Growing up in the vibrant Puerto Rico of the late 19th century, Arturo Alfonso Schomburg was met with a disheartening assertion from his teacher: Black people had no noteworthy history or achievements. This bold claim ignited a lifelong passion in Schomburg to challenge and redefine the narrative surrounding the African diaspora. By amassing a remarkable collection of art, literature, and artifacts, he dedicated his life to assembling evidence that illustrated a rich and varied history.
At the tender age of 17, Schomburg moved to New York, where he utilized his extensive collection to craft articles that highlighted Black history. His contributions found a home in notable periodicals such as Negro World. Gradually, he emerged as a leading historian and intellectual figure of the Harlem Renaissance, a movement defined by a flourishing of Black culture and artistic expression in the 1920s.
As noted by Barrye Brown, curator of manuscripts, archives, and rare books at the Schomburg Center for Research in Black Culture, Schomburg’s pursuit was holistic. “He always sought to collect the global Black experience,” Brown remarked. His vision encompassed the vast scope of the African diaspora, showcasing multilingual and diverse experiences that transcended geographic boundaries.
Presently, the Schomburg Center houses over 11 million items, standing as a testament to the injustices faced by Black Americans while simultaneously celebrating their culture and heritage. As the nation prepares to commemorate its 250th anniversary, the Schomburg Center proudly marks its centennial, a milestone reflecting its longstanding commitment to preserving Black history. In 1926, the New York Public Library acquired Schomburg’s personal collection of 4,600 pamphlets, artworks, and books, setting the stage for a center dedicated to research and preservation.
The Schomburg Center, situated in Harlem—a community that became predominantly Black in the 1920s—continues to thrive. Today, a significant portion of its curatorial staff are women of color, perpetuating the legacy of recognizing and preserving Black narratives in a country that has often marginalized them. “Schomburg was ahead of his time in terms of his collecting,” Brown stated, expressing pride in continuing this vital tradition.
The collection includes remarkable pieces, such as artwork from Harlem Renaissance sculptor Augusta Savage and Maya Angelou’s original typewriter. Recently, assistant curator Kassidi Jones handled an early manuscript of Angelou’s acclaimed autobiography, “I Know Why the Caged Bird Sings,” noting the meticulous care with which Angelou approached her writing. This dedication is reflected in the Schomburg’s impressive archive, featuring more than 840 boxes filled with Angelou’s manuscripts and personal items, making it the largest processed collection in their holdings.
Among the historical treasures, an early edition of Harriet Jacobs’s “Incidents in the Life of a Slave Girl” stands out. This autobiography sheds light on the unique suffering of Black women during the era of enslavement, addressing themes often overlooked in contemporary narratives. Brown highlighted Jacobs’s powerful recounting of her experiences with sexual harassment and motherhood, emphasizing the importance of her voice in understanding this painful history.
As part of its contributions, the Schomburg Center has items featured in the “Declaring America” exhibit at the New York Public Library, which aims to portray a comprehensive picture of the United States’ 250-year history. The projects underscore the intertwined narratives of Black history and American history, asserting that one cannot fully appreciate the American experience without recognizing the struggles and achievements of people of African descent.
With an eye toward preserving its founding values, the Schomburg Center recently hosted two exhibits commemorating its centennial. “100: A Century of Collections, Community, and Creativity” celebrated its legacy and included a visitor sign-in book that recorded notable figures, including the poet Langston Hughes, who patronized the library upon its opening. The ongoing exhibit “To Uncover and Reveal to the World” features items from Schomburg’s original library and will remain open until December 5, 2026.
Within the backdrop of the Schomburg, a detailed examination of items by Black women artists is also underway. Curator Tammi Lawson, who has spent nearly 40 years at the center, has actively sought to bridge gaps in representation. This commitment led to the discovery of one of the largest collections of works by Augusta Savage, renowned for her impactful sculptures from the Harlem Renaissance.
As the staff continue to preserve these exceptional items, they grapple with their significance. For Serena Torres, the collection manager, the “Crying Eye Portal Vessel for Transmuting Grief” by textile artist Lynore Routte holds special meaning. “These things have so much meaning and we have to think about that as we handle them,” Torres reflected.
Looking ahead, Lawson envisions a continued effort to encompass the richness of the African diaspora in the Schomburg’s collection. She recalls unpacking a carved enema from pre-colonial central Africa, marveling at its artistry and symbolic significance. “It just let me know that Africans, whatever they do, they’re making it beautiful,” she concluded.
As the Schomburg Center for Research in Black Culture approaches its 100th year, its legacy of preserving Black history remains a vital beacon in documenting the intertwined narratives of struggle, resilience, and triumph.
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