The Amistad Affair: Problem Solving Applied Through Theater
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"I Began to Realize That I Had Some Friends:" Hardship, Resistance, Cooperation, and Unity in Hartford's African American Community, 1833-1841
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2016 "I Began To Realize That I Had Some Friends:" Hardship, Resistance, Cooperation, and Unity in Hartford's African American Community, 1833-1841 Evan Turiano Trinity College, Hartford Connecticut, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the African American Studies Commons, American Studies Commons, and the History Commons Recommended Citation Turiano, Evan, ""I Began To Realize That I Had Some Friends:" Hardship, Resistance, Cooperation, and Unity in Hartford's African American Community, 1833-1841". Senior Theses, Trinity College, Hartford, CT 2016. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/594 “I Began To Realize That I Had Some Friends:” Hardship, Resistance, Cooperation, and Unity in Hartford’s African American Community, 1833-1841 Evan A. Turiano 25 April 2016 American Studies Trinity College Hartford, CT Advisor: Scott Gac Second Reader: Cheryl Greenberg Turiano 2 Table of Contents Acknowledgements………………………...……………………………………………………………………3 Maps and Illustrations. ………………………………………………………………………………………...4 Introduction...………………………………………………………………………………………………………9 Chapter One: HARDSHIP….…………………………………………………………………………………16 Chapter Two: RESISTANCE…………………………………………………………………………………32 Chapter Three: COOPERATION…………………………………………………………………………...45 Chapter Four: UNITY………………………………………………………………………………………….60 Epilogue: SACRIFICE…………………………………………………………………………………………..77 -
Black Mutiny on the Amistad 293
on Black Mutiny the Amistad SIDNEY KAPLAN a On June 28, 1839 Spanish schooner, ironically named La Amistad, sailed from Havana for Port Principe with a cargo of fifty-four African slaves. Four nights later, one rose headed by Joseph Cinque, the slaves up, killed the captain and three of the crew, and tried to steer the vessel to the coast of to as Africa. But the Spaniard they had spared serve navigator played them false. Two months later, after ascertaining that they were a in "free country," the Africans surrendered to the United on States Navy off Montauk Point Long Island. a cause The Amistad affair quickly became celebre of the anti movement. slavery In the North, where the newspapers printed was every detail of the case, there sympathy for the black mutineers and hostility against the Spanish slavetraders, who claimed in demnity for their lost slaves?"pirates who, by revolt, murder, and owners robbery, had deprived" the of their property. The aboli tionists, who defended the blacks in and out of the courts, sent one of the mutineers on a tour. On the at Kale, speaking stage Niblo's in New York the mutiny was dramatized in The Black was a Schooner, whose hero Cinque, planter of rice in the Mendi Sierra son a country of Leone, of prince, "of magnificent physique, forceful manners and commanding presence, commanding oratory." A talented young artist, William H. Townsend, drew the faces of some wax twenty of the Africans; figures of the group, "taken from the were exhibited here and life," there; and Nathaniel Jocelyn of New Haven a painted noble portrait of Cinque. -
Amistad Africans on the Abolitionist Stage
【연구논문】 Amistad Africans on the Abolitionist Stage Jewon Woo (University of Minnesota, the Twin Cities) The Amistad revolt of 1839 has become widely known to contemporary Americans since Steven Spielberg’s film Amistad was released in December 1997. As indicated by the film trailer’s last title, “A True Story,” the director aimed at representing the historic slave revolt on screen as realistically as possible.1) In fact, many reviewers have considered the film’s achievement limited to a history lesson.2) 1) Henry Louis Gates, Jr., listed as a consultant for the film, praises the film for its realistic representations such as the director’s decision to use Mende language for the African captive characters. Howard Jones, the author of Mutiny on the Amistad, often visited the set during filiming to contribute to the film’s historical accuracy. See Bruce Newman, “Remember the Amistad? The Slave Ship Revolt That History Books Forgot Gets a Spielbergian Chapter,” Los Angeles Times, March 28, 1997, http://proquest.umi.com.ezp2.lib.umn.edu/pqdweb?did=11335904& sid=9&Fmt=3&clientId=2256&RQT=309&VName=PQD. 2) As Bill DeLapp has noted, “Amistad attempts to right a historical wrong with this large-scale production of a little-known incidents, but the Africans end up being just footnotes in Spielberg’s earnest history lesson.” Bill DeLapp, untitled review, All Movie Portal.com website, no date, http://www.allmovieportal.com/m/1997 _Amistad36.html. Janet Maslin claims that the film’s accomplishment would be to secure “its place in history classrooms.” Maslin, “Pain of Captivity Made Starkly Real,” The New York Times, Dec. -
