Historical Marker Honoring Fort Pillow Massacre Vandalized

 

Vandals toppled this historical marker at Memphis
National Cemetery, which honors the U.S. Colored
Troops massacred at the Battle of Fort Pillow on
April 12, 1864. (Courtesy photo)

MEMPHIS, TN – A historical marker commemorating the “massacre” of hundreds of U.S. Colored Troops who fought in the American Civil War at the Battle of Fort Pillow in Henning, Tenn., was vandalized on Aug. 7, 2024, at Memphis National Cemetery, 3568 Townes Ave.

Dr. Callie Herd was livid when she was notified by the director of the cemetery that vandals had decapitated the marker. But then she couldn’t believe that someone would be so brazen that they would seek to destroy history.

The historical marker was erected to call attention to the colored troops who were “killed or mortally wounded” on April 12, 1864. Many of them, Herd said, were buried in more than 100 unnamed graves at the cemetery.

“I don’t know if it was unintentional or if somebody was actually trying to break it,” said Herd, an educator, senior programmer for FedEx, and vice-president of the W.E. A.L.L. B.E. Group Inc.

The historical marker was first unveiled in 2018 during a ceremony sponsored by the W.E. A.L.L. B.E. Group Inc., an umbrella organization advocating for responsible social entrepreneurism and activism via the arts, media, and education.

With support from the Memphis chapter of the Association for the Study of African American Life and History (ASALH), Joe Williams, whose great-great grandfather, Peter Williams, survived the massacre, the unveiling was one of the signature events for Juneteenth that year.

Herd and her son, Ronald C. Herd II, first began honoring the victims of the Fort Pillow massacre in 2016. He is the president of the W.E. A.L.L. B.E. Group Inc. The colored troops were lost to history until the Herds decided to tell their story.

But all is not lost. Herd solicited help to pay for a replacement marker. Shelby County Commissioner Henri E. Brooks, who represents District 7, and Commissioner Mickell M. Lowery, representing District 8, answered her call. 

“So those two raised the funds for us to redo the marker,” Herd said. “She (Brooks) didn’t think that it should be repaired, but redone.”

Herd said the people whom she had contacted were devastated at the thought of the marker getting destroyed. It was Brooks, she noted, who encouraged her to file a police report with the Memphis Police Department.

Since the damaged marker bears the seal of the Bureau of Colored Troops (1863-1867), U.S. Army Artillery, Herd filed another application, this time with the Shelby County Historical Commission at Brooks’ behest.

“By it being destroyed, it helped us to get the seal that we wanted from the start,” Herd said. “That way it’s validated as a historical landmark rather than just us doing it by ourselves.”

The language on the marker reads in part: “Eyewitnesses reported that black soldiers were killed despite putting down their weapons and surrendering in what the North deemed a massacre.”

The word “massacre” elicited a debate in some circles. Should it be used to describe many of the “179,000 African-American soldiers who fought to free the country from the scourge of slavery?” 

“It was a massacre,” Brooks contends. “If it (language) is not accurate, it’s not history.”

Herd said the replacement marker has been approved and the paperwork has been started. Someone told her, she said, that the marker will take about six or seven months to complete.

“We want to reinstall the marker on Juneteenth of 2025,” she said. 

Brooks said without reservation that if the replacement marker is damaged again or destroyed, she’d replace it again and again.

“Remember Fort Pillow” is inscribed on the historical marker in a bold font. Herd hopes the cemetery will continue to honor the U.S. Color Troops long after she’s gone.

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Local Chapter of ASALH Celebrates 145th Birthday of ‘Father of Black History’

Dr. Carter G. Woodson

Dr. Carter Godwin Woodson, eminent scholar, historian, author, journalist, and founder of the nonprofit Association for the Study of African American Life and History, has long been regarded as the “Father of Black History.”

Woodson died April 3, 1950; however, the Memphis Area Branch of ASALH paid tribute to Woodson on Dec. 17 via Zoom, two days before his 145th birthday on Dec. 19, 2020.

Meanwhile, the national ASALH and many of its chapters across the country enacted their own plans to honor Woodson on the actual date of his birth. They, too, intended to keep the memory and legacy of ASALH’s founder alive.

The local birthday tribute to Woodson provided the impetus for a panel discussion by ASALH’s membership of civic leaders, historians, educators, community activists and others who were invited to join.

James Weldon Johnson’s “Lift Every Voice and Sing,” often referred to as the Black national anthem, provided context for the tribute and served essentially as ASALH’s official song and the starting point of the tribute.

A virtual tree lighting then commenced, which was replete with ornaments that were handmade and dangled from the tree with Woodson’s book covers, photographs, writings, and the shield of Woodson’s fraternity, Omega Psi Phi.

