When you arrive at Whitney Plantation in Wallace, Louisiana, you’re given an enslaved person’s image and story to wear for the day. Mine was Ann Hawthorne, who was 85 years old when the Library of Congress’s Federal Writer’s Project recorded her personal story of growing up enslaved on the Whitney Plantation, one of many plantations along the Mississippi’s winding River Road. Each story is printed on a laminated card that you wear around your neck—a physical manifestation of the history of slavery; a reminder that real people lived here, died here.
Billed as America’s first-ever museum dedicated exclusively to American slavery,Whitney Plantation sits amid acres of sugar cane that, on the late afternoon of my visit, swayed in a wild wind from a passing tropical depression. The plantation’s swampy land lay heavy with ankle-deep water and hummed with voracious mosquitos. A long row of black and white umbrellas leaned against the visitors’ center and gift shop so that those who had paid $22 a head to tour the grounds were not made uncomfortable by the day’s fine, cool mist of rain.
As I waited for my tour guide, a black woman with long braids led a tour group past a white church, where statues of a young Ann Hawthorn and a dozen other enslaved children seemed to stare directly at—or, really, into—the visitors, who watched a video featuring their testimony.
The entire museum is similar: You walk the same pathways that victims of chattel slavery walked, you listen to their stories in their own words, you see and hear the pieces of history that aren’t printed in textbooks or told on other plantation tours. You won’t find much information on the wealthy slaveowners on this plantation. Instead, Whitney presents slavery through the stories of those who experienced it.
The museum’s creation is owed in part to Dr. Ibrahima Seck, a tall, dark man with a florid African accent, who built the museum along with Whitney’s owner, white New Orleans attorney John Cummings. He has an encyclopedic knowledge of the Antebellum South, and it’s clear that everyone working at Whitney regards him as a living exhibit. CLICK HERE to read the rest of the article at VICE…
Or watch this great video about the slavery museum: