The Future of Telling Stories Part II: Tours

In 1862 a man named Charles Stuart traveled to the Washington City Hall building on Indiana Avenue and turned in a set of important and valuable papers. The papers documented 10 people that were enslaved by Stuart. Enslaved — in the past tense. On April 16th, 1862 President Abraham Lincoln signed the District of Columbia Emancipation Act, freeing all enslaved people in the District of Columbia.

This was a full 8 months before the Emancipation Proclamation freed enslaved people in the rebellious southern states. In DC, there were 10,000 Black people living within the borders of the capital in 1862, but only about 3,100 were enslaved. Most Black people in DC were free. Those enslaved Black people became free under this act of Congress. However, enslavers in DC were given reparations for loss of their “property.” Enslavers like Charles Stuart could petition the government to get up to $300 per enslaved person they “lost” under the act. Each enslaved person could receive up to $100, but only if they engaged in "voluntary emigration,” i.e., leaving the United States for countries such as Liberia or Haiti. I discuss all of this and more on a tour titled Eyes on Emancipation: Black History on Pennsylvania Avenue.

The buying and selling of people, the compensation of enslavers, and the related histories are not fun facts to be relayed on a walking tour. However, these stories give context and meaning to the sites we see on tour. And these enable a better understanding the 150 years of political and cultural development that occurred here in DC post-emancipation. 99% of my guests understand this. They understand that the history of the United States is fraught. There are gruesome parts, frustrating parts, repellent parts, and dismal parts. There are also stories of triumph, inspiration, revolution, advancement, and preservation. All of those moments are part of the historical fabric of this nation and of this District. Can I cover it all on a 90 minute tour? No, of course not. But I trust my guests to let my storytelling be a guide to how they reckon with the present by way of understanding the past. Each person does it in their own way and I always plan to connect with different learners in different ways. 

What we must not be forced to do as educators is to edit the historical content of programs because of so-called “divisive” topics. I have no doubt that the principle behind the recent Executive Order concerning Smithsonian museums (I wrote about last week) will make its way to other educational venues. Of course K-12 classrooms come to mind, out-of-school learning programs, colleges & universities, and beyond. 

There is a fine line between worrying too much about a theoretical, potential scenario and actually preparing for what is likely to come. In that vein, I am prepared for walking tours and other informal teaching spaces to be challenged. The 250th anniversary of our nation, by way of the Declaration of Independence, is upon us. People from around the world will look not just to Washington, DC, but all corners of the United States as we reflect on, well… how we’re doing at the quarter millennium mark as a nation. Part of the reflection is learning about the problematic and tough parts of our shared history.

I can not edit those parts out of the narrative. I do not delight in telling the Charles Stuart story, but if did happen. Slavery was an institution. But then it came to an end here in DC, and later the U.S. This was partially due people like Charles Stuart complying and also due to the steadfast bravery of the United States Colored Troops, which we also teach about on tour.

Does discussing these topics "...degrade shared American values?" Does shining a light on the USCT "...divide Americans based on race?" Does explaining compensated emancipation "...promote programs or ideologies inconsistent with Federal law and policy?" In my view, of course not. I believe most of my guests agree. The day may come when tour guiding and other forms of speech & teaching are challenged on these grounds. In the meantime, I will continue to keep learning, updating current tours, and introducing new tours all about DC and how we got from there to here and then to now. The future of telling stories is good.

The Future of Telling Stories Part I: Museums

Lillian Evanti by Loïs Mailou Jones

In what can only be described as blitz, the White House and President Trump, as of today --April 3, 2025-- has issued 109 executive orders.

We're just 74 days into the term and the administration has issued more executive orders than any other in their first 100 days, already surpassing Franklin Roosevelt, who issued 99. The first Trump administration (2017-2021) itself issued just 33 executive orders in its first 100 days. Biden issued 43, Obama 19, W. Bush 11, and Clinton 13.

First of all, what is an executive order? I found this explanation by the ACLU helpful. (linked)

An executive order is a written directive, signed by the president, that orders the government to take specific actions to ensure “the laws be faithfully executed.” It might mean telling the Department of Education to implement a certain rule, or declaring a new policy priority. Executive orders, however, cannot override federal laws and statutes.

