Building The Third Largest African American Museum: SAAACAM’s Next Chapter with CEO Deborah Omowale Jarmon
By Leroy Adams
An Interview with Deborah Omowale Jarmon, CEO of the San Antonio African American Community Archive and Museum (SAAACAM)
By Leroy Adams
When most people think of museums, they think of quiet halls, static exhibits, and history frozen in time. But SAAACAM (San Antonio African American Community Archive and Museum) is on a mission to disrupt that model. Led by CEO Deborah Omowale Jarman, the organization is building a new, 103,000-square-foot cultural hub in the heart of downtown San Antonio that will be rooted in community ownership, cultural pride, and Black joy.
In this conversation for The Layover Podcast, Jarman reflects on SAAACAM’s incredible growth, the challenges of raising $70 million in today’s economic climate, and why the museum’s future home—the historic Kress and Grant buildings—matters now more than ever.
Q: For those who are unfamiliar, what is SAAACAM’s mission, and how has it evolved?
Deborah Jarman: Our mission is to collect, preserve, and share the cultural heritage of African Americans in San Antonio and Bexar County. We began in a small home, focused on oral histories and archives. But now, we’ve expanded into education, hospitality, culinary arts, and tourism. This isn’t just about history—it’s about cultural connection and shaping the future.
Q: Now, the big news. Tell us about SAAACAM’s new location. Why the Kress building?
Deborah: It’s a huge leap—from 700 square feet to 103,000! We’ll be taking over the historic Kress and Grant department store buildings. The Kress building was the first to desegregate its lunch counters in San Antonio during the 1960s. To now turn that space into a museum that celebrates Black history? It’s poetic justice. Dr. Kerry Lattimore helped initiate this opportunity before his passing, and we are building on that legacy.
Q: That expansion includes a massive new building. What can visitors expect?
Deborah : It’s going to be transformative. We’re relocating to a 103,000-square-foot space that will include not just museum galleries but also a boutique hotel, an archive and research center, and a dining experience with a Black chef-in-residence program.
Q: Tell us about the different spaces and exhibits in the new location.
Deborah: Yes, 103,000 square feet. Let’s break it down:
Entry Hall: We’re really excited about this space. When people walk up the steps, they’ll arrive at our mezzanine level, which we’re calling Ubuntu Hall. “Ubuntu” means “I am because you are.” This space will introduce visitors to the museum and set the tone with images, quotes, and voices from the community. This is not a museum removed from the people—these are our stories.
Lower Level: This includes our auditorium, lecture hall, and lounge. It’s a flexible 400-seat event space. Picture jazz nights where people bring their own blankets and pillows, or grab a seat and just chill. This is a space for us, by us.
Second and Third Levels: These floors include our core exhibits, administrative offices, and the research lab. Our first major exhibit is called Rhythms of Joy. It flips the script on traditional African American museums. Many museums start with the trauma of the Middle Passage. But our story didn’t start there—it started on the continent, where we were in control, thriving, joyful. So when you walk into our space, you’ll walk into music and dancing. Don’t get it twisted—we’ll still go there—but we’ll start from a place of power and pride.
Level Four: Reserved for special events.
Level Five: This is our 12-room boutique hotel, with rooms priced around $350 per night. We’ll showcase Black art, Black hospitality—and collaborate with the St. Philip’s HBCU Hospitality Program. Students will be able to work there and experience what true hospitality feels like. When you walk into this space, you’ll feel welcome. You’ll know you belong.
Rooftop Terrace: We’ll also have rooftop space for activations and events.
Q: How much does it take to build the new museum?
Deborah: I’m so glad you asked. It’s going to cost north of $70 million. About 25% of that will be covered by historic tax credits since both buildings are historic properties. That leaves us with roughly $60 million to raise.
We’ve already spent around $2 million just on cleaning and prep. The Crest building hadn’t been occupied since the late ’90s. The Grant building was vacated more recently by the Children’s Museum, but it’s still been empty for about 10 years. Mold cleanup, sewer repairs—it’s been a lot.
We’re currently in the middle of a full capital campaign. You can support us by visiting our website at https://saaacam.donation.veevartapp.com/donation/view/home and hitting that donate button. You can also call or email me at admin@saaacam.org. We’re giving tours as well. Whether you’re local or not, we welcome everyone’s support. This is a legacy project.
