charlottesville, the secretive Monument Relocation Committee had initially considered the museum a potential refuge for the Davis statue before the Beauvoir estate accepted it instead [4]. Whereas the demonstrators through their flag purchase unintentionally provided the museum financial support, the committee recognized it as a “guard” of objects like the statue despite insistences otherwise. Consequently, those events demonstrated the effectiveness of the museum’s obfuscation, which covertly reinforced its intrinsic politicization as repurposed within a “heritage” narrative. Source A related resource from which the described resource is derived Endnotes <ol> <li><a href="https://www.jstor.org/stable/26391717" target="_blank" rel="noopener">John Bardes, “‘Defend with True Hearts unto Death’: Finding Historical Meaning in Confederate Memorial Hall,” in Southern Cultures 23, no. 4 (2017): 41</a>;<a href="https://search-proquest-com.lib-proxy.fullerton.edu/docview/383945815?accountid=9840" target="_blank" rel="noopener"> Cain Burdeau, “Few support Confederate museum,” in The Globe and Mail (Oct. 4, 2002)</a>;<a href="https://search-proquest-com.lib-proxy.fullerton.edu/docview/415445599?accountid=9840" target="_blank" rel="noopener"> C. W. Cannon, “Offended by Confederate ‘cult.’” In the Times - Picayune (Dec. 5, 2001)</a>;<a href="https://search-proquest-com.lib-proxy.fullerton.edu/docview/415475117?accountid=9840" target="_blank" rel="noopener"> “Confederates in the post-modern era,” in the Times - Picayune (Dec. 3, 2001)</a>; John R. Kemp, “Tempest in a tunnel,” in ARTnews 101, no. 1 (Nov. 2002): 100;<a href="https://search-proquest-com.lib-proxy.fullerton.edu/docview/413942553?accountid=9840" target="_blank" rel="noopener"> Marlon Manuel, “Confederate museum fighting a new war; Artifacts’ home under siege,” in The Atlanta Constitution (June 28, 2001)</a>;<a href="https://search-proquest-com.lib-proxy.fullerton.edu/docview/332047628?accountid=9840" target="_blank" rel="noopener"> “New Orleans museum puts Southern art on map, Dixie recreates itself as region cultivating fine arts,” in the Charleston Daily Mail (Aug. 16, 2003)</a>;<a href="https://search-proquest-com.lib-proxy.fullerton.edu/docview/421622085?accountid=9840" target="_blank" rel="noopener"> Megan K. Stack, “Civil War Over Confederate Museum; New Orleans: Caretakers wage a courteous yet steely battle to keep from being squeezed out by university art center,” in the Los Angeles Times (June 19, 2001).</a></li> <li><a href="https://medium.com/the-envoy/to-whom-does-one-pray-at-the-battle-abbey-of-the-south-72fa76c2577c" target="_blank" rel="noopener">Giacomo Bagarella, “To Whom Does One Pray At the Battle Abbey of the South?” in “The Envoy,” in Medium (Sept. 3, 2017).</a></li> <li><a href="https://time.com/3945856/confederate-flag-burning-new-orleans/" target="_blank" rel="noopener">Maya Rhodan, “Protestors Throw a Confederate Flag on the Grill in New Orleans,” in TIME Magazine (July 4, 2015).</a></li> <li><a href="https://search-proquest-com.lib-proxy.fullerton.edu/docview/2038181695?accountid=9840" target="_blank" rel="noopener">“Confederate statue vandalized in New Orleans,” in The Louisiana Weekly (May 7, 2018)</a>;<a href="https://search-proquest-com.lib-proxy.fullerton.edu/docview/2037924575?accountid=9840" target="_blank" rel="noopener"> Kevin Litten, “City should keep two Confederate monuments,” in the Times - Picayune (May 13, 2018).</a></li> </ol> Reference <ul> <li><a href="https://vimeo.com/69393374" target="_blank" rel="noopener">Reverence of the Past, Devotion to the Future. Directed by Claude Levet. New Orleans: Confederate Memorial Hall, 2013. Uploaded to Vimeo. 19 mins</a>; per Bardes: "[d]espite asserting neutrality, the 'Battle Abbey of the South' treats [its] objects with quasi-religious veneration. Museum media refer to the heirlooms as 'relics.' 'Sacred,' 'hallowing,' and 'reverence' also recurrently appear, particularly in the museum’s introductory film Reverence of the Past, Devotion to the Future” (Bardes, "Defend with True Hearts unto Death," in Southern Culture, 32).