As events that transpired in Charlottesville inform the national conversation on the politics of race and resistance, the Virginia Film Festival has placed the subject at the center of this year’s programming. And the Race in America series features some of the best filmmaking on the subject. Attending this year’s festival will be veteran filmmaker Spike Lee, who will present his documentary 4 Little Girls and video short I Can’t Breathe. A Q&A with Lee and University of Virginia professor Maurice Wallace will precede the films.
Viewing the collected works of Spike Lee reveals three decades of a fiercely talented technician using all means available to speak the truth in its purest form to anyone who will listen, and shout it at those who won’t. Though the notion that he is intentionally provocative has taken root in the public’s collective opinion of Lee, a deeper reading of his work suggests that he places equal value on the content, style and craftsmanship of his films, but uses them as platforms to elevate the underlying message or fundamental truth of the story on a higher level. Often, those messages are uncomfortable ones that require direct confrontation, whether in the form of Samuel L. Jackson demanding we “cool that shit out” following a montage of internal racism made external in Do the Right Thing, or the ripped-from-the-headlines commentary of last year’s audacious Chi-Raq. It’s not just that Lee demands to be heard, it’s that he demands you listen to and recognize the truth.
In 1997, Lee released his first documentary, 4 Little Girls. The film tells the story of the 16th Street Baptist Church bombing on September 15, 1963, in which four young African-American girls—Addie Mae Collins, Cynthia Wesley, Carole Robertson and Carol Denise McNair—were killed by white supremacists at their church in Birmingham, Alabama. Though known Klansmen were held and questioned, there were no charges filed and the FBI closed the case, until it was reopened in 1977 and subsequently in 2000. The brutality and senseless loss of life is considered a turning point in the Civil Rights movement, and the next year saw the passage of the Civil Rights Act. Though an explicitly political message can be drawn from it, Lee dedicates much of the film to the personalities and families of the girls who lost their lives.
Lee garnered praise and an Academy Award nomination for the documentary, and contemporary critics sometimes commented that it was perceived as a departure for the director in both style and tone. Interviewers from the time of its release asked about the film’s political message, to which Lee would politely offer that it was to learn more about these four girls, that there was no specific call to action. Indeed, the film sees Lee in the role of observer rather than auteur. The politics are inherent in the story and the event had large societal and legal repercussions, all of which are thoroughly examined, but in his commitment to truth, Lee has no agenda in exploring this topic beyond making the audience come to know who these girls were, whose future the world never witnessed.
Lee had initially wanted to make the film as a student, but would not do so without the participation of Chris McNair, father of Carol. Both understood that the time was not yet right—Lee was still a budding filmmaker, and McNair was not yet ready to open that chapter of his life to the world.
Lee will also be presenting I Can’t Breathe, a video short that interweaves footage of Radio Raheem’s fate in Do the Right Thing and Eric Garner being pinned to the ground by police, despite his pleas for medical attention, which would lead directly to his death. The video is a stark reminder that though cell phone camera technology is new, the tragedies that they record are not. Do the Right Thing itself is partially based on real events, what’s known as the 1986 Howard Beach incident. Though the film is fictional, its depiction of racism and police violence is as truthful as on-the-ground footage.
Safer films may take home the trophies instead of Lee’s, only to be forgotten, but a Spike Lee Joint endures because it isn’t what we want to see, it’s what we need to hear.
Other Race in America screenings
Hidden Figures
One of the best crowd-pleasers of 2016 recounts the contributions of black women to the early space program, boasting a top-notch cast, terrific music and an inspirational true story.
Tell Them We Are Rising: The Story of Black Colleges and Universities
This documentary looks at America’s historically black colleges and universities, which have been an invaluable resource to many, but their establishment and continued legacy did not come easily.
The Confession Tapes
From Netflix’s “8th and H” series comes this episode about a group of Washington, D.C., teens wrongfully convicted of murder in 1984, some of whom are still serving time based on false accusations of gang affiliation.
An Outrage
This documentary on lynching in the American South was filmed on the locations of many actual such events, bringing attention to the harrowing fact that racist mobs murdering innocent people in this fashion is not ancient history, and the emotional societal scars are still felt today.
The Birth Of A Movement
Too often, bigotry and racist caricatures in old films are dismissed as “that’s the way it was.” Birth of a Movement proves just the opposite, recounting journalist and activist William M. Trotter’s opposition to D.W. Griffith’s 1915 celebration of the Ku Klux Klan in The Birth of a Nation.
