Jackson Leong

Reflection on the Scott Joplin House State Historic Site and Pillars of the Valley

The Scott Joplin House State Historic Site and the Pillars of the Valley Memorial honor

two distinct but intertwined eras of African American history in St. Louis. One recognizes the

life and accomplishments of a composer whose work altered American music, while the other

remembers a whole area whose residents, shops, churches, and institutions were relocated in the

name of urban renewal. Together, these landmarks show both the incredible endurance of

African American communities and the obstacles they encountered throughout the city's history.

More significantly, they remind visitors that conserving history entails honoring outstanding

achievements while also challenging the policies and attitudes that caused long-term harm. By

exploring both tales together, visitors have a better understanding of St. Louis and the necessity

of remembering all aspects of its history.

The Scott Joplin House offers an intimate glimpse into the life of one of America's most

important songwriters. Scott Joplin, renowned as the "King of Ragtime," shaped the evolution of

American music with pieces like Maple Leaf Rag and The Entertainer. His inventions shaped

jazz and impacted subsequent generations of performers. Visiting the basic brick row home

where Joplin resided serves as a reminder that some of the most impactful cultural achievements

in American history were made under far less spectacular circumstances than the music itself.

One especially intriguing piece of historical information about the home surrounds a

seemingly simple question: whether Scott Joplin had indoor plumbing. Historians disputed this

subject for many years. Many think the house, like many nearby dwellings at the period, was

initially equipped with an outside privy. Others claim that indoor plumbing was viable,

particularly given Joplin's financial prosperity after the publishing of Maple Leaf Rag. This

element may look small, yet it demonstrates a crucial lesson about historical research. Even
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seemingly little parts of daily life need close scrutiny, and historians sometimes work with

inadequate material. Questions like this remind visitors that history is constantly polished rather

than fixed.

The area around the Scott Joplin House also conveys an essential tale about St. Louis'

ethnic changes. During the nineteenth century, many German immigrants settled in the region,

establishing companies, churches, schools, and cultural groups. As economic conditions and

residential patterns changed at the turn of the century, many German families relocated, and the

area became more populated by African Americans. Scott Joplin resided there throughout the

changeover period. The shifting character of the area exemplifies how immigration, migration,

and economic opportunity have continually transformed the city's neighborhoods. Rather than

being discrete occurrences, these population upheavals linked subsequent generations, whose

contributions helped shape St. Louis' cultural character.

The Scott Joplin House also exemplifies how creative talent may thrive despite societal

constraints. Although Joplin acquired national fame throughout his lifetime, he continued to

confront racial prejudice, which limited the chances accessible to white composers and

musicians. His accomplishment exemplifies not only individual skill, but also endurance in the

face of societal unfairness. Today, keeping his house ensures that visitors realize both his

incredible accomplishments and the problems that came with them.

The Pillars of the Valley Memorial recounts a totally different narrative. Rather of

honoring a particular person, it recalls the residents of Mill Creek Valley, which was once one of

St. Louis' largest and most lively African American communities. Thousands of people lived in

Mill Creek Valley in the late nineteenth and early twentieth centuries, building churches, schools,

shops, music venues, professional offices, and civic organizations despite the limits of
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segregation. The area was a hub of African American culture, education, and entrepreneurship,

generating artists, educators, professionals, and community leaders whose impact spanned well

beyond St. Louis.

Despite its vigor, Mill Creek Valley became one of the most prominent illustrations of

urban renewal's human cost. Beginning in the 1950s, much of the neighborhood was demolished

as part of large-scale rehabilitation initiatives aimed at eliminating what officials referred to as

"blighted" neighborhoods. More than 20,000 people were relocated, hundreds of businesses

closed, and several churches, schools, and other organizations were destroyed. Although new

construction occurred, the close-knit community that had existed for centuries could not simply

be replicated elsewhere.

