Image Credits, the Making of African
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Elizabeth Keckley, Confidante to Mary Todd Lincoln Lady Edison?” It Was Rare Enough to Be a How Would a Child Born a Ter’S Son As a Wedding Gift
Vol. 11, Issue 2 Dr. Jeanne Ramirez Mather, Ed. March 2009 Who was called “The Elizabeth Keckley, Confidante to Mary Todd Lincoln Lady Edison?” It was rare enough to be a How would a child born a ter’s son as a wedding gift. While well known for her self- woman inventor in the 1800s, slave in Virginia grow up to Liz suffered various episodes of centeredness and unstable tem- but combine that with only an become the confidante to Mary abuse as a young slave, it was perament, but unlike most Liz elementary school education, Todd Lincoln? Since 2009 is between age fourteen and twenty- could see past all of this. Ap- and starting a career of inventing the bicentennial of Abraham four that she bore the brunt of both parently Liz recognized that as a child, and it becomes obvi- Lincoln’s birth, it seems appro- physical and sexual abuse, result- Mary’s life as a child was any- ous how Margaret Knight even- priate to introduce the reader to ing in her one and only child, a thing but perfect, and that they tually would be referred to as the child born Elizabeth son. shared an unhappy childhood. “The Lady Edison.” Born in Hobbs. Eventually she went back to Liz eventually would be in 1838 in Maine, Mattie was At her birth, Liz was con- live with her master’s widow and charge of caring for the Lincoln raised with her two older broth- sidered the daughter of literate children, and develop into ers by her mother. -
Racial Identity in Women's Life Writing of The
University of Kentucky UKnowledge Theses and Dissertations--English English 2018 AMERICAN MNEMONIC: RACIAL IDENTITY IN WOMEN’S LIFE WRITING OF THE CIVIL WAR Katherine Waddell University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2018.169 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Waddell, Katherine, "AMERICAN MNEMONIC: RACIAL IDENTITY IN WOMEN’S LIFE WRITING OF THE CIVIL WAR" (2018). Theses and Dissertations--English. 71. https://uknowledge.uky.edu/english_etds/71 This Doctoral Dissertation is brought to you for free and open access by the English at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--English by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Music and the American Civil War
“LIBERTY’S GREAT AUXILIARY”: MUSIC AND THE AMERICAN CIVIL WAR by CHRISTIAN MCWHIRTER A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Christian McWhirter 2009 ALL RIGHTS RESERVED ABSTRACT Music was almost omnipresent during the American Civil War. Soldiers, civilians, and slaves listened to and performed popular songs almost constantly. The heightened political and emotional climate of the war created a need for Americans to express themselves in a variety of ways, and music was one of the best. It did not require a high level of literacy and it could be performed in groups to ensure that the ideas embedded in each song immediately reached a large audience. Previous studies of Civil War music have focused on the music itself. Historians and musicologists have examined the types of songs published during the war and considered how they reflected the popular mood of northerners and southerners. This study utilizes the letters, diaries, memoirs, and newspapers of the 1860s to delve deeper and determine what roles music played in Civil War America. This study begins by examining the explosion of professional and amateur music that accompanied the onset of the Civil War. Of the songs produced by this explosion, the most popular and resonant were those that addressed the political causes of the war and were adopted as the rallying cries of northerners and southerners. All classes of Americans used songs in a variety of ways, and this study specifically examines the role of music on the home-front, in the armies, and among African Americans. -
The Color Line in Ohio Public Schools, 1829-1890
