Inauguration Day: The Peaceful Transfer of Power (Kiara Williams)
This inauguration day involved a figurative transfer of power inasmuch as President Trump was not on hand to officially “hand over” the reigns of power. Nonetheless, Joe Biden assumed the Presidency at noon on January 20th, giving an inaugural speech calling on the nation to unify. Biden emphasized the difficulties in our history, particularly regarding equity, but equally emphasized the barriers that have been broken.
As he touched on these topics, President Biden also referred to Vice President, Kamala Harris, highlighting the advances made by women, and to Martin Luther King to highlight progress made in racial equality.
In doing so he indicated how things can change, how the nation has progressed, and how the Vice President of the United States- the first black, South Asian, and female VP in American history- is a living testament to that progression. This momentous event, regardless which side of the aisle one claims, is a statement to women and people of color everywhere that there is power in our voices and we are capable of exceeding our ancestors’ wildest dreams.
In the President’s speech he addresses the societal issues that recently arose: such as the pandemic and its effects on the American people as well…
…as the economy; the attack on the Capitol 14 days prior, and the racial tensions that have plagued this country from its inception. As he addressed these problems, he promised to work to resolve these concerns and advance the nation in his tenure. Biden’s speech continuously emphasized unity and progression of the nation, and with his Vice President, he intends to repair the country for all Americans.
Unfortunately, we weren’t able to be there in person, but we made the most of it by watching it in a collective group.
It just wasn’t quite the same as the last time we were there!
Melrose Plantation—Ilexus Williams
After nine days on the road, the LEAP students have come to our final destination: The Melrose Plantation. The Melrose Plantation is located in Natchitoches Parish in north central Louisiana, which is the largest parish in Louisiana. The Melrose Plantation history began in 1742 when Marie Thérèse Coincoin was born a slave into the plantation of Louis Juchereau De St. Denis, who is the founder of the city of Natchitoches. When Marie was approximately 26 years old, St. Denise leased Marie to a French merchant by the name of Claude Thomas Pierre Metoyer. Marie and Pierre Metoyer formed a relationship, which resulted in 10 children. Marie never returned to St. Denise. Instead, Pierre Metoyer purchased Marie and their children and granted them their freedom.
After gaining her freedom, Marie began harvesting tobacco, bear grease, and raising cattle. With the help of land grants and the purchasing of slaves, Marie and her sons became known as the most prominent free people of color plantation and slave owners. In 1796, Marie’s son, Louis Metoyer was granted 911 acres of land, with this Melrose Plantation was born.
However, the Metoyer family had financial debts that resulted in losing the prized Melrose Plantation in 1847.
The most notable time period of Melrose Plantation was under the ownership of John Hampton Henry and Cammie Garret Henry. More specifically, Cammie Garret Henry took the Melrose Plantation to new heights by making renovations to buildings on their property and allowing artist and writers to live on her property for free as long as they did their work.
The first structure that we visited on the plantation was the Yucca House, which is a large white home with teal-colored doors and walls made from bousillage, which is a mixture of mud, Spanish moss, and horsehair.
The Yucca House was used as residency for artists and writers while they worked on their books and paintings. The first most significant resident in the Yucca Home was Lyle Saxton, who wrote the book Children of Strangers, which is a novel centered on the lives of the Cain River People of color, Creoles. Additionally, Francis Mignon was a Frenchman, who is well known for his book Plantation Memo: Plantation Life in Louisiana. More importantly, he is the best friend of Clementine Hunter. Clementine Hunter was a self-taught folk artist, whose art depicted life on the plantation.
She created her first piece in 1939 on a lamp shade. Her long-time friend, Francis Mignon, encouraged her to continue painting, which she did until her death in 1988. Because of her persistence in her craft, Clementine Hunter became one of the most two-or-three noteworthy folk artists of the 20th century.
Clementine Hunter’s work is displayed in the most remarkable structure on the plantation, the African House.
This hut-like building is the only one of its kind in the United States. The building is made of African bricks and cypress beams, and its main use was to store tobacco and other lucrative crops. Now the building is home to beautiful murals by Clementine Hunter. The murals cover the walls of the African Houses second story. Although we were not permitted to take photos, we did find some online.
These murals show images of cotton picking, which was an activity that Hunter loved. Also, we recognized that religion was a consistent theme in Clementine Hunter’s work. Through her art, Hunter portrayed church revivals; with people catching the holy spirit, plantation baptisms, and funerals, which showed the importance of religion to the African American community.
Interestingly, Clementine Hunter’s art mostly used women as the subjects in her art because she was not very fond of men. Women were often depicted as hardworking in the field, while the men were depicted enjoying idle tasks such as fishing or drinking.
Next, we viewed the Big House where we saw the living quarters of Cammie Henry and her family. The building also included a library with writings from many of the authors who complete residencies at the Melrose Plantation. Also, the Big House dedicated a room to Clementine Hunter’s art and her Honorary PhD from Northwestern State University.
Lastly, to conclude our tour, we visited Clementine Hunter’s home, where she produced most of her work from 1954-1977. On the front porch, was a sign that read “50 Cents to Look,” which Hunter used to entice people to view and purchase her art.
Hunter never became wealthy from her work, and she never quiet understood the impact of her art. However, she is considered “the most celebrated of all Southern contemporary painters.”
Clementine Hunter’s continuous dedication to her craft is inspiring and is an attribute that LEAP students can use a model and inspiration in their future occupations.
Center for Law, Engagement, and Politics 