“We added as many of his works that we could find,” said Delores Briggs, the chapter’s secretary. “Once these ornaments are removed, we can study them further. And each year we will add another aspect of his life.”

Clarence Christian, ASALH’s vice president of programs, learned about Woodson earlier in his life and shared with members his “respect and reverence” for Woodson’s scholastic achievement. 

He wants to keep Woodson’s legacy in the forefront of African Americans with ASALH’s mission in mind: “to promote, research, preserve, interpret and disseminate information about Black life, history and culture to the global community.”

“It’s an honor for me to talk about a people who I respect, admire and revere,” he said.

Woodson led a distinguish career in academia. He was one of the first scholars to study the history of the African diaspora, in addition to his study of African-American history. 

He founded “The Journal of Negro History” in 1916 and launched ahead with “Negro History Week” in February of 1926. The weeklong observation was the precursor of Black History Month.

Woodson was the son of former slaves Anne Eliza (Riddle) and James Henry Woodson. He was 20 when he graduated from high school in 1897 and went from there to achieve immeasurable success. 

His contributions are duly noted, which Christian attested to during the tribute, and have long been sealed in the annals of American and African-American history. 

Though ASALH’s local chapter is comprised of some of Memphis’ best-known minds, Yvonne B. Acey, the chapter president, pitched the idea of adding more youth to the organization. 

“We are a great people and have a great history. Young people are our greatest investment,” said Acey, who along with her husband, Dr. David L. Acey Sr., founded African In April Cultural Awareness Festival, Inc. 

She added: “Black lives matter and so does Dr. Carter G. Woodson.”

Interpreting the Fort Pillow Massacre with art

Aisha Raison marvels over a Confederate battle scene created by artist Ronald C.
Herd II in mixed media. (Photo by Wiley Henry)

“If you don’t tell their story, the ancestors get no glory,” said Ronald C. Herd II, expounding on the Fort Pillow massacre of 1864, the year Fort Pillow, a Union garrison in Henning, Tennessee, fell to Confederate troops.

Fort Pillow wasn’t the only casualty during the Civil War. That year on April 12, nearly 300 Union prisoners were shot to death. Most of them were black soldiers, said Herd, an artist, musician and activist speaking to a small group at Art Village Gallery in Downtown Memphis. 

“Nathan (Bedford Forrest) gave the order even though he wasn’t there,” said Herd, holding the Confederate general, slave trader and reportedly the Grand Wizard of the Ku Klux Klan culpable.

The art gallery was the destination for some observers and a pit stop for others who sauntered in on March 31 to view a collection of paintings, drawings and other media based on the artists’ interpretation of the massacre.

The exhibit will run until April 14. The contributing artists are Darlene Newman, Frank D. Robinson, Carl E. Moore, Roy Hawkins Jr., Marion Joyner-Wilson, Iris Love Scott, Sr. Walt, and Ronald Herd, the exhibit organizer.

 “Using Our Art to Tell Our Stories: Remembering Fort Pillow” is the title of the art exhibit, which kicked off the Fort Pillow Massacre Commemorative Project honoring the black soldiers and civilians who died on that fateful day. 

The project commenced last year on April 12 when the Memphis Area Branch of the Association for the Study of African-American Life and History (ASALH) held a wreath laying ceremony to honor the fallen soldiers.

A memorial service will be held on April 11 this year at Christian Fellowship Missionary Baptist Church, the church that the late Dr. W. Herbert Brewster, a composer, poet, lyrist and dramatist, pastored when it was named East Trigg Baptist Church.

On April 12, at 10 a.m., a national wreath laying ceremony will be held at the Memphis National Cemetery at 3568 Townes Ave., where the soldiers were buried in 1867. ASALH again is organizing this ceremony along with W.E. A.l.l. B.E. Group, Inc.

The acronym stands for World, Enriching, Activating, Liberating, Love, Beautification, and Experience.

Ronald Herd is the founder of W.E. A.l.l. B.E. Group, Inc., an umbrella organization advocating responsible social entrepreneurism and activism via the arts, media and education.   

He and his mother, Callie Herd, who spawn the idea to educate people about the massacre through the arts, thought it would be a fitting tribute to the soldiers. The historic significance of the project is “God-ordained,” she said.

“We wanted to create a story through the eyes of the artists to allow the audience to see the importance of knowing one’s history so that we will learn from the negatives,” said Callie Herd, an activist and author of a college preparation blog.

 “These are black artists paying homage to their ancestors,” said Ronald Herd, a social justice artist, blogger, and jazz aficionado known by the moniker “R2C2H2 Tha Artivist.”