...

With an executive order, the president can’t write a new statute, but an order can tell federal agencies how to implement a statute.

...

With an executive order, President Trump can order the federal government to take any steps that are within the scope of the constitutional authority of the executive branch, and do not violate any federal law.

For perspective, I am not lawyer. I am an historian that relays histories through walking tours and storytelling. I have also been a civics educator, museum educator, and a professional development expert for teachers. Across several disciplines, I have two decades of experience in the education field. But, you don't have to be a lawyer or an educator to understand the practical, on-the-ground consequences of an executive order.

One of the recently issued orders was "Restoring Truth and Sanity to American History," issued on March 27th. The order chastises two museums in particular, the National Museum of African American History and Culture and the American Women's History Museum.

In the order, the Smithsonian is cautioned (by way of conditioning federal expenditures) against creating programs that:

• "...degrade shared American values, divide Americans based on race, or promote programs or ideologies inconsistent with Federal law and policy; and

• ... recognize men as women in any respect in the Museum."

In essence, this order seeks to control narratives of American history & culture developed by Smithsonian museums through exhibitors and other programming. Federal policy has revealed itself in the past few months as essentially opposing mentions or acknowledgment of any struggle against racism, sexism, transphobia, xenophobia, and other institutional challenges faced by marginalized people.

Which leaves me wondering what exactly Smithsonian museums will be allowed to showcase within their walls. Of course, not all museums feature historical exhibitions. Visual arts, music, design, textiles, crafts, math, science, aviation, geography, history, culture, and even the humble postage stamp are covered in some part by Smithsonian museum exhibitions. And yes, the National Zoo is included.

Would these past exhibitions be allowed under what are sure to be newly introduced guidelines?

Righting a Wrong, NMAH. Closed in 2019. A very small (maybe 1,000 square foot) exhibition exploring the effects of Executive Order 9066 on Japanese Americans during World War II. About 120,000 people of Japanese descent were imprisoned against their will and without due process by President Roosevelt's Executive Order. Is presenting this information divisive? What about nomenclature and terminology -- Would the camps be referred to "assembly centers," internment camps, concentration camps, works camps, or prisons? Would this exhibition be allowed at all? This exhibition, like many successful exhibitions, features stories told by real people themselves or through objects from their lives.

We Belong Here, NMAH. This is a current exhibition (unveiled in 2022) in the common area on the first floor. It features stories of athletes that exemplify the changes made possible by Title IX, a landmark law that bolstered equality in sports. Some of the original text of the exhibition read "...athletes continue to face sexism, racism, transphobia, and other forms of bigotry." Would that statement be allowed under the new executive order? Currently, the exhibition features Leo Baker, a trans, non-binary skateboarder. Would their story be scrubbed? Will exhibitions be allowed to acknowledge both the progress made AND lingering disparities, as this exhibition does? This exhibition, like many successful exhibitions, features stories told by real people themselves or through objects from their lives.

Americans, NMAI. This is also a current, but long running exhibition. Americans may be my favorite permanent exhibition of the National Mall museums. Filled with artifacts, this exhibition explores the full extent that American Indian imagery has been embedded in American life -- from the seemingly benign to the extremely problematic and hurtful. And it's deep. Many "traditional" narratives about Americana are challenged, including deeply embedded historical narratives about the Thanksgiving holiday and misinterpreted historical narratives about Pocahontas & other real life figures. Will these illuminations be removed? Will visitors be allowed to receive this information and be prompted to think about reasoning and implications? This exhibition, like many successful exhibitions, features stories told by real people themselves or through objects from their lives.

To be clear, none of these specific exhibitions have been slated for removal, adaptation, or any other changes as of today. But my fear is that either 1) vague, prohibitive, and punitive guardrails are placed on museum leadership and staff, or 2) line-item, word-for-word changes are made in specific exhibitions by non-museum government overseers, or 3) both. Either would lead to a diminished and tarnished role for these museums as centers of learning. This would be a disservice to U.S. Americans and non-American visitors alike.

