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The Whitney Plantation is a non-profit museum that educates the public about the history and legacies of slavery in the United States. Check out their incredible website before we go!

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Originally known as Habitation Heidel, or the Heidel Plantation, what we now know as Whitney Plantation has undergone many changes in its 250-year history. Ambroise Heidel, a German immigrant from the Rhineland area, purchased this property in 1752 and established a small indigo plantation. During these early years, Ambroise Heidel owned approximately 20 enslaved Africans whose expertise in indigo production he relied upon for successful crops. In 18th century Louisiana, many captive Africans who were sold into slavery had originated in areas of West Africa known for rice and indigo production, two major cash crops in the early colony.

The Heidel family, like many other German immigrants, adapted to French Louisiana. Their children learned the French languages and their German names changed spelling and pronunciation - eventually the Heidels became known as Haydels. Ambroise Haydel's son, Jean Jacques Haydel, took control of the plantation in the late 18th century, and he oversaw its transition from an indigo to a sugar plantation in about 1800.

The development of sugar production in Southeast Louisiana after 1795 brought significant changes to the way of life for both free and enslaved people. The population of enslaved people drastically increased, since sugar is a very labor-intensive crop. Plantation owners like the Haydels, well established with many decades of land ownership, grew very wealthy from the profits of sugar production. Enslaved people who worked sugar found their days lengthening and the labor regimes more demanding. Many were sold from the Upper South and separated from their family members. Sugar was a brutal crop and for many enslaved people, being sold south to Louisiana was considered a death sentence.

Jean Jacques Haydel operated the plantation until 1820, when his two sons, Jean Jacques Haydel Jr., and Marcelin Haydel, took over ownership as partners. This third generation of the Haydel family operated the plantation, expanding its footprint and increasing the size of the enslaved population, until 1840. Jean Jacques Haydel Jr. sunk into tremendous debt during his ownership, and Marcelin sued to partition their property so that he could dissolve their partnership. Almost as soon as the judge granted this partition, Marcelin died, leaving his 1/3 stake of ownership to his widow, Marie Azelie Haydel.

Azelie Haydel bought out her brother in law Jean Jacques Jr., and became the full owner of the plantation from 1840 until her death in 1860. During her ownership, the Haydel Plantation saw its most profitable years. She owned over 100 enslaved people who produced over 400,000 pounds of sugar annually. She was a very wealthy woman at her death in 1860, just six months before the start of the Civil War.

The majority of enslaved people who worked on the plantation were engaged in the cultivation of sugar. Many worked as field hands, carters, and ploughmen. Both men and women worked as field hands growing sugar, rice and other staple crops. Others were skilled artisans such as distillers, blacksmiths, coopers, and engineers. Some with specialized skills as sugar makers worked inside the sugar mill leading crews of people who boiled cane juice to make crystallized sugar. Herdsmen tended hundreds of animals on the plantation including oxen, mules, horses, sheep, pigs, cows and chickens. Enslaved domestic workers, most of whom were women, worked inside the Haydel family home cleaning, cooking, and caring for children.

One such enslaved domestic was a woman named Anna, who Marcelin Haydel purchased from an auction house in New Orleans. Anna worked inside of the Big House at Whitney, which brought her into close contact with the owners' family members. In 1835, Azelie Haydel's brother Antoine Haydel sexually assaulted Anna, and she became pregnant with his child. That child was born at Whitney and named Victor. His owner, Azelie Haydel, was also his aunt. Victor Haydel lived and worked at Whitney for most of his life. After the Civil War, he and his wife Celeste bought land nearby and continued to work as domestics and farmers. His great-granddaughter, Sybil Haydel Morial, became a prominent Civil Rights activist in New Orleans in the 1960s. Her son - Victor's second-great grandson - is Marc Morial, president of the National Urban League.