</li> </ul> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Orleans: The Jewel of the Confederacy Contributor An entity responsible for making contributions to the resource Luca Azuma, Jon Hall, Nicole Hallenbeck, Julia Vargas Description An account of the resource Overview The New Orleans Collection is a commentary on the contested legacy of the civil war, and an effort to bring to light historical evidence that is very relevant to the circumstances swirling about places of interest in the Southern United States. As the site of physical confrontations manifesting the ideological clashes of our time, the monuments here tell a story about race in America, from the ways in which they were funded and constructed to their significance as objects attempting to narrate history in the United States. Most prominent among the controversies surrounding the city's Confederate legacy was the 2017 removal of the Robert E. Lee statue following the 2015 Chaleston church shooting and the 2017 Charlottesville Unite the Right Rally. Covered closely by national media, the saga was high-stakes, from legal battles to death threats, but the Lee monument finally came down in May 2017. The Mayor of New Orleans at the time, Mitch Landrieu, accompanied the event with a <a href="https://www.youtube.com/watch?v=csMbjG0-6Ak" target="_blank" title=""Full speech: Mitch Landrieu addresses removal of Confederate statues"" rel="noreferrer noopener">speech</a> in which he acknowledged the city's ties to slavery and called for monuments in remembrance of the darker side of New Orleans's history to create "healing and understanding" in the community. In light of these events, our collection explores three monuments as part of the history of New Orleans: the Confederate Memorial Hall Museum, the Battle of Liberty Place monument, and the Charles Didier Dreux Monument, all of which contribute to our understanding of the Confederate legacy in the city itself and the country at large. Why New Orleans? New Orleans’ historical importance rested in its geographical location near the Mississippi River’s mouth and the Gulf of Mexico. The city’s commercial waterway accessibility thereby transformed it into a central sea-trading hub, which, throughout the Colonial and Antebellum periods of U.S. history, also made it the country’s largest slave-market. Its direct participation with and economic dependence on slavery resulted in its Civil War status as the Jewel of the Confederacy, which unified the city’s elite under a socio-political consensus. For most of that war, however, Union General Benjamin F. Butler and his forces occupied the city. That combined with Reconstruction only reinforced the elite’s Confederate sympathies and led to their adoption of the Lost Cause narrative. From the wealth acquired from the Antebellum and Gilded Age economies, they built monuments in New Orleans as totems to the Confederacy, Lost Cause, and White supremacy. The three archives in this collection all contextualize Louisiana’s history as pertinent to one’s understanding of the Confederate monuments and memorials herein. Each archive was chosen for its representation of the following: 1) removal during the post-Charlottesville protests in 2017; 2) removal sometime after 2017; and 3) not removed as of 2020. This collection thereby becomes useful for one’s knowledge of each chosen monument/memorial’s direct connection to the larger history of racism within Louisiana and the U.S. Present Controversies Activist groups in New Orleans are currently organizing to have the city remove its remaining Confederate monuments. Take ‘Em Down NOLA’s website lists Confederate monuments in New Orleans as well as parks, schools and streets named after members of the Confederacy. They also provide background information on the people the monuments are dedicated to and list their status (remaining, removed by the city, removed by protestors, etc.) Take ‘Em Down draws connections between Confederate monuments, the broader history of the Civil War, and present battles against racism and police brutality. They created a list of objectives and believe that the removal of these monuments is the first step in order for New Orleans to make reparations for its part in the slave trade. There are also groups that work in opposition to activist groups in New Orleans. The Monumental Task Committee is a tax-exempted, non-profit organization in the city that restores Confederate