O.J.: Made In America
Though the world may not have recognized it at the time, the trial of O.J. Simpson for the murder of Nicole Brown and Ron Goldman was perhaps the most significant intersections of race, class, the justice system and the media industrial complex. This in-depth documentary explores the story from every conceivable angle, and vividly recounts a chapter in American history many considered closed.
The programming of the annual Virginia Festival of the Book—now in its 23rd year—always seems to strikea beautiful balance of gravity and levity, tragedy and comedy, difficult reality and the dream of a better future. The organizers draw from a vast array of writers with different lived experiences and this year is no exception. The subjects touched upon encompass our messy human experience: inequality, mental illness, war, but also love, mindfulness, peace and that great community-builder—food. Among these stories there is something for everyone.
Kwame Alexander
Out of Wonder: Poems Celebrating Poets
March 22, 7pm at UVA’s Culbreth Theatre
The title of Kwame Alexander’s illustrated book of poetry comes from a quote by poet and children’s book author Lucille Clifton: “Poems come out of wonder, not out of knowing.” Alexander co-wrote the book with Chris Colderley and Marjory Wentworth with the aim of introducing young readers to 20 different poets through original poems written in their honor. Alexander says, “Poetry can really transform the human spirit.” And having grown up in a literary household, he knows firsthand the effect poetry can have on a young person.
Alexander, who has written more than 20 books for young people, says, “First I want to entertain them because I want to entertain myself. Inspire them because I want to be inspired. I want to empower them, I want them to feel they can change the world or themselves. It’s a lofty goal but it’s something I aspire to.”
The book is gorgeously illustrated by Ekua Holmes, who Alexander says “captured the mood, spirit and energy of each of these poems in a dynamic way that no one else could have done. They’re so full of verve.”
Kaitlyn Greenidge
We Love You, Charlie Freeman
March 25, 10am at the Central Library
Kaitlyn Greenidge’s debut novel begins when Laurel and Charles Freeman move with their two daughters, Charlotte and Callie, from Boston to the Berkshires to live at the Toneybee Institute and teach sign language to a chimpanzee abandoned by his family. What follows is an exploration of communication within families, the language of love, as well as the legacy of racism in America and the individuals and institutions that have propagated it.
As the African-American Freeman family learns to navigate its new predominantly white community, a parallel story arises in alternating chapters of an African-American woman who had encounters with an anthropologist at the Toneybee Institute in the 1920s. As Charlotte uncovers the institute’s racist past, she confronts her mother and her decision to bring the family there.
Greenidge writes in an e-mail to C-VILLE that the mother, Laurel, is “faced with the choices that a lot of us who are not born to privilege, either class-wise or gender-wise or race-wise or a combination of the three, [face]: Instead, you are offered these situations that are not really choices, that are actually asking you to partake in something harmful. But you make allowances, you make arguments, that it won’t be that bad. Every employed black person, certainly every employed black woman, in the U.S. in the last 100 years has been presented with a version of this dilemma. This novel presents a dramatized version of that choice. But it’s the impossibility of those choices that I wanted to talk about.”
Jane Alison
Nine Island
March 23, 2pm at the Central Library
There are road novels, full of noise and bustle, and then there is the more meditative, ambulatory novel. Jane Alison’s nonfiction novel, follows the protagonist J as she walks the boardwalks and bridges of Miami, swims and translates Ovid, pondering her dilemma: whether to retire from romantic love. Alison, professor and director of creative writing at UVA, writes in an e-mail that the impetus for the book “emerged when I was walking one evening on the Venetian Causeway (in Miami, where I lived until three years ago), thinking about a (distant) man or two who had caused me grief, and about the (dead) Roman poet Ovid, whose stories of sexual transformation I was translating, and about the whole troublesome enterprise of sexual love and whether it was really worth having, when a striking man appeared suddenly in the doorway of a house I’d thought was abandoned. A volley of ideas came together in that instant, about hopelessly dead or distant men and sexual longing and fantasy and Miami’s sensual splendor.”
Though her quest is an internal one, J encounters interesting characters along the way: the upstairs neighbor who drops something invisible from her balcony every day into the plants below; the hairstylist who clues J in to the culture of boat girls in Miami who lie like ornaments on the bows of ships, one of whom meets a violent end (connecting threads of violence against women that ripple out from Ovid’s stories and reflect J’s lived experience). “My book,” Alison writes, “is largely about the functions of both desire and time upon a female body: both transformative and erosive.”