Because of the disruption of war, the plantation was not sold until 1867. Bradish Johnson, a prominent plantation owner and business man who had family ties in both Louisiana and New York, bought the plantation and named it Whitney for his daughter, who had just married into the Whitney family. Later owners in the 19th and 20th centuries included the St. Martin, Perret, Tassin, and Barnes families.

The plantation continued to operate until 1975 with resident workers and overseers. The two original slave cabins which are on display at Whitney Plantation today were the last workers' cabins that were still occupied in 1975 when the plantation shut down. Many families lived and worked at Whitney Plantation throughout the 20th century, including the Howard, Poche, Gordon, Joseph, Jasmin, Zeringue, Tassin, Grow, Narcisse, Gillard, and Clofer families, among dozens of others.

After the plantation ceased operations, descendants of the last owner, Alfred Barnes, sold the plantation to Formosa Chemicals and Fibre Corporation for the purpose of turning the property into a heavy industrial site.

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Originally known as Habitation Heidel, or the Heidel Plantation, what we now know as Whitney Plantation has undergone many changes in its 250-year history. Ambroise Heidel, a German immigrant from the Rhineland area, purchased this property in 1752 and established a small indigo plantation.

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Retired U.S. Air Force Maj. Fannie McClendon holds a copy of the congressional act that awarded her and other members of the 6888th Central Postal Directory Battalion the Congressional Gold Medal.

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The people of the Netherlands will never forget the debt of gratitude owed to the United States for its role in our liberation during World War II. As we celebrate 75 years of freedom, the work of African American 'Rosies' deserves to be recognized as well.

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The 6888th Central postal Battalion Webinar from 2/23 

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The 6888th Central postal Battalion Webinar from 2/23 

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The 6888th Central postal Battalion Webinar from 2/23

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A Final Resting Place at America’s Most Hallowed Grounds: The Arlington 14 From the Six Triple Eight

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A Final Resting Place at America’s Most Hallowed Grounds: The Arlington 14 From the Six Triple Eight

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A Final Resting Place at America’s Most Hallowed Grounds: The Arlington 14 From the Six Triple Eight

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Just when you thought that most of the stories of the legendary all-black female military unit from World War II had been told, along comes the recent discovery that 14 of the 855 women from the “Six Triple Eight” have a final resting place at America’s most hallowed grounds, Arlington National Cemetery.

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A few years ago I attended an NEH teacher seminar at UC Berkeley on the Mobilization of California during WW2. The NPS created a site about Rosie the Riveter exploring who were the women fitting the role of Rosie the Riveter. Betty Reid Soskin is a Rosie and when I visited the historical park, we had the opportunity to listen to her talk about her experience as a Rosie

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Rosie the Riveter WWII Home Front National Historical Park (U.S. National Park Service)

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National Park Service Logo National Park Service

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Colonel Charity Adams: 6888th Commanding Officer

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Colonel Charity Adams: 6888th Commanding Officer

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Colonel Charity Adams: 6888th Commanding Officer

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Charity Adams overcame both wartime challenges and racial discrimination to become the first Black woman officer in the Women’s Army Corps and commander of the 6888th Central Postal Directory Battalion.

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The same NEH teacher seminar on Mobilization looked at the support/work of African American men and women in the beginning defense industry in California. The book, The Port Chicago 50: Disaster, Mutiny, and the Fight for Civil Rights by Steve Sheinkin, highlights the dangerous working conditions that African American men and women were forced to endure.

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Directions to the John Muir National Historic Site

John Muir NHS
4202 Alhambra Ave
Martinez, CA 94553
(925) 228-8860 ext. 0

Directions By Car

From San Francisco: Eastbound I-80 (Oakland - San Francisco Bay Bridge) to eastbound Highway 4. Exit at Alhambra Avenue, turning left at bottom of the ramp. Cross beneath highway. The park is immediately on your left.

From San Jose: Take I-680 northbound or ( From Sacramento) southbound I-680 to Highway 4 westbound. Exit at Alhambra Ave. Turn right at bottom of ramp. The park is located immediately on your left.

