A significant chapter in history is drawing to a close at the National Museum of African American History and Culture in Washington, D.C. The museum is preparing to retire a piece of history—a timber remnant from the slave ship São José-Paquete de Africa. This artifact, which has been a pivotal part of the “Slavery and Freedom” exhibit since the museum’s opening in 2016, embodies the harrowing maritime journey of millions of Africans forced into slavery across the Atlantic to the Americas. The remnant will be returned to its home at the Iziko Museums of South Africa later this year.
Weighing 33 pounds (15 kilograms), the timber piece has been displayed prominently, seemingly floating above a dark void, accompanied by a ship’s ballast, symbolizing the weight of a tragic past. Initially loaned through a five-year agreement, this arrangement was extended in 2021 for another five years but is set to conclude on July 1. A specially crafted crate is being designed for the timber’s transport back, emphasizing its delicate condition and historical significance.
A Relic of a Painful Past
The São José, a Portuguese ship, embarked on a journey to Brazil with over 400 captives from Mozambique. Tragically, the vessel struck a rock and sank off the coast of Cape Town in December 1794, resulting in the death of half its human cargo. The survivors were resold into slavery in the Western Cape—a stark reminder of the inhumanity of the trans-Atlantic slave trade.
Discovered in 2015, the shipwreck was identified through the Slave Wrecks Project, a collaborative effort among international institutions focused on uncovering the history and impact of the trans-Atlantic slave trade. The São José represents one of the earliest known wreckages recovered—an artifact housing stories of unimaginable suffering.
Situated in the museum’s lowest level, the timber piece adds depth to the larger “Slavery and Freedom” exhibit. This section delves into the infamous Middle Passage, highlighting the brutal conditions endured by the enslaved. Without precise figures, it is estimated that millions perished during the harrowing ocean crossing, a reality emphasized by Paul Gardullo, assistant director of history at the museum.
Exhibit Changes Amid Political Scrutiny
The forthcoming change in the slavery exhibit is not without its context. Recent political developments have cast shadows on how history is interpreted and displayed in public institutions. Under the Trump administration, initiatives aimed at presenting a more favorable view of U.S. history have emerged, particularly as the nation approaches the 250th anniversary of the Declaration of Independence.
In March 2025, an executive order titled “Restoring Truth and Sanity to American History” was signed, prompting reviews of exhibits across federal museums, including the National Museum of African American History and Culture. While some might speculate about the timing of this timber’s removal, Michelle Commander, the museum’s deputy director, confirms that the decision is purely related to the artifact’s loan agreement and conservation needs.
Gardullo notes the South African laws that protect cultural heritage dictate how its artifacts are treated during loan periods. With the timber’s fragility in mind, the museum stands committed to ensuring its preservation while honoring its historical importance.
The Impact of the Exhibit
Recent visitors to the museum have expressed profound emotional responses to the timber piece’s display. They often describe the gallery, titled “The Middle Passage,” as a space heavy with solemnity. Krystina Hernandez, who visited with a group of school children, remarked on the tangible experience the exhibit provides, pulling history from textbooks into a visceral reality.
Attendees like Anehtra Reynolds from northern Virginia shared a deeply emotional experience, stating that the presentation of the artifacts evoked empathy for the plight of those who suffered aboard the ship. Memories of resilience and despair linger in the air, manifesting the brutal truths of the enslaved people’s existence. Reynolds noted that signs in the gallery referenced the extreme measures some captives took, including starving themselves, hoping for a reunion with their homeland in death.
Jim Carnes, who is familiar with the civil rights narrative, found the artifacts to be “extraordinarily powerful.” He expressed frustration over contemporary efforts to downplay such historical realities, emphasizing that acknowledgment of the past is crucial for understanding America’s current landscape.
Reflecting on his own background, Jorge Carvajal from Colombia shared how the exhibit fostered empathy, encouraging visitors to engage with history on a deeper, more personal level. This notion of empathy is not merely a hope; it resonates as a pervasive theme among visitors reflecting on the robust narratives woven through the displays.
Commander assures that, while the timber piece’s story may be returning to South Africa, the museum is dedicated to preserving its impact through the remaining artifacts and narratives. “The story does not leave the museum because this timber is going to be returned to its owners,” she emphasizes, promising that the powerful legacy of the São José and the horrors of the trans-Atlantic slave trade will continue to resonate within the museum’s walls.