The Rhetoric of Inferiority of African Slaves in John Fawcett's
Coolabah, No.13, 2014, ISSN 1988-5946, Observatori: Centre d’Estudis Australians, Australian Studies Centre, Universitat de Barcelona The Rhetoric of Inferiority of African Slaves in John Fawcett’s Obi; or, Three-Fingered Jack (1800) Re-evaluated in Charlie Haffner’s Amistad Kata-Kata (1987) Ulrich Pallua Copyright©2014 Ulrich Pallua. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged. Abstract: John Fawcett’s Obi; or, Three-Finger’d Jack (1800) draws a distorted picture of the life of slaves in Jamaica. This paper investigates the ambivalence in this distortion as Fawcett creates two kinds of slaves by pitting them against each other: the loyal and obedient slaves (but still inferior) vs. the superstitious-ridden and rebellious slaves deeply rooted in old traditions, thus considered inferior, uneducated, immoral and dangerous. The juxtaposition of what I call ‘anglicised’ slaves instrumentalised by the coloniser and the heathen ‘savages’ that are beyond the reach of the imperial ideology enables Fawcett to substantiate the claim that Christianity successfully promotes slaves to ‘anglicised’ mimic men/women who are then able to carry out its mission: to eradicate the pagan practice of obeah, three-finger’d Jack, and all those slaves that threaten the stability of the coloniser’s superiority. Charlie Haffner’s play Amistad Kata-Kata (1987) is about the heroism of Shengbe Pieh and his fellow slaves on board the La Amistad: on their way to the colonies they revolted, were sent to prison, tried, finally freed, and taken back home after 3 years. -
THE AMISTAD REVOLT: an Historical Legacy Sierraof Leone and Theunited States Y Arthurb Abraham
1 THE AMISTAD REVOLT: An Historical Legacy Sierraof Leone and TheUnited States y ArthurB Abraham 2 INTRODUCTION In 1839, slaves aboard a ship called the Amistad revolted to secure their freedom while being transported from one Cuban port to another. Their leader was Sengbe Pieh, a young Mende man, but popularly known in United States history as Joseph Cinque. The slaves had been kidnapped mostly from the neighborhood of the Colony of Sierra Leone and sold to Spanish slavers. They eventually received their freedom in 1841, after two years’ internment in the United States awaiting the verdict of the courts regarding their “revolt.” This was the celebrated Amistad Case, an episode far better known in the United States than on the other side of the Atlantic. But the incident had a far-reaching impact on both sides, influencing the course of American history and especially the development of Afro-American culture, while, in Sierra Leone, leading to the inauguration of American missionary activity that trained many of the elite group that led the nationalist movement to achieve independence from colonial rule. 3 CAPTURE AND blacksmiths held a sacred place ENSLAVEMENT in society and could neither be enslaved engbe Pieh, the hero in this nor killed even in war. episode, was born about 1813 in All these people were shipped from the town of Mani in Upper Mende Lomboko in March aboard the schooner Scountry, a distance of ten days’ Tecora, which arrived at Havana in the march from the Vai or Gallinas coast. Spanish colony of Cuba in June. At a Said to have been the son of a local slave auction following advertisement, chief, he was married with a son and Jose Ruiz, a Spanish plantation owner, two daughters. -
The Amistad: a Detailed Timeline 1839
The Amistad: A Detailed Timeline 1839 January Sengbe Pieh (Cinque) is kidnapped and sold into slavery. Early April Portuguese ship Tecora is loaded with enslaved Africans off Lomboko. 1865 drawing depicting the capture of Africans Late June Jose Ruiz buys 49 adult male Africans for $450 each. Pedro Montes buy four children, three of them girls. June 22-26 Montes and Ruiz obtain passports to transport “ladinos” (Africans born in the New World) to Puerto Principe, Cuba. 1815 map of Cuba June 28 Ruiz, Montes, and the 53 captive Africans board La Amistad. July 1 Pieh (also known as Cinque) and Grabeau free and arm themselves, then the others. Oil painting of Pieh (1840) July 2 The captive Africans, led by Pieh, revolt around 4:00am. Engraving of the Amistad revolt (1840) Late August Amistad has several encounters with pilot boats off New York, leading to ru- mors of pirates. August 25 The Amistad anchors off Long Island and a shore party lands to get provi- sions. Sail from the reconstructed Amistad (Max Bosio) August 26 Lt. Richard W. Mead of the USS Washington seizes the Amistad and escorts it to New London in the morning. Claims a salvage award. Oil painting depicting seizure of the Amistad August 27 Amistad reaches New London, CT. At an inquiry with U.S. Federal District Judge Andrew T. Judson aboard the Washington, Ruiz and Montes demand as property the 39 surviving adult African males, the four children, and the Creole cook Antonio. Judson decides to put the matter to a grand jury at U.S. -