Recreational Vehicles: There is no parking available for RV's at John Muir NHS. Our parking lot is very small (16 spaces) and there is no room to maneuver a large RV. We recommend that you park on Walnut Ave. (just across the street from our Visitor Center).You may use the Chase bank to turn around in, but please don't park there.

Public Transportation

The closest stop is the Concord station. Transfer to The County Connection #16 bus, which stops at the park. There is also an AMTRAK station in downtown Martinez (2 miles from here). Transfer to The County Connection #16 bus which stops at the park. For more information and local travel assistance, please visit www.511.org

Airports

Both Oakland and San Francisco International Airports provide access to the area.

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Directions - Port Chicago Naval Magazine National Memorial (U.S. National Park Service)

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John Muir NHS 4202 Alhambra Ave Martinez, CA 94553 (925) 228-8860 ext. 0 From San Francisco: Eastbound I-80 (Oakland - San Francisco Bay Bridge) to eastbound Highway 4. Exit at Alhambra Avenue, turning left at bottom of the ramp. Cross beneath highway. The park is immediately on your left.

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The website of author and photographer Linda Herviuex, author of Forgotten: The Untold Story of D-Day’s Black Heroes, at Home and at War. Contains information about the author and about the men of the 320th, including photos, bios and information about barrage balloons, the unit specialty.

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FFTRTF Gallery Who's Who: Jimmy's Who's Who Gallery Walk Resources  

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FFTRTF Gallery Who's Who: Jimmy's Who's Who Gallery Walk Resources  

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More resources from this session:

https://docs.google.com/document/d/1WQvkPDlGbiSZgPnFFYLknVshle4nM7LR7Ta7B-ypaNo/edit?usp=sharing

https://docs.google.com/document/d/1kL6RlL4xx99YCZYES8qVkhxOodU5v6RmksIsqyD1ygA/edit?usp=sharing

https://docs.google.com/document/d/1LQEE1VHtAYvE64tgN3p-pdYR-xDLSe1gHPnNK2-du2Q/edit?usp=sharing

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NWWII Museum - African American Who's Who Gallery Walk

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WW2 Museum Digitial Resources and Oral Histories

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WW2 Museum Digitial Resources and Oral Histories

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Home | The Digital Collections of the National WWII Museum : Oral Histories

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The National World War II Museum is home to thousands of oral histories and hundreds of thousands of photographs. This website offers the visitor a way to browse a sample of these collections and purchase images if interested.

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Poem related to attitudes of helping others during WWII.

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Download a copy of First They Came by Pastor Martin Niemöller
First they came for the Communists
And I did not speak out
Because I was not a Communist
Then they came for the Socialists
And I did not speak out
Because I was not a Socialist
Then they came for the trade unionists
And I did not speak out
Because I was not a trade unionist
Then they came for the Jews
And I did not speak out
Because I was not a Jew
Then they came for me
And there was no one left
To speak out for me

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Holocaust Memorial Day Trust | First They Came - by Pastor Martin Niemöller

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First They Came is a poem by Pastor Martin Niemoller

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The achievements of historically significant Black Americans are at risk of going unpreserved, as important figures die without documenting their stories for future generations. 60 MINUTES' Bill Whitaker explores how one organization is trying to prevent that by creating an expansive digital archive of first-person accounts of the Black experience. Marc Lieberman is the producer.

The HistoryMakers is a national 501©(3) non-profit research and educational institution committed to preserving and making widely accessible the untold personal stories of both well-known and unsung African Americans. Through the media and a series of user-friendly products, services and events, The HistoryMakers enlightens, entertains and educates the public, helping to refashion a more inclusive record of American history.

Explore the Maker Directory and get access to the ScienceMakers Digital Archive for free any time. Become a member to access our full HistoryMakers Oral History Video Archives featuring hundreds of hours of interviews, videos, archival photos, and more.

