#abolotionist

Naqi Cruz

October 6th 2017

 A Guardian at the Gates of Harlem

Black America is in the process of reevaluation, conducting a critical analysis of its existence. It is not an unprecedented phenomenon for us to experience this state of mass reflection. We have replicated it throughout the generations. It is a necessary evolutionary experience that leads to organized action such as Abolitionism, the 1964 Civil Rights Act and even today’s #BlackLivesMatter movement. Furthermore, there’s a correlation between our mass reevaluation and the occurrence of once seemingly unfathomable revelations about the American ethos, the condition of humanity and Black identity. From these revelations come targeted organized action, a natural progression. So it should be no surprise we are casting a critical gaze upon the symbols of white supremacy so blatantly apparent in our society, such as certain flags and monuments. This is a noble and absolutely necessary endeavor. Nonetheless, it is also important to appreciate artworks that pay tribute to the progress of Black America. This past September, I chose to evaluate the form and content of the Frederick Douglass Memorial in what I once considered the Southern border of West Harlem in New York City.  This memorial symbolizes Black perseverance overcoming detrimental circumstances.  

I discovered this memorial in the summer of 2010, the year it was constructed. The six year anniversary of the site’s official dedication was on September 20th, 2017. I cannot thank sculptor Gabriel Koren and designer Algernon Miller enough for this priceless work of art. The entire memorial sits atop a traffic circle surrounded by residential buildings, specifically located on Central Park North and Frederick Douglass Blvd. (West 110th street and 8th Avenue). The bronze sculpture of Frederick Douglass is considered to be of “heroic scale” according to its official description. However, it is of relatively modest size compared to its Central Park South-Columbus Circle counterpart. That is, the memorial site and statue itself is much less grand than the Christopher Columbus monolith that dominates Columbus Circle, just a few miles south of the Douglass memorial. The seventy-six foot Columbus construct dwarfs the eight foot Douglass statue. Although they are two separate works, their scale ratio is symbolic. The Columbus statue towers over the affluent traffic circle, surrounded by high end retailers, corporate giants like Time Warner and even President Donald Trump’s International Hotel. It is fitting the Columbus monolith is located among a concertation of phalli named after the pirate himself.  Relative to other statues of notable leaders, one could argue the Columbus monolith projects a scaled hierarchal concept. This glaring inconsistency becomes more obvious when one contemplates the individuals' merits and experiences in the context of their era and circumstance.  Christopher Columbus is infamous for spending the better years of his life orchestrating the oppression of others and pillaging their native lands. Mr. Douglass on the other hand experienced unfathomable hardships throughout his life-long battle to rid himself and others of oppression, an oppression birthed in the superiority complexities like “Manifest Destiny.” As the case with the majority of Black Americans in the early 1800s, Mr. Douglass was born into slavery and raised not to know his heritage. Illiteracy, malnutrition and bodily harm are but a few of the affects caused by enslavement he endured. He ultimately seized his freedom and became magnificently successful in spite of unparalleled physical and psychological oppression. Undeniably the Frederick Douglass memorial symbolizes much more than the amount of construction materials used or land allotted for the project. It is a portrayal of his intellect, perseverance and honor. Three ideals Douglass upheld while withstanding several adversarial ideologies. He was subjected to systematic psychological oppression and overcame it. Such comprehensive oppressive ideology produces violent manifestations like slavery and the Jim Crow laws. This memorial signifies our powerful heritage and the protracted war of Black Americans to protect our heritage.

      The three-dimensional bronze Douglass sculpture is in a naturalistic style despite being increased in scale to eight feet. The surface is smooth to the touch. It is flanked by geometrical cubic and triangular blocks made of granite and a bronze fountain wall complete with flowing water (all of which are three-dimensional constructions). Mr. Douglass’ facial expression can be described as hardened. His gaze is aimed northward up Fredrick Douglass Blvd, overlooking Harlem, like a lighthouse overlooking its harbor. The free-standing Douglass sculpture is leaning slightly more on his left leg with his left arm relaxed. His right hand is resting firmly on a lectern, he was a renaissance man and a noteworthy orator.

           The memorial consists of two-dimensional aspects as well. A constellation of stars depicting the Big Dipper and the North Star are engraved along the fountain wall. These inscriptions represent the stars that were utilized as navigational tools to reach the Underground Railroad, the elaborate network of secret routes and safe houses organized by revolutionaries, abolitionists, and humanitarians so slaves could escape bondage and seize their freedom. The written words are another aspect of two-dimensionality and are engraved on the memorial. These words are actual quotes from Fredrick Douglass himself! Many of them express powerful ideals with letters all capitalized such as, “RIGHT IS OF NO SEX – TRUTH IS OF NO COLOR…” part of the motto for a weekly paper he published called The North Star.

My favorite fucking thought on this is that she obviously would have NEVER thought that she would be recognized in this way a little over 100 years after her death.