GET MORE IN-DEPTH
Fiction
Christina Baker Kline, author of the international best-seller Orphan Train, is on tour for her latest work of historical fiction, A Piece of the World. The novel takes its inspiration from Andrew Wyeth’s painting “Christina’s World” and explores the relationship between the painter and his subject, Christina Olson, a neighbor disabled by polio. March 23, 6pm at Christ Episcopal Church.
Kathleen Grissom of Lynchburg will discuss her latest novel, Glory Over Everything, a follow-up to her New York Times bestseller, The Kitchen House. This historical novel follows Jamie Pyke, born to a slave and master—and passing for white in 1830s Philadelphia—as he returns south to help two enslaved friends escape through the Underground Railroad. March 22, 4pm at JMRL Central Library.
Nonfiction
Margot Lee Shetterly by now needs no introduction. The Charlottesville resident and 1991 UVA graduate is the author of Hidden Figures: The American Dream and the Untold Story of the Black Women Who Helped Win the Space Race, which was adapted into an award-winning feature film last year. She will appear at the Paramount alongside Dava Sobel. March 25 (sold out)
Sue Klebold, mother of Dylan Klebold, one of the two shooters in the 1999 Columbine High School shooting, penned the powerful memoir, A Mother’s Reckoning: Living in the Aftermath of Tragedy. In it she shares the details of her family life as well as what she has learned since about brain health, depression, suicide and violence prevention. March 26, 1pm at UVA’s Culbreth Theatre.
Poetry
Lisa Russ Spaar, poet and UVA professor, will discuss her latest collection, Orexia: Poems. With such evocative lines as “Bitten moon. Perfect. What’s to come,” these poems explore desire as well as feelings of mortality later in life.
Debra Nystrom, poet and UVA professor, weaves a narrative of two abandoned children, Will and Ellie, in her fourth collection of poetry, Night Sky Frequencies and Selected Poems.
Tim Seibles, the current Poet Laureate of Virginia and a professor at Old Dominion University, explores aging, mortality and the obstacles injustice and inequality pose to a peaceful life in his latest collection, One Turn Around the Sun.
Spaar, Nystrom and Seibles appear March 23, 8pm at Christ Episcopal Church.
Hidden Figures tells the true story of three African-American women employed by NASA who were invaluable to the 1960s space race. 20th Century Fox
Hidden Figures is a story that must be told for its own sake-—the overlooked contributions of brilliant scientists and mathematicians who have been left out of history for their gender and race—but as a film, it rises to the challenge with a devastatingly clear grasp of how deep racism goes in our society.
Several times throughout Hidden Figures, one of our characters accomplishes something great in front of those who doubted her, leading her to be invited to previously closed meetings and sought for expertise by people who were once her deepest antagonists. With every achievement, however, comes a reminder of how petty and hateful the world can be, sometimes in the form of a slammed door, a denied promotion or a barbed, dismissive, paternalistic comment that is clearly rooted in race.
Even with this weighty subject matter, Hidden Figures—based on the nonfiction book of the same name by Charlottesville’s own Margot Lee Shetterly—remains inspiring, optimistic and thoroughly watchable. The film follows NASA-employed mathematicians Katherine Johnson (Taraji P. Henson), Dorothy Vaughan (Octavia Spencer) and Mary Jackson (Janelle Monáe). We meet the leading ladies on their morning commute as their car breaks down, seeing each in her element: Dorothy taking direct action by fixing the motor, Mary attempting to hitchhike and Katherine gazing at the sky. When a police officer pulls over, they must get ahead of how the conversation might go, ultimately defusing his clear racial animosity (which he does not explicitly state, a running theme in the film) by appealing to his patriotism—that they must get to work on time to stay ahead of the Russians in the thick of the space race.
The three work at West Area Computers in Langley, Virginia, a division staffed entirely by African-American women. Katherine soon joins the team responsible for the calculations necessary for John Glenn’s safe launch and re-entry under Al Harrison (Kevin Costner) and Paul Stafford (Jim Parsons), where she finds her work is extremely valued but she is not. There is the indignity of needing to walk a half mile to find a restroom for “colored women,” not receiving credit for her work and finding a coffee pot labeled “colored” after her arrival. Al only cares about the success of the mission and accepts Katherine for her skill, while Paul sees the need to treat her as an equal as a clear threat. The other friends often find themselves in similar predicaments; Dorothy is unable to get the title and pay grade of a supervisor though she already does the work, Mary has the potential to be a valuable engineer but lacks the necessary degree that she cannot get because the school is still segregated.