Aisha Raison was smitten by the artwork and the controversial imagery emanating from the surface of the paintings and drawings.

“There is so much history behind this exhibit,” said Raison, including the sordid history surrounding the Fort Pillow massacre.

Her grandmother, she said, lived in Fulton, Tenn., one of the oldest settlements in Lauderdale County, and talked about finding skulls along the banks of the Mississippi River.

Fort Pillow, also in Lauderdale County, is nearby.

“They were kids playing by the riverbanks,” said Raison, an author, poet and essayist who works at WABN Radio, a gospel station in Southaven, Miss.

Stanley Campbell noted the importance of the exhibit and its attraction. “I feel the energy from up high,” said Campbell, the proprietor of the House of Mtenzi (Swahili for artist), a museum and venue for the performing arts.

“I’m delighted to be a part of the past history, the presence, and what’s to come,” he said.

The Invaders hope to set the record straight in new documentary

The Invaders: Dolores Jordan Briggs (left), Jabril Jabez, Minister Shukhara Yahweh,
Charles B. Smith, Dr. David Acey, Dr. Coby Smith and Juanita Thornton. (Photo by Wiley Henry) 

For nearly 50 years, several members of a 60s-era radical group from South Memphis have tried to debunk the tall tell that they’d instigated the riot that broke out during the first march that Dr. Martin Luther King Jr. led in March of 1968 in support of the striking sanitation workers.

“I’m happy that Memphis to some extent has decided to embraced us,” said John B. Smith, a founding member of The Invaders, a militant group of college students, Vietnam-era veterans, musicians and intellectuals espousing Black Power.

Smith, who lives in Atlanta, was in Memphis on Sept. 7 for the private viewing of a feature-length documentary about The Invaders as told by some of the members along with never-before-seen film footage and photographs from various archives.

“The general opinion is that we started the riot. Now we’re able to show people the documentary and what actually happened,” said Smith, who reconnected with some of the Invaders at Collins Chapel CME Church, site of the private viewing.

The viewing of the documentary coincided with the church’s 175^th anniversary and the 101^st birthday of the Association for the Study of African American Life and History (ASALH), a nationwide organization founded by Carter G. Woodson, the “father” of Black History Month.

“We are about African-American history,” said Clarence Christian, president of the Memphis Area Branch of ASALH, which studies, researches and disseminates local history in the community. Chapters nationwide also research, preserve and interpret Black life, history and culture.

The local chapter hosted the documentary, which began as a classroom project, said Christian, who told the story of J.B. Horrell, a guitarist and former student who wanted to write about something that no one had ever written about before.

“So I suggested the Invaders,” said Christian. “Then I introduced him to Minister Shukhara Yahweh (a.k.a. Lance “Sweet Willie Wine” Watson), a former Invader.” Horrell made the connection, and from that first contact with Yahweh, he would go on to co-write and produce “The Invaders” documentary.

“I was fascinated with the Invaders,” said Horrell, who was present to tell the diverse audience of activists, educators and civic leaders that he’d learned a lot about social and political upheaval in the ‘60s in large part due to the Invaders project.

“This is public vindication,” said Smith, who speaks quite a few times in the 76-minute film. “Not only is it vindication, it’s an opportunity to present Dr. King from another standpoint. He was not the meek, timid individual the media has presented him to be over the years.”

  Smith shared the spotlight in the film with fellow Invaders Charles Cabbage, Calvin Taylor, Juanita Thornton, Dr. Coby Smith, Willie Henry and others. They paint a riveting picture of the civil rights movement while juxtaposing it against the non-violent principles espoused by Dr. King.

The sanitation workers’ strike drew Dr. King to Memphis. But the Invaders were already on the ground trying to strengthen the strikers’ position by attempting to stop garbage trucks from rolling into the neighborhoods. When the riot broke out, the Invaders were blamed.

Dr. King vowed to return to Memphis to finish the march peacefully. The resolution the Invaders sought for the plight of the sanitation workers differed from Dr. King’s, who mutually agreed to work with the militant group after meeting with them on April 4, 1968.

The Invaders were looking for funding for their “community unification program.” Dr. King agreed to help, said Smith, if they would serve as marshals for the Poor People’s Campaign in Memphis. They agreed.

“We met two times on April 4,” said Smith, noting that Dr. King was evolving in his tactics. “He wanted to hook up all the power groups around the country. This is what we talked about in that meeting, which would demonstrate that Black people were together all over the country.”

The last meeting ended at 5:30 p.m. At 6:05 p.m., an assassin’s bullet fell Dr. King.