THE COLOR LINE IN OHIO PUBLIC SCHOOLS, 1829-1890 DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By LEONARD ERNEST ERICKSON, B. A., M. A, ****** The Ohio State University I359 Approved Adviser College of Education ACKNOWLEDGMENTS This dissertation is not the work of the author alone, of course, but represents the contributions of many persons. While it is impossible perhaps to mention every one who has helped, certain officials and other persons are especially prominent in my memory for their encouragement and assistance during the course of my research. I would like to express my appreciation for the aid I have received from the clerks of the school boards at Columbus, Dayton, Toledo, and Warren, and from the Superintendent of Schools at Athens. In a similar manner I am indebted for the courtesies extended to me by the librarians at the Western Reserve Historical Society, the Ohio State Library, the Ohio Supreme Court Library, Wilberforce University, and Drake University. I am especially grateful to certain librarians for the patience and literally hours of service, even beyond the high level customary in that profession. They are Mr. Russell Dozer of the Ohio State University; Mrs. Alice P. Hook of the Historical and Philosophical Society; and Mrs. Elizabeth R. Martin, Miss Prances Goudy, Mrs, Marion Bates, and Mr. George Kirk of the Ohio Historical Society. ii Ill Much of the time for the research Involved In this study was made possible by a very generous fellowship granted for the year 1956 -1 9 5 7, for which I am Indebted to the Graduate School of the Ohio State University. -
Texts Checklist, the Making of African American Identity
National Humanities Center Resource Toolbox The Making of African American Identity: Vol. I, 1500-1865 A collection of primary resources—historical documents, literary texts, and works of art—thematically organized with notes and discussion questions I. FREEDOM pages ____ 1 Senegal & Guinea 12 –Narrative of Ayuba Suleiman Diallo (Job ben Solomon) of Bondu, 1734, excerpts –Narrative of Abdul Rahman Ibrahima (“the Prince”), of Futa Jalon, 1828 ____ 2 Mali 4 –Narrative of Boyrereau Brinch (Jeffrey Brace) of Bow-woo, Niger River valley, 1810, excerpts ____ 3 Ghana 6 –Narrative of Broteer Furro (Venture Smith) of Dukandarra, 1798, excerpts ____ 4 Benin 11 –Narrative of Mahommah Gardo Baquaqua of Zoogoo, 1854, excerpts ____ 5 Nigeria 18 –Narrative of Olaudah Equiano of Essaka, Eboe, 1789, excerpts –Travel narrative of Robert Campbell to his “motherland,” 1859-1860, excerpts ____ 6 Capture 13 –Capture in west Africa: selections from the 18th-20th-century narratives of former slaves –Slave mutinies, early 1700s, account by slaveship captain William Snelgrave FREEDOM: Total Pages 64 II. ENSLAVEMENT pages ____ 1 An Enslaved Person’s Life 36 –Photographs of enslaved African Americans, 1847-1863 –Jacob Stroyer, narrative, 1885, excerpts –Narratives (WPA) of Jenny Proctor, W. L. Bost, and Mary Reynolds, 1936-1938 ____ 2 Sale 15 –New Orleans slave market, description in Solomon Northup narrative, 1853 –Slave auctions, descriptions in 19th-century narratives of former slaves, 1840s –On being sold: selections from the 20th-century WPA narratives of former slaves, 1936-1938 ____ 3 Plantation 29 –Green Hill plantation, Virginia: photographs, 1960s –McGee plantation, Mississippi: description, ca. 1844, in narrative of Louis Hughes, 1897 –Williams plantation, Louisiana: description, ca. -
African Studies Association 59Th Annual Meeting
AFRICAN STUDIES ASSOCIATION 59TH ANNUAL MEETING IMAGINING AFRICA AT THE CENTER: BRIDGING SCHOLARSHIP, POLICY, AND REPRESENTATION IN AFRICAN STUDIES December 1 - 3, 2016 Marriott Wardman Park Hotel, Washington, D.C. PROGRAM COMMITTEE CHAIRS: Benjamin N. Lawrance, Rochester Institute of Technology William G. Moseley, Macalester College LOCAL ARRANGEMENTS COMMITTEE CHAIRS: Eve Ferguson, Library of Congress Alem Hailu, Howard University Carl LeVan, American University 1 ASA OFFICERS President: Dorothy Hodgson, Rutgers University Vice President: Anne Pitcher, University of Michigan Past President: Toyin Falola, University of Texas-Austin Treasurer: Kathleen Sheldon, University of California, Los Angeles BOARD OF DIRECTORS Aderonke Adesola Adesanya, James Madison University Ousseina Alidou, Rutgers University Souleymane Bachir Diagne, Columbia University Brenda Chalfin, University of Florida Mary Jane Deeb, Library of Congress Peter Lewis, Johns Hopkins University Peter Little, Emory University Timothy Longman, Boston University Jennifer Yanco, Boston University ASA SECRETARIAT Suzanne Baazet, Executive Director Kathryn Salucka, Program Manager Renée DeLancey, Program Manager Mark Fiala, Financial Manager Sonja Madison, Executive Assistant EDITORS OF ASA PUBLICATIONS African Studies Review: Elliot Fratkin, Smith College Sean Redding, Amherst College John Lemly, Mount Holyoke College Richard Waller, Bucknell University Kenneth Harrow, Michigan State University Cajetan Iheka, University of Alabama History in Africa: Jan Jansen, Institute of Cultural -