As well as being a snapshot of life in the early ’60s—President JohnF. Kennedy and Martin Luther King Jr. appear in several montages; the words “civil rights” are on everyone’s lips but the Civil Rights Act has yet to be passed; Brown v. Board of Education has been decided but is unevenly applied—Hidden Figures is the story of how ideas and people change. The white characters are not snarling, epithet-hurling bigots we associate with the word racist, but they often follow the social norms of a racist society, making their actions no less dehumanizing.
Hidden Figures would be worth a watch even if it were a purely perfunctory exploration of the story. But thanks to an intelligent script, captivating performances and thoughtful direction (not to mention gorgeous production design), this is a film that deserves a spot on Oscar ballots this year and social studies classrooms for years to come.
Playing this week
Regal Stonefield 14 and IMAX
The Shops at Stonefield, 244-3213
A Monster Calls, Assassin’s Creed, Collateral Beauty, Fantastic Beasts and Where to Find Them, Fences, Lion, Manchester by the Sea, Passengers, Rogue One: A Star Wars Story, Sing, Underworld: Blood Wars, Why Him?
Violet Crown Cinema
200 W. Main St., Downtown Mall, 529-3000
Assassin’s Creed, Fantastic Beasts and Where to Find Them, Fences, La La Land, Manchester by the Sea, Passengers, Rogue One: A Star Wars Story, Sing
The Friendship 7/Mercury-Atlas 6 with astronaut John H. Glenn Jr. aboard was launched from Cape Canaveral, Florida, on February 20, 1962. (NASA / CNP) Mary Jackson worked as a female “computer” at Langley Memorial Aeronautical Laboratory, where she researched investigations about the airflow around model planes and space rockets in the Supersonic Tunnels Branch. (Courtesy NASA)
On February 20, 1962, Americans sat around their radios or TVs, transfixed by every update as astronaut John Glenn was launched into space, and became the first American to orbit the Earth. It was a big deal, not only for the country, but for the world. But as with many major scientific milestones, individual icons often overshadow the people behind the scenes. Back at NASA, the women “computers”—mathematicians—were an integral part of the approximately 1.2 million tests and simulations that got Glenn into space.
“These women really were amazing,” says Margot Lee Shetterly. “American superheroes, ordinary extraordinary people.”
A University of Virginia alum and Charlottesville resident, Shetterly is the author of the New York Times best-seller Hidden Figures: The American Dream and the Untold Story of the Black Women Mathematicians Who Helped Win the Space Race (Hidden Figures, the movie, opens on Christmas Day). In the book, Shetterly lays out the histories and the story of black female mathematicians and physicists such as Dorothy Vaughan, Katherine Johnson and Mary Jackson, who became human computers for the West Area Computing Group at Langley Memorial Aeronautical Laboratory.
Janelle Monáe stars as Mary Jackson in Hidden Figures. 20th Century Fox
Shetterly spent much of her early life around the scientists, physicists and engineers of NASA. Her father started work there in 1966 as a co-op student, and Shetterly remembers going to work with him, seeing the giant wind turbines, eating in the cafeteria and going to family festivals for NASA employees.
She later moved to Charlottesville to study finance at UVA, graduating in 1991 from the McIntire School of Commerce. After getting her degree, she spent years trading on Wall Street before she and her husband moved to Mexico and started an English-language publication there.
Around Christmas of 2010, the couple was back in Hampton visiting family. They were driving around with her father, Robert Lee III, and he was telling her about her Sunday school teacher who had been a computer at NASA. During the ride, the conversation about the women who worked there, such as Johnson, who calculated launch windows for astronauts (including for Glenn’s first flight), grew.
“For me, I realized I knew these women, but I didn’t know this story,” Shetterly says in a phone interview with C-VILLE. “And that sent me down the path to figure it out.”
Once she understood the historical significance of the work the women did, Shetterly wrote in the book’s prologue that “the spark of curiosity became an all-consuming fire,” and she dove vigorously into the research.