The Pillars of the Valley memorial serves as a reminder that history is found not just in

existing buildings, but also in communities that no longer exist. Through images, historical

narration, and public art, the monument invites visitors to imagine the colorful community that

once inhabited the neighboring streets. It encourages individuals to appreciate that progress

frequently has repercussions, and that the advantages of redevelopment were not distributed

evenly. The memorial therefore encourages visitors to reflect not just what cities gain from

change, but also what they lose.

Together, the Scott Joplin House and Pillars of the Valley show two perspectives of the

African American experience in St. Louis. One honors remarkable innovation and cultural

accomplishment in American music against adversity. The other recalls a vibrant town that was

physically destroyed, demonstrating how public policy can have a significant impact on people's

lives. Both stories deserve equal consideration because each is an important aspect of the city's

history.
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These places also reinforce a more general lesson about historical preservation. Too

frequently, history focuses on great people or magnificent structures while ignoring the daily

communities that made such accomplishments possible. Scott Joplin's popularity stemmed from

the vibrant musical culture of African American neighborhoods around St. Louis. Similarly,

remembering Mill Creek Valley preserves the tales of regular families, business owners,

teachers, pastors, and children, as well as those of nationally known personalities. Together, these

places show that history belongs not just to great people, but also to the communities that raised

them.

This lesson focuses on an essential theme present in many historic sites in St. Louis.

History should never be limited to just celebrating triumphs. It should also recognize

displacement, prejudice, and injustice. It is a well-known adage that those who do not learn from

history are condemned to repeat it. The collapse of Mill Creek Valley reminds us why this lesson

is still important. If society overlooks the effects of policies that disproportionately damage

specific populations, it risks repeating the same mistakes in other situations. Similarly,

conserving the Scott Joplin House reminds us that creativity and ingenuity can exist in any

community, even when circumstances are uneven.

Finally, the Scott Joplin House State Historic Site and Pillars of the Valley inspire visitors

to reflect on who is remembered and how those tales impact our perspective of the past. One

maintains the residence of a musical genius whose works continue to inspire people across the

world. The other retains the memories of thousands of regular people whose community has

mostly vanished from the landscape. They show that history is most honest and meaningful when

it contains both victory and sorrow. By maintaining these sites and learning from the lessons they

give, we recognize not just the achievements of earlier generations but also our obligation to
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develop communities that are more equitable, more inclusive, and more sensitive of the

implications of our actions.

Reflection on The Griot Museum of Black History

The Griot Museum of Black History is one of St. Louis' most important historical

organizations since it is solely committed to preserving, interpreting, and presenting the history
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of African Americans whose lives influenced both the region and the nation. Unlike many

museums, where Black history is merely one element of a broader show, The Griot puts these

tales at the heart of its goal. The museum, named after the West African tradition of the griot—a

historian, storyteller, poet, and custodian of a community's memory—understands that preserving

history entails more than simply collecting names and dates. It is about passing on tales,

experiences, and lessons so that future generations may appreciate both the successes and the

challenges of those who came before them. This purpose distinguishes the museum because it

invites visitors to see African American history not as a distinct narrative, but as an integral part

of the history of St. Louis and the United States.

One of the museum's most intriguing aspects is its use of life-size wax figurines to depict

history through the lives of individuals. Carter G. Woodson, Josephine Baker, Dred and Harriet

Scott, Elizabeth Keckley, William Wells Brown, James Milton Turner, Dr. Martin Luther King

Jr., Miles Davis, Madame C. J. Walker, Percy Green, Chief Sherman George, Clark Terry, and

many others are among those whose stories link St. Louis to larger movements in American

history. Rather of just presenting objects in glass cases, the museum produces immersive

exhibitions that make visitors feel as if they are meeting the individuals whose daring,

inventiveness, and tenacity helped shape civilization. This technique personalizes history and

reminds visitors that individuals who choose to act in the face of adversity are ultimately

responsible for historical change.