Our newsletters are a research tool you get in your inbox every week. Stay up to date on the latest interviews, stories, and news from The HistoryMakers.

Sign Up for our
Weekly Newsletter

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The achievements of historically significant Black Americans are at risk of going unpreserved, as important figures die without documenting their stories for future generations. 60 MINUTES' Bill Whitaker explores how one organization is trying to prevent that by creating an expansive digital archive of first-person accounts of the Black experience.

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"Will V Day Be Me Day Too?" by Langston Hughes

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"Will V Day Be Me Day Too?" by Langston Hughes

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A poet, novelist, fiction writer, and playwright, Langston Hughes is known for his insightful, colorful portrayals of black life in America from the twenties through the sixties and was important in shaping the artistic contributions of the Harlem Renaissance.

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Will V-Day Be Me-Day Too? - Over There, / World War II. / Dear Fellow Americans,

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Let America be America again.
Let it be the dream it used to be.
Let it be the pioneer on the plain
Seeking a home where he himself is free.

(America never was America to me.)

Let America be the dream the dreamers dreamed-
Let it be that great strong land of love
Where never kings connive nor tyrants scheme
That any man be crushed by one above.

(It never was America to me.)

O, let my land be a land where Liberty
Is crowned with no false patriotic wreath,
But opportunity is real, and life is free,
Equality is in the air we breathe.

(There's never been equality for me,
Nor freedom in this "homeland of the free.")

Say, who are you that mumbles in the dark?
And who are you that draws your veil across the stars?

O, let America be America again- And yet must be-the land where
The land that never has been yet-

every man is free. The land that's mine-the poor man's, Indian's, Negro's, ME-
Who made America,
Whose sweat and blood, whose faith and pain,
Whose hand at the foundry, whose plow in the rain,
Must bring back our mighty dream again.

Sure, call me any ugly name you choose-
The steel of freedom does not stain.
From those who live like leeches on the people's lives,
We must take back our land again,
America!

Out of the rack and ruin of our gangster death,
The rape and rot of graft, and stealth, and lies,
We, the people, must redeem
The land, the mines, the plants, the rivers.
The mountains and the endless plain-
All, all the stretch of these great green states-
And make America again!

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Let America Be America Again - Let America be America again.

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"Beaumont to Detroit: 1943" Langston Hughes poem with context 

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"Beaumont to Detroit: 1943" Langston Hughes poem with context 

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In the spring and summer of 1943, violent clashes between whites and African Americans broke out in major urban centers across the United States. ¹ In response to this rash of riots, poet Langston Hughes ² wrote "Beaumont to Detroit: 1943," a powerful example of his ability to express immediate and insightful artistic commentary on the events of his day. In this poem, Hughes draws a comparison between the oppression of Jews by the Nazis and African Americans by Southern whites. ³ This theme was familiar as well to readers of African American newspapers. ⁴ Indeed, published in the left-wing journal Common Ground that autumn, Hughes's poem represented but one of many contemporary literary reflections on the parallels between the struggle against fascism in Europe and campaigns against racism in the United States. ⁵

In the early 1940s, cities like Beaumont, Texas, and Detroit, Michigan-both manufacturing centers for munitions during the war-saw a great influx of both black and white migrants seeking work. 6 These growing urban centers often struggled to adapt to the scale and pace of change: government allotments of basic rations ran short, a lack of housing placed African Americans and whites in closer proximity than ever before, and competition for jobs worsened the friction. Amidst these simmering tensions, African Americans increasingly became the targets of violence and hostility. ⁷

