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MY'STORY

The MOVE Fire

This is a personal recollection on the Move fire on May 13, 1985 Philadelphia police fired thousands of rounds at the MOVE house, city officials approved dropping an explosive device on the roof, the resulting fire was allowed to burn, 11 people—including five children—died, and 61 homes were destroyed. Philadelphia City Council later called it a “brutal attack carried out by the City of Philadelphia on its own citizens” and acknowledged that no individual faced criminal consequences for the bombing. One timeline correction worth preserving for the BHP record: the major previous MOVE-police confrontation was August 8, 1978, about seven years before the bombing, not a year or two earlier. Officer James Ramp was killed, other police and firefighters were wounded, nine MOVE members were later convicted, and television cameras recorded police beating Delbert Africa during his arrest. The 1985 MOVE Commission later specifically criticized city planners for failing to adequately use lessons from that 1978 confrontation. And that actually strengthens the point you’re making: 1985 did not happen without precedent or institutional memory. There had already been a deadly confrontation with MOVE, years of conflict, negotiations and police involvement before Osage Avenue.

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BLACK FACTS
The Truths They Never Taught You...

Shirley Chisholm — Unbought and Unbossed

In 1968 Shirley Chisholm became the first Black woman elected to the United States Congress. In 1972 she launched a campaign for the Democratic presidential nomination, breaking another political barrier.

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BHP gathered finds from its connected research sources. Showing the 4 strongest Black History matches.
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NMAAHC

Encuentro de 3 Mundos

Date
ca. 2006-2008
Caption
In 2006, a group of women in Mampuján, Colombia formed a textile collective in the aftermath of a devastating paramilitary attack. The collective draws upon Afro-Caribbean storytelling and local textile art traditions, to create tapestries that document their history and the atrocities their community has suffered, past and present. The community Mampuján, one of 20 historical Palenques or maroon settlements formed by escapees in Colombia, has faced violence throughout its existence, from colonial extermination campaigns in the 16th and 17th centuries to the paramilitary attack. Sewing tapestries is one method women from this community have used to address and heal from trauma.
This tapestry, Encuentro de 3 Mundos (Meeting of 3 Worlds), presents the collision of Europe, Africa, and the Americas in the historic violence of the Transatlantic Slave Trade, illustrating the disembarkation of captives in what is now known as Colombia. From the artist's statement:
This tapestry] depicts a large ship... where Africans and European slavers go down a ladder, and put their feet in the Americas, land of Indigenous...
They found three worlds: Europe, Africa, and America. From Europe came Christopher Columbus and his son, enslavers of Indigenous people in the Americas and Africa. From Africa came the enslaved Blacks. People from the Americas received human beings from the continents of Europe and Africa and experienced exploitation...
We hope that this work reaches these continents... the only reparation for the victims is that the truth is told and recognized so that it never happens again. — Juana Alicia Ruiz Hernández, Mampuján weaver
The Mampuján tapestries have been displayed in museums in Colombia, including a piece on permanent display at the National Museum of Bogota and in the Mampuján museum newly opened in 2023. In 2015, the weaving collective won the Premio Nacional de la Paz award, an important peace prize in Colombia for their community organization and projects around the sewing collective.
Description
One (1) cotton quilt tapestry, Encuentro de 3 Mundos (Meeting of Three Worlds), crafted by Mujeres Tejedoras de Mampuján (The Weavers of Mampuján), circa 2006 to 2008.
The tapestry is vertically oriented, has a white cotton border, and depicts two major scenes, from top to bottom. The tapestry is constructed of colorful strips of cloth that include solid colors, food and nature depictions, abstract and geometric patterns, all specifically shaped and sewn together in a storytelling display. At the top, is a purple and black cloth cloudy sky and a bright orange sun at the horizon. Below the sun is the title [ENCUENTRO DE 3 / MUNDOS] with each word in a different colored cloth: white, light green, a dark pattern, and orange.
The first scene illustrates the arrival of the violent Transatlantic Slave Trade in what is now known as Colombia. Depicted against a blue-sky background, two enslaved Africans and their white captors disembark a multi-colored slave ship afloat on a purple-patterned sea. The ship base is made of strips of geometric and patterned cloth with blue, brown, red, green, white, pink, gold, purple, and orange. The ship has three large sails each made from a different cloth: a green, white, and black marble pattern; a pattern of white loops against orange; and a solid red. White string is sewn between the sails to represent the rigging. On the top left of the ship, below the left sail, a white man with yellow hair, wearing a red tunic, brown trousers, and black boots, appears to leap. He holds a brown whip in his proper right hand. Several faceless black enslaved figures stand at the center of the ship.
The second scene is set against a green background with three large trees across the center and a blue riverbank at the bottom of the tapestry. Each tree is composed of different fabrics for the canopies, from left to right: green foliage with white berries, red fruit, and yellow flowers. In the mid-ground, a white man with brown hair and a whip, directs a Black enslaved woman, her hands shackled behind her back. Just below, are several scenes of indigenous figures, all with long, dark hair, going about their daily life along a riverbank: gathering food, hunting, raising children. The river is depicted with plain blue cloth and the riverbank has flowers embroidered in pink, blue, and yellow. Three chickens strut along the very bottom edge of the tapestry. At the bottom right corner is an intricately embroidered floral design in white. The reverse of the tapestry is white cotton.
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National Museum of African American History and Culture Collection
Classification
Textiles and Quilts
Credit Line
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Juana Alicia Ruiz Hernandez, Mujeres Tejedoras de mampujan
Data Source
National Museum of African American History and Culture
Object number
2024.2.1
Type
tapestries
Restrictions & Rights
© Women Weavers of Mampujan
Permission required for use. Proper usage is the responsibility of the user.
Medium
cotton and linen with batting and thread
Dimensions
H x W x D: 69 1/2 × 28 1/2 × 1/8 in. (176.5 × 72.4 × 0.3 cm)
Title
Title • Encuentro de 3 Mundos
Record ID
nmaahc_2024.2.1
Museum
NMAAHC
Title Sort
ENCUENTRO DE 3 MUNDOS
Source
National Museum of African American History and Culture
Metadata Usage
CC0
Date
2010s • 2000s
Geo Location
City • Mampuján • County • Montes de María • State • Bolívar • Country • Colombia • Region • Latin America • Continent • South America
Online Media Type
Images
Online Media Rights
Limited Use

Source: National Museum of African American History and Culture, Smithsonian Institution. Rights and restrictions shown above are supplied by the Smithsonian record.

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NMAAHC

Violencia y Esperanza en Colombia

Date: Date

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NMAAHC

Libertad

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NMAAHC

Encuentro de 3 Mundos

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NMAAHC

Hacienda Esclavista

Date: Date

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TOPIC OF THE DAY

Greenwood / Black Wall Street

Before the 1921 destruction of Tulsa’s Greenwood District, Black residents had created a remarkable center of business and community life. The district included stores, professional offices, entertainment venues and homes owned by Black citizens. Understanding Greenwood means learning what was built—not only what was burned.

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TRIVIA QUESTION OF THE DAY

Who was the first African-American woman millionaire in the United States?

Madam C.J. Walker