'Smithsonian in the Gap' highlights history of Buffalo Gap, Big Country
"Smithsonian in the Gap" kicked off Saturday at the Buffalo Gap Historic Village.
For six weeks, the village will host an exhibit on rural America, expanding upon it to highlight rural traditions in the Big Country and through Buffalo Gap in particular.
"The Smithsonian exhibit is about the changes in rural America, and what we're doing here is just making it personal to Taylor County and the surrounding area," said Nathan Lowry, president of the Buffalo Gap Chamber of Commerce which.
The chamber, along with the Texas Historical Commission and the village, brought the exhibit to Buffalo Gap.
Each Saturday will feature a new speaker to set the program and focus for the coming week in the village.
Saturday's featured a humorous reenactment of when the Taylor County seat was "stolen" and switched to Abilene. Later was a presentation on the history of bison hunting by living history presenter Henry Crawford.
On Tuesday morning, the Taylor County Commissioners Court will participate in the exhibit by meeting at 9 a.m. in the village's original Taylor County Courthouse. The commissioners will present a resolution. It's only the second time the body has ever met in the original courthouse building.
For an exhibit calendar, visit the Buffalo Gap Chamber of Commerce website. Saturday's program will highlight the native tribes of the area, followed in later weeks by programs on the topography of the region, ranching history, energy production, and the history of the military in the area.
"It's just a really neat exhibit and opportunity," Lowry said. "We've got great partnerships with folks in the region, admission has been comped, and so essentially, it's free. We're encouraging as many people to come as possible for the whole six weeks."
More: Gatlin Brothers take the cake at 70th anniversary show
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This article originally appeared on Abilene Reporter-News: 'Smithsonian in the Gap' to feature new topic each week in Buffalo Gap
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Forbes
3 days ago
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Editor's note: Welcome to Double Take, a regular conversation from opinion writers Melinda Henneberger and David Mastio tackling news with differing perspectives and respectful debate. MELINDA: I'm calling the weekend I just spent at my Notre Dame class reunion a Mary-thon, because I got to catch up with so many Marys — Mary Virginia, Mary Ann, Mary Meg and Mary Pat, plus that outlier Kathleen Marie. But while we were closing down the dance floor, Donald Trump did not take a minute off from trying to close down free expression, distort history and put the arts in a headlock. Oh wait, did I say that wrong? A news story I read about his possibly illegal Friday firing of the director of the Smithsonian's National Portrait Gallery said he was 'continuing his aggressive moves to reshape the federal government's cultural institutions.' You say 'reshape,' I say 'deform.' Art that is told what to be and do isn't art anymore. 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But we are keenly aware not only of all we were so lucky to have had, but of what a lack of diversity in our classrooms cost not just those who weren't there but us, too. Sajet is out because she once told The New York Times that the portraits in the gallery mostly represent 'the wealthy, the pale and the male.' I would not have put it that way, but no one can say it isn't true. Why not include more portraits of those who should have been there all along but were overlooked? And do you really agree with Trump that museums are hotbeds of anti-American propaganda? A confident country is not afraid to tell its whole story. Knowing more will not make us fall apart, and concealing unpretty parts of the past is what authoritarians do. Though if he succeeds, this current moment will certainly wind up as a blank page. The reason people flock to the Smithsonian's National Museum of African American History and Culture is that a lot of us know that what we learned about that history in school was subpar, to put it generously, and we are eager to change that. Unless this administration really is driven by racial animus, what's the problem? DAVID: The DEI-mania in the years since the murder of George Floyd may have sometimes brought needed attention to the darker parts of our history, but more often than not it has turned into fact-free America hatred. The bits of The 1619 Project that turn up in the Smithsonian's generally wonderful Museum of African-American History are particularly rancid. No, modern policing was not borne of the need to recapture escaped slaves. Policing has a history that goes back thousands of years across many cultures. No, American capitalism is not rooted in slavery. The most economically advanced parts of America rejected slavery first. 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We might agree that Trump is not going to add subtlety, but the place is in need of a shakeup. The Smithsonian doesn't do nuance well, but nuance is what we need to showcase our common humanity and common problems. You are right that there have been more police shootings since Floyd's death, but it might be wise to dwell on the fact that every year police kill more unarmed white people than Black people. The police killings are best addressed in ways that bring us together as equality already does. The DEI approach of only looking at Black killings leaves us divided. MELINDA: I took my kids to that zoo all the time and noticed very little environmental policy, nuanced or otherwise, but then I was just trying to keep my son from jumping in with the cheetahs. You'd expect police shootings to kill more white than Black people since the latter make up only about 15% of the population. 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You can call all of this anti-DEI, or you can hear Trump raving about 'dead white farmers' in South Africa and realize that the man's racial views, and our willingness to accept them, are exactly what 1619 was talking about. When only the pale and the male and the straight are acceptable, then that's in-your-face white supremacy. When Trump replaced those who ran the Smithsonian's Kennedy Center, which he sometimes mistakenly calls the Lincoln Center — I sense a cognitive cover-up in the making here — they were replaced by folks who were not at all partisan. You know, because the new KenCen board he put in place had the nonpartisan good taste to immediately elect Trump as chairman. After installing himself to run this cultural gem, he according to The New York Times told his new team that as a kid, he could pick out notes on a piano and impressed someone his father had hired to assess his potential strengths with his inate musicality. 'I have a high aptitude for music. Can you believe that?' Yes! White House communications director Steven Cheung answered a question about this revelation by calling his boss a 'virtuoso' whose musical choices 'represent a brilliant palette of vibrant colors when others often paint in pale pastels.' Sadly, the president said, he was never encouraged to develop his talent. But I say it's never too late to pursue a gift like that on a full-time basis. C'mon, Juilliard, help us out here. DAVID: If you keep talking Trump, all we're going to do is agree. Let me just say this: As offensive as the blatherings of the sycophants around Trump obviously are, so is the uniform liberalism of the Smithsonian. It paints America through red-colored glasses when there are so many other colors to see. A few years of Trumpy chaos might just inject some needed diversity of thinking to the place. That's part of DEI, too, right?