By Sarah White

I was in Bethesda for a client’s party. I planned a visit to the National Museum of African American History & Culture while I was there.
On Saturday, September 19, I took a pre-emptive Ibuprofen for the day of museum standing ahead, joined the line of people with 10:00 opening-time tickets—free, but must be booked in advance. The racial balance in that queue was about fifty-fifty.
I entered behind a group of forty or so black boys—high school age. A few men accompanied them. Some wore sweatshirts or backpacks with a fraternity logo, Omega Psi Phi —a chapter of the oldest HCBU (historically black colleges and universities) fraternity. I asked one what the group was about, and learned that fraternity members mentor black boys, from high school through college if they make it that far.
Down we all went, three flights descending into the bowels of the earth. The museum experience begins literally deep in the past. There, in darkness broken only by the lit exhibits, the story of America’s African American experience begins with slavery in Africa before the Europeans started shipping humans to the Caribbean.
The museum is excellent in terms of its educational signage, displays, and the layout that organizes the experience as a metaphorical climb out of darkness into the light. But just as good—or more so—was the opportunity to follow that group. It made the experience for me. Why? They were getting schooled in life lessons before our eyes. (Several people, like me, asked and received permission to tag along behind their group.)
One boy shyly asked a question. A mentor responded, “Speak up! Don’t ever let anyone silence your voice.”
Through the slave ships, the auction block, the denial of education to slaves—I hear snuffling. The boys are hiding their tears. A mentor says, “These Instagrammers and rappers you follow—they make thug life look good. Don’t let them tell you education isn’t important.”
Civil War. Reconstruction. Jim Crow. The Angola Prison. We ascend through history’s layers. About then, a mentor says, “One year of your education costs the state six thousand dollars, ten if you have special needs. But the prison-industrial pipeline wants you to drop out of school, turn to drugging and drinking and crime, so they can get you in prison. It costs $37,000 to keep you there. Why would they want to pay that? Because they want your labor. Prisoners do what slaves used to. Who makes your fast fashion? Prisoners. Furniture for schools? License plates? Prisoners. Stay in school!”
That hit me hard, and the boys too, I think.
On we went—a replica lunch counter, where the boys eagerly took the stools and watched a film about the sit-ins of the 1960s on a big screen.

The March on Washington, the “I Am a Man” signs. An older man accompanying the mentors and boys—carrying his cane/folding stool—said “I was there. Ask me anything.” And the boys did.
Obama’s election. Ferguson and the killing of Michael Brown. Minneapolis and George Floyd. Black Lives Matter. The exhibit ends there, although the sad story never will.

Then we were back at the daylight level where your choices are to go up to the arts and music floors, visit the gift shop or Sweet Home Café, or enter the Reflection Room.
They might as well call it the Recombobulation Zone. It’s a dark room, about twenty feet to a side, with stone benches surrounding a shallow, square pool of water with a ring of water raining down from a circle in the ceiling, where a dimly-lit dome resembles sky. A much-needed place to pause and let the unsettling impact of so much hateful history sink in.
I ate at the café, where the boys and their mentors were finishing their visit. I recombobulated a bit more in the Reflection Room—okay, you could say I napped sitting up—and then I rode the escalators to the top floor and worked my way down through a floor of contemporary art and another floor of Black contributions to music. And there were so many! Jazz, gospel, rhythm and blues, hip-hop. Here’s Chuck Berry’s Cadilac. There’s Michael Jackson’s sequined glove. Here’s an interactive video exhibit, teaching some break-dance moves.
Throughout, I crossed paths with a few of the others who had shadowed the fraternity group. Nodding introductions, we agreed—we were deeply grateful to experience the museum through their eyes. Life lessons for us, too.
© 2026 Sarah White




