Ayuba Suleiman Diallo
Black History Month: Ayuba Suleiman Diallo - The Enslaved African Muslim Whose Significance To British Muslim History Would Lead Centuries Later To a National Campaign To Stop His Portrait Being Sold Abroad By: Dr. Muhammed Al-Ahari In the third of our four-part series to mark this annual event, Dr. Muhammed Al-Ahari details the extraordinary life of Ayuba Suleiman Diallo, an African American Muslim who “wrote his way out of slavery.” Ayuba Suleiman Diallo was an enslaved trader and scholar who is mentioned in slavery literature as Job Ben Solomon. His 1734 biography makes his life the most accessible of these early Muslims and perhaps its the first biography of any African American. It was certainly the first slave narrative advertised for sale [2]. Bluett’s “The Narrative of Job Ben Solomon” [3] is an understudied text which is at the same time the start of British- African, African American and Muslim American literature. Though less than 60 pages it provides details of West African lives in the early 18th century and includes details about agriculture, trade, religious life, education, clothing, leadership and wildlife. Diallo’s painting by William Hoare of Bath in 1733 Bluett, an attorney and church minister, befriended Diallo and wrote that he was a highly literate Arab scholar who came from a wealthy and aristocratic family in Bundu, West Africa. Three copies of the Qur’an are attributed to him during his stay in England following his emancipation by James Oglethorpe, the British founder of the colony of Georgia. It is claimed he wrote the copies of the Qur’an from memory, drew a map of West Africa with names written in Arabic and wrote a dozen short letters. -
A TIMELINE of AFRICAN AMERICAN HISTORY in BUFFALO, NY 1790-PRESENT Ince Our Inception, Buffalo Bike Tours Has Sought to Amplify Buffalo’S Lesser Known Histories
CELEBRATE BUFFALO BLACK HISTORY A TIMELINE OF AFRICAN AMERICAN HISTORY IN BUFFALO, NY 1790-PRESENT ince our inception, Buffalo Bike Tours has sought to amplify Buffalo’s lesser known histories. This February (2021), in light Sof Black History Month and our commitment to the Black Lives Matter movement, we present a series of 4 articles on our city’s black history of resistance and resilience. Want to learn more? Buffalo Bike Tours can provide private tours themed around black history. We are also developing tours for younger audiences. For school field trips on Buffalo black history by bike, bus, or foot, see our website or contact us for more information on hosting your class. BUFFALO BIKE TOURS BUFFALOBIKETOURS.COM [email protected] (716) 328-8432 2 1790-1900 EARLY HISTORY OF BUFFALO’S BLACK COMMUNITY rior to the war of 1812, Buffalo was a pioneer town with a population of just under 1,500. PBuffalo’s first black citizens lived alongside early settlers and largely resided in the Fourth Ward. Buffalo’s black population faced many adversities but experienced more freedom than many other parts of the country. New York State was one of the more liberal states and enacted policies, such as abolishing slavery in 1827. Still, life in Buffalo was far from perfect for black families in the 1800s. Due to its proximity to the Canadian border, Professor Wilbur H. Siebert’s underground railroad of WNY map Buffalo soon became a key part of the underground railroad: it was the last stop before reaching freedom. The city became known to conductors around the country as a network of “stations” were established. -
Benjamin Lundy, Abolitionist