Where would that leave the museum landscape? Storytelling comes in many forms. When helping the average visitor to Washington, DC start to understand the deep and complex woven fabric of U.S. history and culture, the Smithsonian is the first place most people start. The artifacts within the museums are not static pieces of history. The text, photos, websites, and programming that accompany the objects bring the objects to life.

It's not perfect, and any one museum wouldn’t be able to paint every picture from every possible perspective. However, across 19 museums (and hopefully more) this institution, along with other non-Smithsonian museums, are the most accessible way to see the vast narratives that make us, us. Disrupting this pathway to leaning for narrow political and punitive reasons would harm the work museums have been doing to be more representative and could destroy public trust that those efforts will continue.

In Part II, I'll dive into what this executive order could mean for me as a researcher, guide, and educator. I use narratives to pass along information to visitors who are with me for just a short amount of time, but want to learn a lot of DC and American history. Will that change? And how will our relationships with museums change if many are forced into editing history for unjust reasons?

Links:
Official White House page "Restoring Truth..." EO
Akin (law firm) summary of "Restoring Truth..." EO
Federal Register (Archives) list or 2025 EOs
UCSB American Presidency Project EO Tracker

Exhibition Spotlight: Afrofuturism

Surprisingly, one of the more intriguing parts of my recent visit to the Afrofuturism exhibition was the exhibition booklet. Typically, the exhibitors booklet --if there even is one-- is a mostly ephemeral folded pamphlet with obligatory, but duplicate information. I will usually pick one up whenever I first enter a new exhibition, but if it looks like I won't get anything out to it, I put it back in the rack for the next person.

Not so with Afrofuturism: A History of Black Futures. Just as the NMAAHC has done with their exhibition websites, they have created a booklet that compliments and extends your experience beyond exhibition. It is deemed a "Cosmic Companion" and that rings true. 

The booklet helps you plan your walk through the exhibitors with "Discover Treks," offers prompts and questions to enhance your visit beyond the objects, and even offers tips on how to interact with the museum itself; from defining the word "object" wo helping you manage the time you have to see it all. I really loved the booklet and have been flipping through it the past few days admiring the work that went into it. 

As for the exhibition itself, it is a vast, but also focused on the evolving concept of Afrofuturism. Yes, it does concern the future, but also the past. It posits past and present struggles for freedom as afrofuturist in nature; reimagining a future of freedom and autonomy. 

The exhibition delves into multiple disciplines such as music, movies, television shows, literature, comics, commentary, and poetry. 

The objects and displays are broken up into three "Zones" -- 1) The History of Black Futures 2) New Black Futures 3) Infinite Possibilites. In between the Zones are "Portals," a tiny transitional story to the next section. There is even a looping replay of Gil Scott-Heron's "Whitey on the Moon" looping in one of the portals. Love it.

It's a vast exhibition that explores multiple aspects of what "future" has meant, and could mean as concept. This is a great follow up to the Smithsonian's FUTURES exhibition last summer at the Arts & Industries Building. 

Afrofuturism will be open for exactly one year: March 24, 2023 - March 24, 2024. It's located on Concourse Level C1, the first thing you see on the left after talking the escalator from the ground level down to the lower level exhibitions. 

Reserve tickets to the Museum here (link).

True Reformers: From Alabama to U Street

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Even before Industrial Bank or Southern Aid Society provided capital, financial services, and insurance plans for Black businesses on U Street, a fraternal organization by the name of True Reformers arrived from Richmond, Virginia to help lay the foundation of what would become Black Broadway.

By the time this building at 1200 U Street NW was dedicated in 1903, the Grand Fountain of the United Order of True Reformers was already one of the most successful Black owned enterprises in the United States.

The origins of the Three Reformers date back to temperance and William Washington Browne. Browne born as an enslaved person in Georgia. During the Civil War, he fought for the Union and after the war became a teacher. He grew to believe that alcohol was the great hindrance to Black wealth and vitality. Not surprisingly, even temperance organizations were segregated. Browne attempted to join the all white Alabama temperance society, Good Templars in 1874. They refused, but helped Browne charter Black chapters across the state under the name Grand Fountain. Browne became the leader of Grand Fountain and grew the chapters throughout and then beyond Alabama, fairly quickly.