On June 15, 1943, in Beaumont, after a false rumor circulated that two white women had been raped by African American men, a crowd of approximately 2,000 white workers from the Pennsylvania Shipyard gathered and marched on City Hall. ⁸ When they were turned away, the mob-now numbering close to 4,000 and armed with hammers, axes, and guns-descended on the neighborhoods populated by African Americans. The rioters looted and burned homes and businesses, terrorizing and assaulting residents. The violence subsided only when the troops and police arrived in Beaumont around sunset. The city was placed under martial law and a curfew imposed. In an Associated Press interview the next day, one commander of the Texas State Guard compared the condition of the city to the destruction he had seen in a World War I battle zone. The African American district, he said, was "literally stomped into the ground." ⁹

Just days later, on June 20, brawls between black and white youths sparked a city-wide race riot in Detroit. Another false rumor-this time that white rioters had thrown an African American woman and her baby into the Detroit river-fueled further confrontations. The violence came to a crescendo as groups of armed whites traveled to the city's black neighborhoods to destroy property and assault inhabitants. Black residents retaliated by attacking white-owned businesses. After two days of chaos and bloodshed, President Franklin D. Roosevelt dispatched 6,000 troops to Detroit to quell the riots. By the time peace was restored, 36 people were dead, 24 of them African American.

In Beaumont's aftermath, a military tribunal reviewed 206 arrest cases. Twenty-nine persons were charged with unlawful assembly, assault and battery, or arson and found guilty; the remainder were released for "lack of evidence." In Detroit, city offiicials, state prosecutors, and special investigators blamed the violence almost exclusively on African Americans. ¹⁰

German and Japanese propagandists were quick to seize upon the riots as evidence of inequality and discord in the West, suggesting in leaflets targeting African American soldiers that they would enjoy better treatment behind Axis lines. ¹¹

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Langston Hughes: "Beaumont to Detroit: 1943"

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In the spring and summer of 1943, violent clashes between whites and African Americans broke out in major urban centers across the United States. 1 In response to this rash of riots, poet Langston Hughes 2 wrote "Beaumont to Detroit: 1943," a powerful example of his ability to express immediate and insightful artistic commentary on the events of his day.

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I am attaching a sample template that you can use as a jumping off point in your own classroom for a Gallery Walk and/or Periodic Table assignment.

The link below is just for the politics/military group. You can make templates for other groups as well... In the picture above, the groups are Athletes, Entertainers, Activists, Writers, Academics/Intellectuals, Scientists/Explorers, Entrepreneurs, and Politicians/Military.

https://docs.google.com/presentation/d/1DjI6Qih8A6nFP24hCcyzFq3tNCkYgIqxNuty1Ol0WgI/edit?usp=sharing

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The Century- Peter Jennings Oral Histories

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The Century- Peter Jennings Oral Histories

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A 15 part series on the history of the 20th century in America. A big thanks to CenturyAmericasTime for posting this whole series.

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Historical Marker Commemorates Blinding of Sgt. Isaac Woodard by Police

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On February 12, 1946, Black World War II veteran Sgt. Isaac Woodard wore his uniform on a bus trip from Georgia to North Carolina. When he protested mistreatment by the white bus driver, South Carolina police beat him so severely he was permanently blinded. The NAACP and others decried the attack, but no one was convicted.

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Before Montgomery: Bayard Rustin and the Fight for Racial Justice During World War II

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For civil rights leader Bayard Rustin, World War II was a crucial time when he explored nonviolent direct action as a philosophy and a method for challenging racial inequality.

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Joshua White - Southern Exposure (An Album Of Jim Crow Blues)

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View credits, reviews, tracks and shop for the 1941 Shellac release of “Southern Exposure (An Album Of Jim Crow Blues)” on Discogs.

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The education team at The National WWII Museum is working to update this program. Operation Footlocker reservations will open again for the Fall 2023 semester. Check back then for more information!
Traveling Artifact Trunks

The National WWII Museum has launched Operation Footlocker, providing schools across the country with unique hands-on opportunities to explore the history and lessons of World War II by analyzing WWII artifacts. These traveling trunks are designed to supplement WWII education in the classroom.