Margot Lee Shetterly, a 1991 graduate of UVA, started researching material for her book, Hidden Figures, in 2010, after her dad, Robert Lee III, told her he had worked alongside one of her Sunday school teachers at NASA. Photo by Aran Shetterly
The story of the desegregation of NASA is a complicated one, rooted in the early civil rights movement. Its kicking off point came in 1941 when President Franklin D. Roosevelt desegregated the defense industry. Government agencies like Langley Memorial Aeronautical Laboratory suffered from a labor shortage during World War II, and qualified African-Americans seized the opportunity to apply to fill positions such as scientific aides, lab assistants, model makers and mathematicians. The women human computers crunched numbers for the NACA (National Advisory Committee for Aeronautics, later to be renamed NASA) to make airplanes quicker, safer and more efficient. They often matriculated from historically black colleges and universities like Hampton Institute and West Virginia Institute (today’s historically black colleges and universities, which serve 3 percent of the U.S. collegiate population, produce more than a quarter of the African-American college graduates with a bachelor’s degree in a STEM field).
Once World War II ended, and America transitioned into the Cold War Space Race with the Soviet Union, NASA set its sights on sending American astronauts into space. Vaughan, Johnson and Jackson were integral parts of advancing this mission—doing long calculations, creating, checking and rechecking equations, taking part in model experiments and studying aeronautics to improve air traffic control.
Hidden Figures catalogs these contributions, but it also talks about the complicated time period from the early integration period of the 1940s to 1980, when about 50 black female mathematicians worked at Langley. The women computers were separated from the men, but also from each other—the East Computing area was for white women, and the West Computing area was for black women. But collaboration was necessary to keep the assembly line of equations, figures and data running smoothly between research divisions, so working with people from different genders and races was a regular occurrence.
However, women at NASA were ranked below and paid less than their male counterparts, even with a similar amount of education and experience. And it was hard work—the grind of computers was repetitive and tedious, as these women inputed numbers through calculating machines as they tested equations through long days with half-hour lunches during a six-day work week. Before astronauts took off into space, the computers of West Area helped engineers in the aeronautic division. The women computers had to keep pace with the blitzing speed of the American aircraft industry, which went from the 43rd-largest industry in the U.S. in 1938 to the biggest industry in the world by 1943.
The women’s experience with NASA is rooted in the evolving political and social climate of the time. While it may have not been as harsh or overt at Langley, segregation was a part of virtually every level of U.S. society at the time—from housing to employment to health services to education. But, eventually, landmark victories in the fight for civil rights and racial equality were won.
In the 1954 case Brown v. Board of Education, the U.S. Supreme Court ruled that separate educational facilities were inherently unequal, therefore unconstitutional. African-American students were granted admission into public schools—from grade school to grad school—across the country.
Despite the ruling, integration was not immediate, nor was it institutionalized en masse. Many state and local politicians, particularly in the South, fought the ruling. During his inauguration speech, Virginia Governor James Lindsay Almond Jr. described segregation as part of the “plain and unequivocal facts of history.” On a chilly January 1958 day, Almond proclaimed an antebellum creed that “integration anywhere means destruction everywhere.”
But the federal government and civil rights groups continued to fight to desegregate public schools. At the time, African-Americans in Charlottesville attended segregated schools like Jefferson Elementary and Burley High School. Seeking better education and resources, black families petitioned to be allowed into the city’s white schools and were the denied by the Charlottesville School Board. In 1956, the National Association for the Advancement of Colored People filed a lawsuit against the board to force its schools to integrate. By the fall of the same year, the U.S. District Court ruled in Allen v. School Board of the City of Charlottesville that Charlottesville must integrate Venable Elementary and Lane High.
Refusing to comply with the federal order, Almond ordered the shutdown of Lane and Venable in the fall of 1958, both of which remained closed until the next school year. Though truncating more than half of a school year was a serious measure, Almond’s C’ville order was not the most drastic in Virginia. Prince Edward County schools closed for five years rather than integrate—from 1959 to 1964. But Charlottesville eventually accepted the judgment, and at the start of the 1959 school year, three African-American students—John Martin, his brother, Donald, and French Jackson—walked through the front doors of Lane High School.
Though the progress was just as gradual, the road to desegregating the University of Virginia happened earlier than the Brown v. Board of Education decision. In the 1950s, the undergraduate community was almost exclusively white males, aside from white women studying in the nursing and education schools. Pro-segregation Virginia Senator Harry Byrd said, “If we can organize the Southern states for massive resistance to this order I think that, in time, the rest of the country will realize that integration is not going to be accepted in the South.”