Browne was invited to start a similar group in Richmond, Virginia in 1876. There, the mission evolved and expanded. By 1880, the Reformers group in Richmond had become much more than a temperance society. It had evolved into a self-help and mutual benefit organization with the goal of enabling Black members to live without help from the White community. That meant creating Black-focused services such as banking, insurance, and others restricted, segregated industries.

The Savings Bank of the Grand Fountain of the United Order of True Reformers opened in 1888 and was the first Black owned and Black operated financial institution to be chartered in the nation. It was so successful that during the Panic of 1893, they were the only Richmond bank that continued to honor checks. From there, Grand Fountain expanded their financial services offerings over the next quarter century to become arguably the most influential institution for Black commerce nationwide. Browne passed away of cancer in 1897, but by then the True Reformers was a self-sustaining organization with membership in the thousands.

In 1903 the True Reformers’ newly opened structure in Washington at 1200 U Street NW was America’s first to be solely owned by, financed by, designed by, and constructed by African Americans since Reconstruction. They offered a multitude of amenities and services to Black people in DC. Conference rooms, leased office space, a performance hall, and street level retail were all part of the vast offerings beyond financial services.

One of the first businesses to lease space on the ground level was Fountain Pharmacy, opening in 1905. For 12 years, the Fountain was operated by Dr. Amanda Gray who started her own business after graduating from Howard University and working as a pharmacist at the Woman’s Clinic, a care facility located, at the time, near 13th and T Streets NW.

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Medical directory produced by Fountain Pharmacy. (Library of Congress)

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Article about Dr. Gray in Pharmaceutical Era journal c. 1912. (Library of Congress)

Dr. Gray is thought to have been the first Black woman to own and operate a pharmacy in the city. Her store in the True Reformer building offered additional services such as laundry, mail, and even housed a telegraph office. Dr. Gray also produced a directory of emergency medical services in the city. Dr. Gray ran the Fountain Pharmacy until the death of her husband and fellow pharmacist Arthur in 1917.

During the fledgling first few years of what would become the “Black Broadway” era on U Street, the True Reformer building became known for hosting jazz concerts popular with both youth and adults.

In 1916 a young Duke Ellington played some of his first shows for money inside the rooms of True Reformer Hall, as it was colloquially known, thereby making him a professional musician. Just a year later in 1917, the True Reformers sold the building to the Knights of Pythias, who officially renamed it Pythias Hall, but the old name persists to this day.

Somewhat fittingly, the building is now home to the Public Welfare Foundation, a grant-making organization focused on social justice issues in the United States.

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True Reformer building c. 1990s with its sole tenant, a Duron Paints store. (Library of Congress)

Busy U Street in late 2019.

Read more:
William Washington Browne and the True Reformers of Richmond, Virginia | JSTOR
A Family of Pharmacists | Library of Congress
William Washington Browne | Library of Virginia
Public Welfare Foundation | Public Welfare Foundation

Alethia Tanner Park: Beautiful Green Space, Incredible Namesake

Walking over a rain garden in Alethia Tanner Park.

Alethia Tanner Park is one of the two newer parks in the NoMa (North of Massachusetts Avenue) neighborhood. I actually consider this park to be in the adjacent Eckington neighborhood, not NoMa. However, this is all within the boundaries of the official NoMa Business Improvement District, so it makes sense. But I digress. Residents of NoMa selected Tanner as the namesake for the park from among several candidates, with Tanner garnering over 60% of votes.

Just a few acres in size, the park is a solid one. Among the amenities thoughtfully arranged in such a small are area: a wide grassy expanse with partial tree cover, an informal pavilion with rigging for events, small picnic table section, enclosed playground area for families, separate dog park and relief area (fenced!), and bike parking with a bike maintenance tower. All this, plus the park accessible directly from the Metropolitan Branch Trail, a pedestrian and bike path running alongside the rails in Northeast DC. I highly recommend a visit!

Back to Alethia Tanner, though. Who was she? Let’s take a look.

