Gabrielle Edelin | Summer Internship - National African American Museum of History and Culture (Washington, D.C.)
This summer, I interned as a curatorial intern at the National African American Museum of History and Culture (NMAAHC). I applied for this internship because before I came to Stanford, I had no way to learn Black history other than my Grandmother’s heartfelt stories; her stories inspired my ongoing love of history.
When NMAAHC opened, we took a tour, and I had never felt so understood; my history was on display, and her stories were represented to the public. NMAAHC quickly became my favorite museum, and I wanted to be a part of something that has made me feel so seen and be able to help others understand the importance, complexities, and power of Black history.
During my internship, I had the privilege of working closely with curatorial staff on various projects. One of which was conducting research and writing biographies for acquisition reports, online exhibits, and social media posts. These biographies covered multiple topics and people, some more well-known, such as Janelle Monaé, Lee “Scratch” Perry, and Prime Minister Eric Williams; others less so, such as the town of Princeville and AG Gaston. Through this research, I was able to delve deeper into Black history and spread the stories of those who may not have had their stories told. I also conducted research for an upcoming publication about Black art on world-renowned album covers and the impact that Black art has had on the global music scene. Once again, I was sharing the impact that African Americans have had on the world, something that I hope to continue to do in the future.
A unique experience that I was able to take part in was conducting an informal tour for all the Stanford BING Overseas Program directors who were visiting the Washington D.C. office. It was remarkable to be in a room with that many amazing minds and show them around a place that means so much to me and has given me so much this summer.
The biggest and most fun project I participated in was the de-installation of the “Afrofuturism: A History of Black Futures” exhibit, which won best Smithsonian exhibit of 2023. Afrofuturism is a “cultural movement that uses science fiction and fantasy to reimagine the history of the African diaspora and to invoke a vision of a technically advanced and hopeful future in which Black people thrive.” The temporary exhibit was meant to spark conversations empowering African Americans through science fiction, Black history, technological innovations, and music. Throughout the de-installation process, I worked with the crew to remove artifacts from the cases, conserve them, and prepare them for shipping to either the conservation facility or back to their owners. Some artifacts I helped to deinstall include the Black Panther Suit (2016), the chair from the Micheal Jackson “Scream” video, Captain Uhura’s costume from Star Trek, Thundercat’s bass, and one of Erykah Badu’s iconic headdresses.
Furthermore, I worked with textile conservators to write condition reports and conserve and pack some of the more delicate textiles, including the Luke Cage hoodie, a Nona Hendryx costume, Leland Melvin’s space suit, and the original 1975 costumes for Glinda and the Wiz, worn on broadway. I learned so much about all the meticulous steps it takes to ensure that artifacts remain in pristine condition; every detail was accounted for, and each object was handled with such special care. It was amazing to witness, and I am so grateful that I was able to be a part of this process. It was an exceptional, hands-on learning experience I will never forget.
From the de-installation process and working directly with artifacts to touring Pennsy, the conservation facility, to getting and giving private tours of the museum, this has been a mindblowing experience. I have honed my research skills, gained a deeper understanding of Black history, and found new problem-solving techniques. This internship has deepened my love for history and public service and significantly shaped my future career path. None of this would have been possible without the Stanford History Department support.