But in 1950, Gregory Swanson sued the university to gain admission into its law school. Swanson was admitted, but he decided to leave after one year. Though his stay was short-lived, Swanson paved the way for other graduate students such as Walter N. Ridley from Newport News. At the time, UVA was looking to admit blacks “who were highly likely to be successful.” Ridley applied and was admitted, and in 1953, he became the first black man to receive an academic doctoral degree at the University of Virginia and at any Southern institution of higher education. UVA’s undergraduate program became integrated in 1955, and many of the trailblazing African-American undergrads studied in the STEM fields.
One of the students who benefited from these trailblazers is Victoria Tucker. Tucker, who graduated in 2012 with a nursing degree, works in palliative care at Virginia Commonwealth University while pursuing a nursing Ph.D. at UVA. She originally wanted to focus her doctoral studies on palliative care, doing something that focused on mindfulness as a family caregiver, but then she stumbled upon her own “hidden figure.” For a grad school class assignment, the professor asked students to turn in a history paper on any topic of their choice.
“What started as a personal quest for understanding my own heritage in nursing became such a humbling experience,” says Tucker. “I thought to myself, ‘What did I need when I was younger?’ There weren’t books about black nurses that were really accessible to me at an early age. And I just realized, ‘This is what I want to do. I want to add to that scholarship.’”
Tucker reached out to the nursing school alumni office to inquire about Dr. Mavis Claytor, the first African-American to earn a degree from UVA’s nursing school in 1970. Tucker spent time with Claytor and her family, and learned about her experience integrating UVA’s nursing school. That meeting inspired Tucker to change her course trajectory to nursing history, specifically the history of African-American nurses in Virginia during segregation from 1950 to 1980. She’s now digging into the archives to uncover these written and oral histories.
Tucker’s discovery of Claytor as a “first” for UVA as late as the 1970s was not unique. Many institutions found it difficult to integrate in a timely manner—juggling the law of the land with the racial climate of U.S. society. To reconcile these warring demands, some educational institutions complied in a de jure sense, by pushing back against or slowing down integration efforts. In terms of early and high school education, this could mean building portable additions to overcrowded black schools instead of sending extra students to nearby white schools, or busing black students to farther away black schools instead of letting them attend white schools closer to home.
Initially, U.S. colleges and universities only admitted white males. White women were the next demographic to be integrated into American higher education, but, early on, they faced pushback as well. Kitty O’Brien Joyner, one of the only female engineers at NACA when she was hired in 1939, had sued UVA—and won—to gain admittance into its all-male undergraduate engineering school. But institutions around the South especially, built extension schools to reach underserved populations like women, people who lived in more rural, secluded areas or those who wanted an education but did not have the economic liberty to move to college towns or to go to school full-time. As the early civil rights movement gained steam, and African-Americans demanded equal opportunities, many colleges and universities admitted minorities into these extension schools, where they attended classes away from campus. One such student was Mary Jackson, one of the women highlighted in Hidden Figures. In 1938, the Hampton, Virginia, native graduated from Phenix High with the highest honors. She went to Hampton Institute (later renamed Hampton University), majoring in math and physical science. After college, she worked as a secretary and bookkeeper for the King Street USO. Jackson was active in the Hampton community, leading the Bethel AME Church Girl Scout Troop, and she spearheaded social uplift programs as a sister of Alpha Kappa Alpha, the first historically black intercollegiate sorority. Jackson was working as a military clerk typist when she perused a list of job vacancies in the Air Scoop, the official publication at Langley. Jackson spotted a research position at Langley and decided to apply. Three month later, she accepted the job, where she performed research investigations about the airflow around model planes and space rockets in the Supersonic Tunnels Branch.
Recognizing a brilliant mathematician, Jackson’s boss offered her a promotion if she took a few more math classes, starting with a differential equations course. This extension program (managed by UVA) was set up for the NASA Langley employees. At the time, Hampton was a segregated city, and Hampton High School, where UVA offered its extension classes, was an all-white school. Jackson applied to the City of Hampton for special permission to attend the extension school classes, and although her dispensation was granted, it didn’t result in a general acceptance of black employees from Langley being allowed to attend the school.