One of the museum's most dramatic displays is the restored slave home that was

transferred from the Wright-Smith Plantation in Jonesburg, Missouri. Standing inside the hut

gives visitors a direct and visceral connection to the daily lives of enslaved people. Nearby,

tourists may board a scale replica of a transatlantic slave ship to learn about the Middle Passage
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and the forced passage of millions of Africans to the Americas. These displays go beyond data

and historical dates, immersing viewers in situations that promote empathy and thinking. They

illustrate that comprehending slavery needs more than just reading about it; it also demands

acknowledging the humanity of individuals who survived it, as well as the long-term

ramifications of that history.

The museum also displays a wide spectrum of African American achievements outside of

slavery. Visitors may learn about innovators, educators, singers, civil rights activists,

businesspeople, military veterans, and public officials who shaped both St. Louis and the country

in its galleries. This wide viewpoint is especially significant since it contradicts the conventional

misconception that Black history is only about oppression. While admitting injustice, The Griot

also values creativity, leadership, invention, resilience, and cultural success. In doing so, the

museum provides a more complete and honest perspective of history.

The museum's teaching goal extends well beyond the permanent exhibitions. It frequently

holds touring exhibits, community education programs, gallery talks, cultural festivities, and

projects to preserve oral histories and chronicle tales that may otherwise be lost. Projects like the

Black HerStory Initiative strive to acknowledge the contributions of Black women, whose

achievements are sometimes neglected in standard historical narratives. These ongoing efforts

indicate that preserving history is a continuous obligation that needs each generation to retrieve,

document, and disseminate experiences that have been overlooked or lost.

The Griot Museum also organically relates to many other historic locations in St. Louis.

Visitors who have visited Greenwood Cemetery will recognize many of the same themes of

remembering and historical visibility. Thousands of African Americans contributed to

Greenwood's history, yet there are few surviving headstones to commemorate them. Visitors to
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the Scott Joplin House can discover how creative greatness blossomed despite racial persecution.

Pillars of the Valley honors the loss of Mill Creek Valley, a flourishing Black neighborhood

devastated by urban redevelopment. The Griot Museum connects these tales by explaining how

each is part of a bigger historical story. Rather than seeing these sites alone, visitors come to

realize how they all contribute to the tale of African American existence, struggle, and

accomplishment in St. Louis.

Perhaps the museum's most significant contribution is that it encourages visitors to think

critically about historical memory. Every civilization determines which tales are commemorated

with monuments, museums, textbooks, and public acknowledgment. Throughout American

history, many African American stories received considerably less attention than they deserved.

The Griot exists to redress this imbalance—not by replacing one version of history with another,

but by broadening the historical record to better reflect all people's experiences. This approach

benefits everyone because history becomes more accurate when it includes all voices rather than

just those who have historically received attention.

This lesson mirrors a larger pattern that has evolved in numerous historic sites in St.

Louis. Learning history entails addressing both amazing accomplishments and tragic injustices.

It is a well-known adage that those who do not learn from history are condemned to repeat it.

The Griot Museum explains why the lesson is still applicable today. Ignoring African Americans'

accomplishments or downplaying the impacts of slavery, segregation, and discrimination results

in an incomplete picture of the past and makes it more difficult to see comparable patterns of

injustice in the present. In contrast, learning these histories honestly fosters empathy, enhances

civic awareness, and assists communities in creating a more inclusive future.

Finally, The Griot Museum of Black History is significant because it saves tales that

might otherwise be lost while also commemorating the incredible perseverance, inventiveness,

and leadership of African Americans throughout history. It serves as a reminder to tourists that

black history is inextricably linked with American history. The museum plays the role of a real

griot by ensuring that the voices of earlier generations continue to teach and inspire those who

come after them through its exhibitions, educational activities, and commitment to memory

preservation. By going to locations like The Griot, we not only celebrate the individuals whose

stories are preserved there, but we also embrace our own obligation to recall history honestly,

learn from its accomplishments and failings, and guarantee that every community's contributions

become part of our collective historical memory.