The removal of
historical material should require that no new material is ever allowed to
replace it. Removing historical murals,
memorials, pictures, monuments, statues would require that no other murals,
memorials, pictures, monuments or statues could be added in the future.
Changing the names of
streets, libraries, schools, post offices and government buildings would
warrant the same fate. There should be consequences for revisionist history and
protections from having my post office named after Mao Zedong, Nelson Mandela,
Barack Obama, Ho Chi Men, Che Guevara, Fidel Castro or Sitting Bull. . See
article below.
High
School Mulls Removing George Washington Murals Because They 'Traumatize'
Students
"It betrays a very troubling intolerance of art and the ambiguity of art and the aspirations of art," he said. "It’s incredibly stupid if we try to erase history. It still happened, and you should argue about its meanings."
"It betrays a very troubling intolerance of art and the ambiguity of art and the aspirations of art," he said. "It’s incredibly stupid if we try to erase history. It still happened, and you should argue about its meanings."
A high
school in Northern California — George Washington High School, to be specific
is mulling over a push to remove two 83-year-old murals from its hallways.
Critics advocating for their removal say they are offensive to Native Americans
and African-Americans. They say the pair of panels “traumatizes students and
community members.”
A San
Francisco Unified School District (SFUSD) working group says the murals should
be removed and put in storage to protect the students.
"SFUSD
convened a ‘Reflection and Action Working Group’ that was comprised of members
of the local Native American community, students, school representatives,
district representatives, local artists and historians," Laura Dudnick,
spokeswoman for the district, wrote in an email to The College Fix.
"At
its conclusion the group voted and the majority recommended that the 'Life of
Washington' mural be archived and removed because the mural does not represent
SFUSD values," the letter continued.
"Two
of the thirteen panels in the mural series have come under fire since the
1960’s for their controversial depictions of African-Americans and Native
Americans," the Richmond
District Blog writes.
In
one mural, entitled “Mount Vernon”, George Washington appears to be in
conversation with another Caucasian man who gestures towards a seated
African-American man holding corn, presumably a slave. In other parts of the
mural, African-Americans are engaged in acts of manual labor like hauling large
bales of hay and picking cotton in the fields, while Caucasian men are also
laboring at other tasks with tools. Washington’s servant, who is pictured
holding his horse, is also African-American. The mural is a clear depiction of
slavery in the United States, and of George Washington as a slave owner.
The
second panel, entitled "Westward Vision," depicts Benjamin Franklin
and other founding fathers looking at George Washington as he points off in the
distance, while he points with his other hand to a map. On the right side of
the mural, as if carrying out Washington’s call for westward expansion,
frontiersmen, depicted in greyscale unlike other figures in the mural, stand
over the dead body of a Native American man, signifying the genocide of Native
American life and culture.
In
the bottom right of the “Westward Vision” panel, a frontiersman and Native
American chief sit at a campfire smoking a peace pipe. On the ground at the
chief’s feet is a tomahawk, symbolizing the disarming of Native tribes.
Directly above the Chief’s headdress is a broken tree limb representing broken
treaties made by the U.S. government with Native Americans, and broken promises
made by settlers.
Here's
the irony, though. The murals were painted in 1936 by artist Victor Arnautoff,
who was a protégé of Diego Rivera and a communist. "He included those
images not to glorify Washington, but rather to provoke a nuanced evaluation of
his legacy. The scene with the dead Native American, for instance, calls
attention to the price of 'manifest destiny.' Arnautoff’s murals also portray the
slaves with humanity and the several live Indians as vigorous and manly,"
The Wall Street
Journal reports.
Historian
Fergus M. Bordewich told The Fix that it is "a deeply wrongheaded habit to
project today’s norms, values, ideals backwards in time to find our ancestors
inevitably falling short."
Norb Leahy, Dunwoody
GA Tea Party Leader
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