Like Margot Lee Shetterly, other UVA grads have actively engaged in archiving the contributions of African-Americans to the greater American history, but also, more specifically, to the legacy of Virginia and its flagship university.
Born and raised in Charlottesville, Niya Bates has two degrees from UVA—a bachelor’s of arts in African-American studies in 2012 and a master’s in architectural history. In May, she became the public historian of slavery and African-American life at Monticello. Her daily tasks include leading guide staff trainings on talking about race and the legacy of slavery at Monticello, helping develop new museum exhibitions and cultivating a diverse visitation audience with community outreach. Bates knew she wanted to be a historian since childhood.
Niya Bates, who was hired as the public historian of slavery and African-American life at Monticello in May, says uncovering the hidden histories at Monticello is critical to continuing to spotlight the complexities and depth of American history. Photo by Eze Amos
“I spent a lot of time with my grandparents growing up,” she said. “My granddaddy was born in 1908, and my grandmother 1927, so they told us about growing up in the South during Jim Crow, going to one- or two-room schools, walking miles to work at a nearby former plantation. But they were proud of their history, and the ways they maintained and resisted. It’s something that always stuck with me.”
After serving in AmeriCorps, Bates became interested in how physical space shapes identity, which is what led her to architectural history and historic preservation. Bates feels that her work to uncover the hidden histories at Monticello is critical, spotlighting the complexities and depth of American history. To her, the lives of Sally Hemings, Brown Colbert and other slaves Thomas Jefferson owned are the “hidden figures” that make history so unique and complicated.
“I knew I was led by a desire to stay in my hometown, and wanted to work in a profession that allowed me to do community development,” Bates says. “Sure Jefferson’s contributions to our nation’s founding were interesting, but telling their stories is what makes my job fun and gives it the most meaning.”
Claudrena Harold, an associate professor of African-American and African studies and history at UVA, says that desegregation was a complicated story that began decades before Brown v. Board of Education or the Civil Rights Act of 1964, and it extends into the late 1970s. She recently published a book on the political organizing work and activity of black Southerners titled New Negro Politics in the Jim Crow South.
“For the most part, African-Americans integrated graduate schools before they integrated undergraduate schools,” she says. “Before some of the major Southern schools became integrated, what the states would actually do is pay for African-Americans to go to schools that would accept them.”
Claudrena Harold, associate professor of African-American and African studies and history at UVA, says the draw to the Hidden Figures story is that it’s told through a collective voice, rather than spotlighting one individual in black history. Photo by Eze Amos
UVA did that in 1936 when a black student named Alice Jackson became the first black student to apply to the university. When she was denied admission into UVA’s master’s degree program in French, the NAACP sued the state of Virginia. As a response, the Virginia General Assembly passed the Dovell Act, or House Bill 470, which set up a fund that would subsidize the tuition and travel expenses of qualified black students so they could pursue graduate education in other states. Jackson and hundreds of African-American students over the next few decades had their educations paid for this way (UVA continued this policy until 1950). She used her grant money to get a master’s in English in 1937 from Columbia University.
Historical significance and narrative power are a big reason why Hidden Figures continues to garner heavy buzz. Last week, First Lady Michelle Obama held a private screening of the film, followed by a panel that included the film’s creators, cast members and Shetterly. As a scholar studying groups, movements and eras, and as a co-director of two films herself (Sugarcoated Arsenic and We Demand), Claudrena Harold thinks one of Hidden Figures’ biggest draws is that it tells the story of a collective. The book and film put the spotlight on colleagues, their cooperation with each other and support of each other, which is a story that strays from the typical way history is told—through singular actors in “great man”-type narratives.
“I tend not to like what I call ‘first Negro’ narratives–the first black person to do this or that—because when I think about something like education, I think generations, not individuals, transform history,” says Harold. “To be sure, there are seminal figures in our history, but I think black intellectual history can be told through Ida B. Wells or W.E.B. Du Bois, but also through a Virginia Union University or a Howard University. So in addition to their distinctiveness, it’s also important that they are doing this together.”
Shetterly feels that the story of Hidden Figures is encouraging for people of all races and ethnic backgrounds, genders and ages, because it taps into a sense of optimism and shared humanity.
“At a time we are looking at issues of inclusion, I think we’re asking ourselves: who are we as American? Who gets to call themselves American?” Shetterly says. “There’s all these questions that we were asking in the ’40s, ’50s and 60s that are still relevant today.”