Slavery and Abolitionism in Connecticut
"The Hidden Springs of Prejudice and Oppression": Slavery and Abolitionism in Connecticut Author: Christopher Paul Sawula Persistent link: http://hdl.handle.net/2345/556 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2008 Copyright is held by the author, with all rights reserved, unless otherwise noted. “The Hidden Springs of Prejudice and Oppression”: Slavery and Abolitionism in Connecticut Christopher P. Sawula Advanced Independent Research Thesis Boston College Chestnut Hill, MA April 18, 2008 Advisor: Associate Professor Cynthia L. Lyerly Contents Acknowledgements i Introduction 1 One : Slavery on the Eve of The American Revolution 14 Two : “Motives of Humanity and Benevolence”: Antislavery Efforts in the Wake of the American Revolution 42 Three : “With a Zeal Which Scorns to be Weary”: Free Blacks and the Attempts at Education 67 Four : “At Hand With Error and Oppression”: Racism and Negrophobia in Connecticut 87 Five : “An Unrevealed Mystery of Iniquity”: The Legacy of Abolitionism in Connecticut 111 Selected Bibliography 130 i Acknowledgements As I unlocked the storage room in the attic and walked past the bust of Admiral George Colvocoresses for what felt like the one thousandth time, it dawned on me that I enjoyed seeing the stern face with the large mustache every morning as I came in every morning for my internship. As the collections intern for the Litchfield Historical Society, I was conducting inventory on the museum’s extensive local artifact collection. By the end of the summer, the experience had not only developed my interest in local history, but radically shifted my interests from Eastern European to American history. -
Lovejoy Schwarz Sierra Leone.Pdf
====================================== Copyright © 2014 ------------- All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the publisher. Cover design: Library of Congress Cataloging-in-Publication Data Dedicated to Christopher Fyfe (1920-2008) TABLE OF CONTENTS ====================================== List of Illustrations .................................................................................................... ix Acknowledgments ..................................................................................................... xi Preface ........................................................................................................................ xv David Richardson Chapter 1. Sierra Leone in the Eighteenth and Nineteenth Centuries .............. 1 Paul E. Lovejoy and Suzanne Schwarz Chapter 2. Liverpool Ascendant: British Merchants and the Slave Trade on the Upper Guinea Coast, 1701-1808 ..................................................................... 29 Kenneth Morgan Chapter 3. ŖKeep hur Bottom Well paid with Stuffŗ: A Letter of Instruction for a Slaving Venture to the Upper Guinea Coast in 1760 ................................ 51 Bruce Mouser Chapter 4. Robert Bostock of Liverpool and the British Slave Trade on the Upper Guinea Coast, 1769-93 ............................................................................... -
View the Exhibition Catalog for Ships of Bondage and the Fight for Freedom
CSSJ Traveling Print 131113.indd 3 11/14/13 8:28 AM Ships of Bondage and the Fight for Freedom Curatorial Statement In our imagination, ships are vessels of travel, of connections, creating networks, which compress space. We look at them as cruise vessels transporting us to places where we can explore and have holidays, or we see them as transporting cargo across vast oceans. These vessels of leisure and cargo have a history, one which we tend to forget. The forcible removal of over 12 million Africans to the Americas was one part of an international trade in human bodies. Another was the multinational enslaved human beings who were shipped in an Indian Ocean slave trade to the Cape Colony. Often times both these aspects of this global trade in human bondage are narrated as: capture; crossing the Atlantic (The Middle Passage); or traveling on the Indian Ocean; sale; plantation life or company slave. In these narratives we oftentimes elide the ships, which carried the enslaved human cargo. Who were the men -- the sailors, the captains, the navigators that were engaged with this enterprise of the sale of human flesh? What did the enslaved do on board these ships? How were the ships outfitted and transformed from vessels of trade to vessels of human bondage? Animated by these issues, we have attempted to construct an exhibition around slave ships and the world they created. All exhibitions have a perspective and so do we. For us, the voices and actions of the enslaved are central to this story and drama of human suffering.