What constitutes the true beginning of an idea, a dream, an institution?  Certainly it can be said that many people thought about the possibility of creating an institution similar to the one we celebrate in these pages long before the opportunity to do so arose. Changing times and community spiritedness became the fertile ground into which the seed for the California African American Museum fell.

In 1976 former Congresswoman Yvonne B. Burke called together representatives from universities, museums, cultural centers, community-based organizations and artists to discuss how to establish a permanent African American museum. There were rumors that a major African American collection might be leaving the country and if California established a museum, the collection would serve as its foundation. Following many meetings, the consensus was that the timing was right and a state charter for the museum to include both a construction and an operating budget should be the goal. The committee felt that governmental backing would assist in validating the concept of the museum and therefore encourage private citizens, corporations and foundations to participate in the undertaking.

Assemblywoman Teresa Hughes, also intensely interested in preserving African American heritage, introduced the bill which would establish a state museum dedicated to the contributions and achievements made by Black Americans to the state and nation. With strong backing from Governor Edmund G. Brown, Jr., Lieutenant Governor Mervyn Dymally, Senator Bill Greene and other key legislators, Assembly Bill 420 passed and the museum was signed into law on September 2, 1977.

Funds for operating and constructing the museum, however, were not appropriated for nearly four years. During that period, noted artist Charles White became the first gubernatorial appointee to the seven-member museum state board.

By virtue of the museum’s locating in Exposition Park, centered within the district boundaries of Assemblywoman Teresa Hughes and Senator Bill Greene, they too became members of the state advisory board. Unfortunately, before the board had received its full component, Charles White died — a tremendous loss to those who had known him, not only as an outstanding artist but also as a leading advocate of the right of Black artists to be included in the mainstream of the American art world. The remaining members, with assistance from the original committee, developed the mission statement and goals of the museum and continued to work for annual state funding.

Alice Lytle, then Secretary of State and Consumer Services Agency, learning of the funding stalemate which the museum faced, offered the resources of her staff and much of her boundless energy towards the establishment of a museum budget. She arranged training for the board to assist them in a better understanding of the machinations of the state government. She also introduced many state heads to the concept of the museum and the necessity of moving it into an operating reality.

In January 1981 a small office within the Museum of Science and Industry opened, thanks to the late Director William J. McCann. The sign on the door read “The California Museum of Afro-American History and Culture.” With a borrowed desk, chair and telephone, the board president and a few committee volunteers created a miniscule operation in anticipation of the passing of the 1981/1982 budget containing the museum’s funding. Six months later, it did in fact pass. Between July 1 and October 1 of 1981, a secretary was hired, a coordinator borrowed, a space planner contracted, an architect selected and the first exhibition opened in temporary quarters. “Ten California Artists,” the inaugural exhibition, previewed on October 2 to over 700 invited guests and during the following six weeks was visited by hundreds of Californians from Sacramento to San Diego. The only state museum of African American history and culture in the country had begun its operations.

To say that everything has been smooth sailing from that time to this would of course be untrue. There have been good times, exasperating times and unbelievable times of dodging roadblocks, lack of cooperation and differences of vision from the unsympathetic.

Within the Black community, there were those who cheered and worked tirelessly as advocates, teachers and writers. There were others who worried that a museum totally related to the Black experience might further increase the separateness of the community.

Groundbreaking for the new facility in June 1983 was an exhilarating and moving experience which helped to erase the memory of previous trials and nagging doubts. Participation in museum planning increased, new committees formed, volunteer councils flourished and the walls of the museum began to rise.

Construction in any form, from a work of art to a museum, however, can be a maturing experience for those involved. The tremendous feelings of anticipation and pride became intermingled with pure frustration. In the case of the new building, there became a growing sense of building “Murphy’s” museum rather than the African American museum. Truly anything that could happen, did, and any number of times. Yet the walls continued to rise, the roof formed overhead, the galleries fleshed out.

At this writing, the small staff has moved into the new administration wing and the exhibitions are being installed. Though the air conditioning is not on as yet, the natural air conditioning through doors (yet to be placed) seems quite adequate. Telephone lines hang limply on the floor, waiting for an instrument, and so business is conducted in person.

The carpenters pound, the plumbers rattle their pipes and painters swing their brushes in between the spaces where the last gallery light was hung. There is a lot of laughter mixed with groans when the eternal question pops up again and again, “Will the building be finished in time?” Yes, the building will be finished in time. In time to encourage those who walk through its doors to learn more about the African Americans who helped to build this country — who gave birth to American jazz, who toiled in the fields, who established schools where no schools had been, who encouraged young writers, artists and scientists to pursue their goals. In time to inspire those who have a similar dream of building a museum in their state or city. In time to extend the network through all of the states and all the cities, to reverse the tread of a history lost. And so now, a new beginning.

The museum facility opened its doors to the public during the Olympic Games of July 1984. CAAM is currently in its 24th year of being housed in its own facility.