monuments. Their work includes the removal of graffiti from the Charles Didier Dreux monument and the Samuel Lowenberg monument after they were vandalized by protestors. However, their website does not specifically voice support for the Confederacy, merely an admiration for the city’s “world-class art.” They organized in 1989 after crowdsourcing funds to “rescue the abandoned Davis monument on Canal Street.” The volunteers survey the city to count the statues and note any that need restoration. They are currently developing a “newer and more comprehensive city-wide monument restoration plan” and a large fundraising program. Source A related resource from which the described resource is derived 1. Robertson, Campbell. "Robert E. Lee Brought Down from Lofty 133-Year Perch." New York Times (1923-Current File), May 20, 2017. <a href="https://search-proquest-com.lib-proxy.fullerton.edu/docview/2463357215?accountid=9840&pq-origsite=primo">https://search-proquest-com.lib-proxy.fullerton.edu/historical-newspapers/robert-e-lee-brought-down-lofty-133-year-perch/docview/2463357215/se-2?accountid=9840.</a><a href="https://search-proquest-com.lib-proxy.fullerton.edu/docview/2463357215?accountid=9840&pq-origsite=primo"> </a> Duhé, Bailey J. “Decentering Whiteness and Refocusing on the Local: Reframing Debates on Confederate Monument Removal in New Orleans.” In Museum Anthropology 41, no. 2 (Fall 2018): 120-25. <a href="https://doi-org.lib-proxy.fullerton.edu/10.1111/muan.12184">https://doi-org.lib-proxy.fullerton.edu/10.1111/muan.12184</a> 2. Hunter, G. Howard. “Late to the Dance: New Orleans and the Emergence of a Confederate City.” In Louisiana History: The Journal of the Louisiana Historical Association 57, no. 3 (Summer 2016): 297-322. <a href="https://www.jstor.org/stable/43916946">https://www.jstor.org/stable/43916946</a> 3. Johnson, Walter. Soul by Soul: Life Inside the Antebellum Slave Market. Cambridge, Harvard University Press, 1999. 4. Lugo, Liza and Liza Treadwell. How Do Hurricane Katrina’s Winds Blow: Racism in 21st-Century New Orleans. Santa Barbara: ABC-CLIO, LLC, 2014. 5. Marler, Scott P. The Merchants’ Capital: New Orleans and the Political Economy of the Nineteenth-Century South. Cambridge: Cambridge University Press, 2013. 6. Maxon, J. David. “‘Second Line to Bury White Supremacy’: Take ‘Em Down Nola, monument removal, and residual memory.” In the Quarterly Journal of Speech 106, no. 1 (2020): 48-71. <a href="https://doi-org.lib-proxy.fullerton.edu/10.1080/00335630.2019.1704428">https://doi-org.lib-proxy.fullerton.edu/10.1080/00335630.2019.1704428</a> 7. Powell, Lawrence N. The Accidental City: Improvising New Orleans. Cambridge: Harvard University Press, 2012. 8. <a href="http://takeemdownnola.org/why-it-matters">http://takeemdownnola.org/why-it-matters</a> 9. <a href="http://monumentaltask.org/about/history/">http://monumentaltask.org/about/history/</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Confederate Memorial Hall Museum, New Orleans Creator An entity primarily responsible for making the resource Thomas O. Sully and Albert Toledano (Architects); Sully & Toledano, New Orleans, La. (Architectural firm); the Louisiana Historical Association, Joseph A. Chalaron, and Frank T. Howard (Sponsors) Date A point or period of time associated with an event in the lifecycle of the resource January 8, 1891 Contributor An entity responsible for making contributions to the resource Jon Hall (2020), Monique Corona (2021), Samuel McMillan (2023) Language A language of the resource English Identifier An unambiguous reference to the resource within a given context HIST 402A Fall 2020 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant <a href="https://www.google.com/maps/place/Confederate+Memorial+Hall+Museum/@29.94345,-90.0735056,17z/data=!3m1!4b1!4m5!3m4!1s0x8620a676ec21cac9:0x2d8dd99301ac1915!8m2!3d29.94345!4d-90.0713169" target="_blank" rel="noreferrer noopener">929 Camp St, New Orleans, LA 70130</a> Description An account of the resource Although not a monument, the Confederate Memorial Hall Museum supports similar narratives to more traditional monuments and arises from similar circumstances. Constructed in 1890 and opened in 1891, the museum is home to the second-largest collection of Confederate artifacts and