Code,999136,,,,,,,,,,,,,,,,,,
Subject,Sabra Scott,,,,,,,,,,,,,,,,,,
Date,12/1/16,,,,,,,,,,,,,,,,,,
Interviewer,Carl Ewing,,,,,,,,,,,,,,,,,,
Abstract,"This interview was proposed to gain further insight into the development of the African American Cultural Gardens in Cleveland, Ohio. Sabra Scott recounted how she became involved in the construction of the gardens as well as what the gardens symbolize. ",,,,,,,,,,,,,,,,,,
Tags,"Glenville, CSX Railroad, Mayor White, Mayor Campbell, African American Cultural Garden, Civil Rights Movement, Case Western Reserve, African American Task Force Committee",,,,,,,,,,,,,,,,,,
Special Notes,"The equipment was operated by Sarah Nemeth, representing Cleveland State University and The Center for Public History and Digital Humanities. The interviewer Carl Ewing, represented the African American Cultural Gardens Association a community group.   ",,,,,,,,,,,,,,,,,,
minutes:,,,,,,,,,,,,,,,,,,,
0,The interview begins with a sound check. Carl introduces his process of employing ice breakers to start off an interview.,,,,,,,,,,,,,,,,,,
1,Sabra Scott (maiden name Pierce) starts off by introducing herself and mentions her connection to the Glenville neighborhood district. Also Sabra mentions the early connections she had to the African American Cultural gardens.,,,,,,,,,,,,,,,,,,
2,"Carl interjects, complimenting Sabra on her renaissance-like character. Sabra then continues to talk about her formative years, including her marriage to Randall T. Scott.  ",,,,,,,,,,,,,,,,,,
3,Sabra notes the different addresses at which she has called home. She has always lived in the Glenville neighborhood. Carl asks Sabra what sparked her interest in the gardens.,,,,,,,,,,,,,,,,,,
4,"Sabra describes how she, along with her childhood friends, used to play in the gardens. She asserts that the gardens were plainly part of their life. Sabra notes how even with a lack of identifying markers she and her friends knew they were playing on important grounds. ",,,,,,,,,,,,,,,,,,
5,"Discussion ensues as to the importance of the African American cultural garden as it is the only specifically African American garden that exists in the nation today. She notes the failure of city services to maintain the gardens. She suggests there was a transformation in the maintaince of the gardens. She notes the gardens went from being in bad shape to, through the collaboration of community members, a really nice place. ",,,,,,,,,,,,,,,,,,
6,"Carl restates what Sabra had just explained and then redirects the interview. Carl asks what Sabra felt about getting the land designated? Sabra asserts that she did not have a role in the beginning of the group. However, she does mention that Booker Tall was very integral in the formation of the gardens. ",,,,,,,,,,,,,,,,,,
7,Sabra recounts the struggles that the garden planners went through in desginating and designing the gardens. Carl asks if Sabra woud consider Leo Jackson being one of the integral members of the team. Sabra brings the interview back to a time when she was involved in the garden planning and design. ,,,,,,,,,,,,,,,,,,
8,Sabra lists some of the people that she remembers being involved with the gardens when she was a teenager and in her early twenties. She mentions Judge Jean Murrell Capers and Sarah Harper. Sabra notes when she started to get actively involved in the gardens.,,,,,,,,,,,,,,,,,,
9,"Sabra delineates the political offices held by the former Cleveland Mayor Michael R. White. She also suggests that the gardens were positively transformed while White was in office. She mentions that White asked the CSX Railroad Company to contribute $250,000 towards the African American Cultural gardens. ",,,,,,,,,,,,,,,,,,
10,"Carl interjects and a discussion ensues as to what happened to the CSX Railroad money. During White's term as Mayor, Sabra had not yet been elected to city council. She makes a point to mention that she did not yet weild the power to make anything legislatively permanent. ",,,,,,,,,,,,,,,,,,
11,"Sabra discusses how the African American cultural garden group split over the issue of how to use the money. She discusses the $250,000 debacle, describing how the City of Cleveland cannot receive donations from an entity without the proper legislation enacted. ",,,,,,,,,,,,,,,,,,
12,"Due to the split in how to use the monies donated to the garden, Sabra highlights the art of collaboration in progressing with the garden development. Former Mayor Jane Campbell reestablished the Mayor's African American Task Force Committee and at this time Sabra was elected to city council. ",,,,,,,,,,,,,,,,,,
13,Sabra explains how she worked with the Mayor's committee and the African American Cultural Gardens committees to try to facilitate cooperation between the committes for the benefit of the gardens. Carl interjects again and compliments Sabra on her being a natural interviewer. Carl then redirects the interview and asks Sabra what was the marketing strategy for trying to get the garden development off the ground. ,,,,,,,,,,,,,,,,,,
14,"Carl continues to further explain the question while Sabra contemplates and prepares her answer. She names off the entities involved in the development of the gardens including the Mayor's task force, the garden committee and the community. She continues by emphasizing the challenges and difficulties associated with collaboration and cooperation on the garden project. She states that the community, as a voice in the development of the gardens, remained the most difficult group to work with. ",,,,,,,,,,,,,,,,,,
15,Sabra further explains why the community was so difficult to work with on this project. Carl states that the Cultural Garden Federation at this time was unsure about developing an African American Cultural Garden. ,,,,,,,,,,,,,,,,,,
16,Sabra redirects the interview to discuss what young people today think about the garden. She details the differences between the social environment apparent when she was growing up and the environment todays youth are accustomed. She states that her generation includes the last true beneficiaries of the Civil Rights Movement.,,,,,,,,,,,,,,,,,,
17,She details the oppertunities that were afforded to her generation coming of age in the 980s. Sabra attributes the delay in a firm plan for the gardens stemming from generational differences.  ,,,,,,,,,,,,,,,,,,
18,"Sabra continues to discuss how she benefited from the Civil Rights Movement, specifically at her time as a student at Case Western Reserve. ",,,,,,,,,,,,,,,,,,
19,Carl asks Sabra what role does she find herself playing now in the garden project as this long road comes to an end. Sabra reponds that she will be making a financial contribution to garden in 2017. ,,,,,,,,,,,,,,,,,,
20,This monetary contribution will be a monthly endowment. Carl interjects that sometimes having the person involved can mean more than money. ,,,,,,,,,,,,,,,,,,
21,"Sabra claims spirituality, praying while still being action oriented are the only ways that projects and even life move forward. Carl asks what church Sabra attends. Sabra in detail explains the growth of her religiosity.",,,,,,,,,,,,,,,,,,
22,Sabra continues to explain how she went from bring a Baptist to a Catholic. After converting to Catholicism she raised her children in catholic schools. ,,,,,,,,,,,,,,,,,,
23,"Sarah redirects the interview, asking Sabra what she thinks the legacy of the African American Cultural garden is and how she views herself fitting into that legacy. ",,,,,,,,,,,,,,,,,,
24,Sabra answers that the purpose of the garden is to make clear to people the art of compromise and collaboration. So she believes the garden represents unwavering determination. At the end of the day the garden is a sign that people can come together to leave a legacy for future generations. ,,,,,,,,,,,,,,,,,,
25,"Sabra continues that the gardens are not just for the African American culture, but for every culture that is represented. The gardens are one way to show the world it takes many nations to create something worthwhile. She emphasis that if anything should bring people closer together it is right now due to the lastest presidental election.  ",,,,,,,,,,,,,,,,,,
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