Authors – and their works – speak to ASALH mission

Toussaint Louverture, Nathaniel Turner, Sengbe Pieh, Sojourner Truth, Frederick Douglass, and Harriet Tubman are familiar iconic symbols of heroism whose struggle in the United States, Africa and the Caribbean helped to change the status quo of their day: racism and slavery.

     Celeste-Marie Bernier, the Dorothy K. Hohenberg Chair of Excellence in Art History at the University of Memphis, traces the lives and histories of these six men and women in her book, “Characters of Blood: Black Heroism in the Transatlantic Imagination.”

Dr. Earnest Jenkins (seated left), associate professor of art history
at the University of Memphis, and Celeste-Marie Bernier, the Dorothy
K. Hohenberg Chair of Excellence in Art History at the university.

Currently on leave as professor of African American Studies at the University of Nottingham, UK, Bernier was among dozens of authors showcasing their literary works at the 99th Annual Association for the Study of African American Life and History Convention (ASALH).

     The four-day convention at the Peabody Hotel, Sept. 24-28, drew a smorgasbord of authors locally and nationally, including Circuit Court Judge D’Army Bailey, who autographed copies of his books, “The Education of a Black Radical: A Southern Civil Rights Activist’s Journey, 1959-1964” and “Mine Eyes Have Seen: Dr. Martin Luther King Jr.’s Final Journey.”

     Although the theme of ASALH was “Civil Rights in America,” the number of authors and their scholarly works were particularly broad-based, noteworthy, and coincided with the bevy of academics, government officials, community leaders and activists in attendance.

     The struggle for civil rights and the residual effects of slavery were duly noted in many of the authors’ works and also among the vendors who stocked their booths with artifacts, art, African clothing, and educational material that was reflective of ASALH’s mission.

     The mission is “to promote, research, preserve, interpret and disseminate information about Black life, history and culture to the global community.”

People aren’t telling the story…

Bernier’s work is representative of ASALH’s mission. She researches and writes extensively about racism, inequalities and slavery from the vantage point of a white Briton. There is very little difference between racism, inequalities and slavery in the United States, she said, and racism, inequalities and slavery in Great Britain.


“The big issue in Britain is empire and maniacal, aristocratic inequalities,” Bernier explained. “Growing up there as a kid I learned about slavery through people trading…and slavery was a word that was never used. So we have forces of amnesia that are still very powerful.

     “Currently, governmental practices are to remove references to black British history in favor of mythologizing a white Briton,” she said, “because, it suits current ideas around immigration and conservative policies and racists practices.

     “One of the most powerful experiences has been understanding black British histories and how fascinated black British performers and musicians are with African American histories. So many of them will ask me questions about what I know about African American life and culture.”

     Bernier’s assorted transatlantic experiences and scholarship drew her to Memphis and, of course, the ASALH convention.

     “One of the most powerful things about being in Memphis is teaching courses and research that I do about slavery… (The) city very much has a long history, and a powerful history, not only in terms of social, political, legal issues about slavery, but also music, art, photography.

     “I grew up in a French, Canadian, Irish community. When my mom was dying, she wanted to read Harry Jacob. She didn’t want to read the great white British classics,” Bernier said. “So that notion of understanding poverty and class and nationhood, I was very careful to let people know how I came to this story, why I’m interested, and what it is that I’m trying to do.” 


People aren’t telling the story, she said.

‘Repositories of ongoing history…’

During a mid-day luncheon at the convention, Bailey – lawyer, judge, civil rights activist, actor and author – relayed his experiences growing up in Memphis, participating in the sit-in movement in Louisiana, becoming a black radical and birthing the National Civil Rights Museum

     While “The Education of a Black Radical” encapsulates Bailey’s collective experiences in the civil rights movement in the ‘60s, the book “Mine Eyes Have Seen” is mostly pictorial. Both books, however, trace the author’s journey during that turbulent era.

     An avid reader, Bailey also has a penchant for writing. The world he grew up in and the struggle to overcome the vestiges of Jim Crow laws and the racist practices of its perpetrators is now fodder for his books and lectures.  

     Bailey is telling his own story, which made him the man he is today. And he is not willing to yield that narrative to someone else. The ASALH convention was important to him for that reason, he said, and also because it served as a disseminator of “information about black life, history and culture.”

     “These things are about connections and getting to know people and people getting to know you,” said Bailey. “It’s a chance to talk to people who’re interested in works of history and stories about struggles.”

     The written word is important and books can be “repositories of ongoing history,” Bailey said. For this reason, the authors book signing and the various panel discussions was the underpinning for the ASALH convention.

     “There’s a different breed of people who buy books…hold them…and read the pages,” Bailey said. “It’s more than what the information is in it. It’s an experience when you make the commitment to read a book. The important thing is understanding how the written word can be used to communicate.”