Alethia Browning Tanner

Alethia Browning Tanner was born as an enslaved person on the Pratt plantation in Prince George's County, Maryland. Alethia and her sister were allowed a plot of land to grow vegetables for their families. In addition, Rachel Pratt also allowed the sisters to sell those vegetables on the streets of Alexandria City and Washington in the District of Columbia. The Pratt name may be familiar. Thomas Pratt, the son of Rachel Pratt, went on to become the 27th Governor of Maryland.

Alethia sold vegetables at the well known market just north of the White House in Presidents Park (now known as Lafayette Park). It is possible --and probable-- she met Thomas Jefferson there as he was known to frequent the vegetable markets there along with other prominent early Washingtonians. There are also White House records suggesting she worked for Thomas Jefferson in some capacity, likely doing various housework tasks.

Invoice for medical services provided to workers in Thomas Jefferson’s White House, including an entry for “Lethe,” likely Alethia Tanner. (White House Historical Association)

Tanner saved enough to purchase her own freedom in 1810. The total amount, thought to have been paid in installments, was $1,400. In 1810, $1,400 was a significant amount; about the equivalent of three years' earnings for an average skilled tradesperson. Self-emancipation was not an option for all enslaved peoples, but both Alethia and her sister Sophia were able to accomplish this, almost entirely though selling vegetables at the market. Alethia Tanner moved to DC and became one of a significant and growing number of free Black people in the District. In 1800 there were 793 free Black people living in DC. By 1810, there were 2,549, and by 1860, 11,131 free Black people lived in DC, more than the number of enslaved peoples.

Starting at about 15 years after securing her own manumission, Alethia Tanner worked to purchase the freedom of more than 20 of her relatives and neighbors; mostly the family of her older sister Laurana including Laurana herself, her children, and her grandchildren. All in all, Tanner would have paid the Pratt family well over $5,000. All of this was done with proceeds from her own vegetable market business. Even after her family and friends were emancipated, Tanner continued to provide services. For example, she paid monthly to keep her nephews enrolled in a newly formed DC school for Black children. One of those nephews, John Cook, became shoemaker's apprentice for the express purpose of repaying Alethia for his emancipation and schooling. An older and more experienced John returned years later to run the school for Black children he earlier attended.

Alethia Tanner also lived near the White House, near what is now the corner of 14th and H Streets NW, not far from where her market was located. She was very much involved in the burgeoning Black culture among free and enslaved peoples in DC and was well known in the community. As one of the founders of what is now known as Metropolitan African Methodist Episcopal Church (M Street NW), she left a lasting mark on Black DC culture from religion to education.

She ran the market through the early 1850s and remained active in DC until her death in 1864, outliving a number of her own relatives from younger generations. Much of what we know about her life came from an official 1870 Congressional Report to the House of Representatives from Henry Barnard, the commissioner of education in Washington, DC. Barnard recounted her philanthropic and organizing efforts to further education for Black children in DC throughout her life and wanted it to be put on record.

Alethia Tanner Park is located at 227 Harry Thomas Way NE, near the corner of Harry Thomas Way and Q Street. It can also be accessed by foot or bike via the Metropolitan Branch Trail, just north of the Florida Ave entrances.

Enjoyed this post? Get weekly DC history posts, DC Adventure Guides, photos, and general support my work on the Attucks Adams Patreon page. Monthly subs start at just $3. Recent topics have been this post on Alethia Tanner Park, documenting the scene around the Capitol as John Lewis lay in state, and exploring alternate building designs for the National Museum of African American History and Culture. Thanks so much!

Explore more: 

Federal Census Records for the District of Columbia Relating to Slavery, 1800–1860 (NARA)
NoMa Wants Your Help Naming its New Large Park (GGW)
Self-Emancipation in Lafayette Park (White House Historical Association)
The Enslaved Household of President Thomas Jefferson (White House Historical Society) Tanner, Alethia (Oxford African American Study Center)
Alethia "Lethe" Browning Tanner (Genealogy Trails)
Manumission papers for John F. Cook (Moorland-Spingarn Research Center)
Alethia Tanner Park (NoMa Parks Foundation)

See more:

Manumission papers of John F. Cook, and his daughter (Moorland-Spingarn Research Center/Howard University)