Q: What political and economic challenges are you facing in your fundraising efforts?
Deborah: One local philanthropist recently told me that funders think our vision is “too ambitious.” Some question whether we’re straying from our mission by adding an event space, hotel, and even a parking lot.
But I point them to the Witte Museum or the Tobin Center. The Maze Center was built specifically as an event space to generate revenue for the Witte. The Tobin built a parking structure for the same reason. So why are we any different? You and I already know that answer.
Fortunately, we’re finding that non-local philanthropy sees and believes in our vision. They’re excited about it—and they’re stepping up.
Q: What has support looked like outside of San Antonio and Texas?
Deborah: That’s a big question—and it really speaks to the Black San Antonio experience. I have conversations all the time with people like you who are ambitious, committed, and doing amazing work, but can’t get the local support they need to grow and thrive.
Outside of San Antonio? The support has been incredible. Eli Lilly, based in Indianapolis, gave us a $2.5 million grant. The Smithsonian and the National Museum of African American History and Culture are strong partners. We meet with museum teams in every city we visit—African American museums, Holocaust museums, human rights museums. We sit down with their CEOs, their historians, their archivists. We’re learning from everyone.
Q: What are your top two museums to visit?
Deborah: Well, I'm always going to suggest that you visit the Smithsonian National Museum of African American History and Culture. And I’d recommend you spend at least three days there—literally. You need that time to truly take it all in.
The second one is the Legacy Museum in Montgomery, Alabama. It’s absolutely incredible. That experience alone will take you all day, if not more. And paired with it is the National Memorial for Peace and Justice—what some people refer to as the lynching memorial. It’s a lot to process. Walking through that space, seeing those large boulders suspended from the ceiling with the names of lynched individuals—many of them unknown—is powerful and sobering. Seeing multiple names or multiple “unknowns” listed on the same day really forces you to pause and think: What happened in that county on that day?
Q: Black travelers spend well over $50 billion annually. With SACAM set to open its new location in 2026, how do you plan to attract Black travelers to a city not often associated with Black culture?
Deborah: We’re changing that narrative. That’s the work we’re doing—absolutely. And I say “we” because it’s a collaborative effort.
I'm on the board of Visit San Antonio, and believe me, they hear from me often. I’ve told them, “If you’re going to have me on this board, I’m going to ask you: Where are my people in this?”
At our last membership meeting, I was thrilled to hear them acknowledge just how much money Black travelers are spending—and more importantly, what needs to happen in response. It takes time, y’all. It really does. But progress is happening.
This year marks a milestone anniversary for the Green Book, and Visit San Antonio is working with our team to highlight that history. San Antonio had over 80 Green Book locations—places where Black travelers could safely stay and be welcomed. We’re making sure that story is told.
They’re also working with us to highlight DreamWeek, Juneteenth, and our Legacy Awards Ball, which kicks off DreamWeek. So yes, we are working closely with the city to show there’s so much more to San Antonio than what’s usually advertised.
Q: Let’s talk about your travel experiences. You recently went to Scotland—what was that like?
Deborah: I went with Chef Nicola Blaque, through an invitation from Visit San Antonio. We were there to explore how African diaspora foodways can bring people and cultures together.
Many people don’t realize how deeply tied Scotland is to colonialism. Liverpool was one of the largest ports used to ship enslaved Africans. The University of Glasgow, which hosted us, has been doing powerful work to reckon with its past. In 2015, they created a center for the study of enslaved people—named after a woman who had been enslaved by the university’s headmaster.
Their work is inspiring. The whole idea was to use food as an entry point to talk about legacy, history, and healing.
Q: Final question—what do you think you’ll feel when you walk into the new SAAACAM on opening day in 2026?
Deborah: Joy. Absolute joy. This is our space. It will be a cultural icon—an expression of Black excellence and belonging.
Watch the Full Conversation
To hear the full interview and explore more of Deborah Jarman’s powerful insights on legacy, culture, and community, watch the complete episode on The Layover Podcast on the Culture Travels Media’s YouTube channel.