memorabilia. [1] The collection includes uniforms, flags, weapons, and other personal artifacts donated by Confederate veterans and important figures. The Confederate Memorial Hall Museum was added to the National Register of Historic Places on June 11, 1975. [2] The mission statement of the museum is to collect, preserve, and exhibit Civil War memorabilia in a "non ideological" manner. What this statement hides is that the museum is highly ideological and supports the narrative of the Lost Cause which conjures an erroneous image of the South during and after the Civil War in which the South is not responsible for the evils of slavery and secession was a necessary action done in a manner similar to the American Revolution rather than an attempt to ensure the continuation of slavery as an institution. Historian John Bardes has written astutely about how the museum covertly pursues its goals in the manner it creates its exhibits. Bardes observed during New Orleans' Lee monument removal process in May 2017, "few took note of the stately brick building behind the warring throngs of protests and counter-protestors: Confederate Memorial Hall, home to the world's second-largest collection of Confederate artifacts." [3] This is intentional by the museum following the approach of Thomas Nelson Page who pushed for Southerners to take hold of the narrative around the Civil War to portray the South in a positive light and to maintain pre-Civil War racial hierarchies.[4] As noted by Bardes, the museum exhibits numerous pieces of Civil War memorabilia with descriptions that use language to evoke emotional nostalgic responses while giving little historical context. Among the exhibits, no mention is made of secession or the reasoning behind it. Slavery is only mentioned in passing, noting that some free black people owned slaves and noted the recruitment of slaves into the Union Army by General Benjamin Butler who is portrayed as deeply racist. These divisive areas are either whitewashed to depict a noble respectable South while ignoring the immeasurable suffering perpetrated under slavery and the plight of African Americans after the Civil War and today. The museum's mission statement obscures its role as a site that maintains the fictitious Lost Cause narrative in the service of white supremacy. Placing this museum in the context of this archive identifies its role in the perpetuation of the Lost Cause and expands notions around what constitutes a monument. While much attention has been paid to public open-air monuments to Confederate figures, significantly less public attention has been paid to museums and heritage sites. The museum falls into the same niche as the more traditional monuments but uses a different visual language and takes a different shape.[5] In examining this entry, the viewer can better understand the approaches used to manipulate the public into believing false historical narratives and provide resources in the form of endnotes to further explore the topic. Type The nature or genre of the resource Romanesque revival monument building -- pressed brick, Long Meadow brown stone, cypress wood, and stained glass Source A related resource from which the described resource is derived <ol><li> Scott, Mike. "The history stored in Memorial Hall is controversial, but the building has a story of its own". The Times-Picaynue. Accessed November 18, 2021. https://www.nola.com/entertainment_life/home_garden/article_c65c1ede-0714-11eb-bf85-a737637cd1f1.html </li> <li> "Confederate Memorial Hall," National Park Service, accessed November 18, 2021. </li> <li> <a href="https://www.jstor.org/stable/26391717" target="_blank" rel="noreferrer noopener">John Bardes, “‘Defend with True Hearts unto Death’: Finding Historical Meaning in Confederate Memorial Hall,” in Southern Cultures 23, no. 4 (2017): 30 and 43.</a> </li> <li> Page, Thomas Nelson. <a href="https://archive.org/stream/negrosoutherners00page#page/n7/mode/2up">The Negro.</a> New York: Charles Scribner's Sons, 1904. 111-113. </li> <li> Young, James E. The Stages of Memory: Reflections on Memorial Art, Loss, and the Spaces Between. Amherst: University of Massachusetts Press, 2016. 136-139. </li> </ol> 19th Century Buildings Louisiana Museum National Register of Historic Places New Orleans