Each footlocker comes loaded with about 15 actual artifacts from World War II (not reproductions!). Of course, no weapons or ammunition are included. But there are ration books, V-mail letters, dog tags, sand from the beaches of Normandy and Iwo Jima, wartime magazines, a high school yearbook from the early 1940s, and many other artifacts, both commonplace and surprising. Footlockers come complete with white cotton gloves for handling the artifacts and a teacher's manual that describes each object and contains directions for conducting artifact "reading" sessions.

Because of the fragile nature of some artifacts, we recommend the program for grades 5-12 and beyond. Turn your students into history detectives as they ponder the origins and uses of these real pieces of WWII history!

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Operation Footlocker | The National WWII Museum | New Orleans

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The National WWII Museum has launched Operation Footlocker, providing schools across the country with unique hands-on opportunities to explore the history and lessons of World War II by analyzing WWII artifacts

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While predominately remembered for her provocative dances, vaudeville routines, and appearances in films, Josephine Baker's efforts to fight the tyranny of Fascism have received regrettably little attention. Throughout her life, the American expatriate turned French citizen fearlessly called out the racism she endured while in the United States. Her bravery again went on display after her adopted country of France fell to Nazi forces. Josephine turned to espionage, using her celebrity status to capture information for the French Resistance.

Born Freda Josephine McDonald in East St. Louis, Missouri on June 3, 1906, Josephine took to an early life of entertaining and offering performances to neighborhood children when still a small child. In her teenage years, Josephine turned to dancing with vaudeville troupes. At the age of 15, she met William Howard Baker, and after a few weeks the couple eloped. William was her second husband-her first, brief marriage occurred while she was 13-but he gave Josephine the surname that she kept for the rest of her life.

Josephine Baker dancing the Charleston at the Folies-Bergère in Paris. Photo by Stanisław Julian Ignacy Ostroróg.

At 19, Josephine accepted an offer to join an all-black revue set to run in Paris. Unlike the United States, France did not racially segregate public places on a large scale. When Josephine and her castmates boarded a train in France, they were surprised but happy to learn they could sit anywhere they liked. Josephine was also shocked to see the costumes created for her to perform in; one consisted only of a bikini bottom covered in flamingo feathers. After one performance, Josephine quickly took to this kind of erotic dancing and became a rising star. Over time, Josephine became the most successful entertainer in France, transforming from an exotic dancer into a film star and opera singer. Throughout these years, it is believed she became the wealthiest black woman alive.

In 1928, Josephine departed for a European tour, with the first stop in Vienna. Josephine had not been aware of the political unrest building in the region. By that point, Adolf Hitler's autobiography, Mein Kampf, had popularized racist ideologies that spread throughout the region. Before Josephine even arrived in Vienna, posters around the city denigrated her performance, calling her a "black devil." As she rode in a carriage to her hotel, protesters lined the streets. Josephine said the scene reminded her of the race riots that shook her community when she was a child.

The start of World War II put Josephine's future performances on hold. By that time, she had married her third husband, a French-Jewish sugar broker named Jean Lion. The couple later divorced in 1941, but in that time, Josephine came to represent much of what Hitler and the Nazis despised. She was a successful, black woman in an interracial marriage with a Jewish man, who was also openly bisexual and had multiple long-term, semi-public relationships with other women. When the Germans began to advance on Paris in 1940, Josephine, like millions of other Parisians, fled the city.

Josephine Baker in Banana Skirt from the Folies Bergère production "Un Vent de Folie," in 1927. Photo by Stanisław Julian Ignac

Josephine moved to a chateau she rented in the south of France, where she took in other refugees fleeing the Nazis. After the fall of Paris, Josephine came into contact with Jacques Abtey, the head of French counter-military intelligence. Abtey sought to recruit people who could engage in espionage to help resistance efforts against the Nazi occupation. Josephine was an ideal candidate for this work, as her celebrity allowed her to move easily between countries and offered her enhanced protection. When Abtey approached Josephine to see if she would take the risk and join the resistance, she said,

Josephine housed resistance fighters at her chateau and supplied them with visas. She attended parties and diplomatic functions, including parties at the Italian embassy that brought her in the orbit of high-ranking Axis bureaucrats. She collected information on German troop movements, and what harbors or airfields were in action. Josephine was confident that her celebrity and connections would protect her, and that no one would suspect her of espionage. She wrote down intelligence on her hands and arms, pinning notes inside her underwear. She did so knowing she would never face a strip-search-and she was right.

