鈥淓ntwined: Freedom, Sovereignty and the Sea鈥� at Mystic Seaport Museum in 黑料吃瓜网 explores Indigenous and African ties to the waterways of New England. The exhibition calls on visitors to think about history, water and spirituality in new ways.
鈥�Walking through the exhibition space you get the sense that time is cyclical, not linear. And that everything cycles and has a birth, a life, a death and a rebirth, as do our histories,鈥� said curator Akeia de Barros Gomes.
There are loaned "belongings" 鈥� or objects 鈥� from Indigenous and African communities dating back 2500 years. They show maritime navigational skills and spiritual connections to the ocean on both sides of the Atlantic.
鈥�Yes, for the last 500 years, colonialism, slavery and dispossession have been a major factor in our histories," de Barros Gomes said. 鈥淏ut if you think about African and Indigenous Dawnland, or New England, maritime histories, they go back over 12,000 years.鈥�
"Dawnland" is the Indigenous term for New England.
Mystic Seaport Museum was founded in 1929 to preserve America鈥檚 seafaring past. Visitors can walk through a 19th-century coastal village and climb aboard a wooden whaling ship. But for decades, most Black and Indigenous maritime histories were missing. Inside the gallery space, de Barros Gomes points to an ancient ceramic cooking pot that鈥檚 partly broken in pieces.
"We are going to continue to do the work until the vessel is whole and holds water once more."
The exhibition includes a brightly painted dugout canoe, traditional masks and jewelry, and a first edition Eliot Bible translated into the Algonquin language. There are also wampum beads found just across the river at the site of the Pequot Massacre of 1637.
Mystic Seaport Museum stands on Indigenous ancestral homelands, said designer Steven Peters, a member of the Mashpee Wampanoag tribe.
鈥�There was a lot of healing that had to take place so that the communities became comfortable sharing within those spaces.鈥�
Before loaning any materials, local tribes wanted to be sure that along with the hard history there would be stories of strength and resilience. Peters and de Barros Gomes spent nearly two years meeting with Native and Black community members from around New England to shape the narrative.
鈥淚t had to be both African and Indigenous communities that were saying, 鈥楬ere鈥檚 the story that we want to tell,'" he said.
This is not the first time Mystic Seaport has worked with outside advisers, says Elysa Engelman, the museum鈥檚 Director of Research and Scholarship, 鈥渂ut (it's) the first time that we鈥檝e had an outside committee that was responsible for the content and really was the voice of the exhibit.鈥�
Advisor Anika Lopes traces her ancestry to enslaved Africans and members of the Niantic tribe.
鈥淚t reminds me always of your foundation, foundation, foundation," she says. "Like, who is at the table and who are you involving in the discussions from the very beginning is so important.鈥�
Standing outside the gallery, visitor Susie Gagne said 鈥楨ntwined鈥� makes Mystic Seaport better. She appreciated the language of the exhibition.
鈥�It was for the most part written in like, 鈥榳e鈥� and 鈥業鈥� perspectives; written by people in the groups that it鈥檚 about. And obviously there are historical atrocities associated with Mystic alongside all of the good historical connotations.鈥�
Back inside, de Barros Gomes walked through two smaller darkened rooms. First, an attic space with ship carvings and spiritual objects of enslaved Africans. Next, an Indigenous hut called a Wetu. And finally, into a light, bright contemporary space with a large collection of art by current Native American and Black artists. There are paintings, sculpture, and traditional clothing.
&苍产蝉辫;鈥�Art that really speaks to contemporary artists reclaiming their ancestry and their ancestral stories,鈥� said de Barros Gomes.
For too long, others told America鈥檚 maritime history, she said. 鈥楨ntwined: Freedom, Sovereignty and the Sea鈥� shifts the tide.
Copyright 2024 黑料吃瓜网 Radio