The Nazis had gotten wind of the resistance activity happening at Josephine's chateau, and visited the estate. Josephine had been hiding several resistance fighters at the time of the visit. She successfully charmed the Nazis when they questioned her, but she took the close encounter as a sign that it was time to leave France. Abtey contacted General Charles de Gaulle, who instructed both Abtey and Baker to travel to London via Lisbon (which was neutral.) Between them, the pair carried over 50 classified documents and secret intelligence. Josephine carried hers by writing the information down in invisible ink on her sheet music.

Following D-Day and the liberation of Paris, Josephine returned to her adopted city wearing a military uniform. She quickly took note of the terrible conditions many French people endured after the Nazi occupation. She sold pieces of jewelry and other valuables to raise money to buy food and coal for the poor citizens of Paris. Following Germany's surrender in 1945, General de Gaulle awarded Josephine the Croix de Guerre and the Rosette de la Résistance. He also named her a Chevalier de Légion d'honneur, the highest order of merit for military and civil action.

Josephine Baker distributes rations to the citizens of Paris. Photo courtesy of Gallica Digital Library.

Far more than a vaudeville dancer and a jazz singer, Josephine Baker was a force of nature who vaulted racial barriers of the era and achieved the highest levels of celebrity. Her status became a shield behind which she could fight the horrors of the Nazi regime. Fearless and outspoken, Josephine found new ways to challenge those who sought to diminish or silence the suffering or oppressed. In strengthening her own voice, she found innumerable ways to both charm and resist.

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african american experiences in world war ii

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Siren of the Resistance: The Artistry and Espionage of Josephine Baker | The National WWII Museum | New Orleans

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Iconic entertainer of the Jazz Age, famous for her risqué performances, Josephine Baker responded to the start of World War II by becoming a spy for the French Resistance. Known as the "Creole Goddess" of France, Baker used her celebrity to gain access to high-ranking Axis officials.

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American entertainer Josephine Baker was a celebrity in Paris. She was also an agent for French intelligence. How did she smuggle information to the Allies?…

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contains her letter to JFK

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Josephine Baker: From Poverty to Stardom to Espionage - CIA

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If you were to write a fictional life story about an African American woman­­ who escaped poverty to dance on the Broadway stage, moved to Paris to become an international celebrity and a film star, then served as a spy for the French Resistance during World War II, you would think it was a work of pure fiction. But it was all true. Josephine Baker lived all of that… and much more.

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PD 3/17: Women in WWII - Discussion Outline, Primary Source Packet, & Reference Guide

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“The 1809 Immigration of Saint-Domingue Refugees to New Orleans: Reception, Integration and Impact”

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“The 1809 Immigration of Saint-Domingue Refugees to New Orleans: Reception, Integration and Impact”

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Lachance, Paul F. “The 1809 Immigration of Saint-Domingue Refugees to New Orleans: Reception, Integration and Impact.” Louisiana History: The Journal of the Louisiana Historical Association, vol. 29, no. 2, 1988, pp. 109–41. JSTOR, http://www.jstor.org/stable/4232650. Accessed 2 July 2025.

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Kim Guise's Slides on the 6888th Presentation

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https://www.canva.com/design/DAGov9NV1UI/DFm2cL2BjstwmZ3SK3Gf6Q/edit?utm_content=DAGov9NV1UI&utm_campaign=designshare&utm_medium=link2&utm_source=sharebutton