BENJAMIN LUNDY, ABOLITIONIST FRED LANDON Here was a man, without education, without wealth . ... who had under- taken, single-hai).ded and without the shadow of a doubt of his ultimate success, to abolish Amencan slavery. Macy, The Anti-Slavery Crusade. HE stude?t of Ameri~ history, _whose field of investigation T lies within the twenttes and thtrttes of the last century, finds the name of Benjamin Lundy appearing in many records. At a time when the older America seemed to be breaking up and when all its people seemed to be on the move, he was as restless as any. In 1830 he could say that he had travelled more than 5,000 miles on foot and more than 20,000 miles in other ways, that he had visited 19 states, and had made two voyages to Hayti. Within the next five years he added to this record three journeys to Texas and the southwest, and a journey through the western part of Upper Canada. His purpose never varied. While others might seek wealth or adventure, he was seeking a solution for the national problems in volved in slavery, and he was particularly seeking the means by which the lot of the negro race in America might be improved. As a pioneer in the abolitionist movement, as the most active propagandist of anti-slavery ideas during the twenties, and as the agent through whom William Lloyd Garrison was first enlisted in the cause, it is strange that he has had so little recognition given to his efforts. A patchwork sort of biography issued eighty years ago, casual references in larger histories, and two or three brief magazine articles alone record Lundy's activities. -
Early African American Photography
In a New Light 7 Review Essay In a New Light: Early African American Photography Tanya Sheehan THE CAMERA AND THE PRESS: American Visual and Print Culture in the Age of the Daguerreotype. By Marcy J. Dinius. Philadelphia: University of Pennsylvania Press. 2012. PICTURES AND PROGRESS: Early Photography and the Making of African American Identity. Edited by Maurice O. Wallace and Shawn Michelle Smith. Durham: Duke University Press. 2012. EMBODYING BLACK EXPERIENCE: Stillness, Critical Memory, and the Black Body. By Harvey Young. Ann Arbor: University of Michigan Press. 2010. DELIA’S TEARS: Race, Science, and Photography in Nineteenth-Century America. New Haven: Yale University Press. 2010. In 2000, art historian, curator, and artist Deborah Willis presented Reflections in Black, the first major history of photography in the United States to foreground early African American photography. In the three years that the exhibition toured 0026-3079/2013/5203-007$2.50/0 American Studies, 52:3 (2013): 007-024 7 8 Tanya Sheehan the country, and in the decade that its catalogue has been read avidly by students, historians, and practitioners of photography, Reflections in Black has exercised a powerful influence on how we think about photographic self-representation within the African American community. Willis taught us how to look for and at images that did not grossly caricature black bodies but instead “celebrated the achievements” of black subjects and “conveyed a sense of self and self-worth” (Willis, xvii). The placement of cameras in black hands, she argued, made such counter-representation possible; writing a different history of African American life and culture therefore depended on rediscovering the first black photogra- phers. -
University Microfilms International 300 N
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. -
The First Daguerreotype Made of John Brown the Militant Abolitionist Which Recently Resurfaced Among Descendants Sold at Auction
Daguerreotype of John Brown in the news by Jean Libby The first daguerreotype photograph of John Brown the militant abolitionist recently resurfaced among descendants in Ohio who placed it for auction for medical expenses. It sold at auction for $97,750, purchased by the Hall Foundation for the Nelson-Atkins Museum in Kansas City, Missouri. Public viewing began in March 2008. http://www.nelson- atkins.org/images/PDF/press/2008%2003%2003%20John%20Brown%20Media%20Advisory. pdf The image auctioned on December 7, 2007, was originally owned by Annie Brown Adams, the daughter of John Brown who spent the summer of 1859 at a Maryland farmhouse while her father gathered weapons and men to raid the government arsenal at Harpers Ferry. This compares with the auction price of $115,000 in 1996 when the second daguerreotype, which shows Brown with his hand upraised taking an oath on an abolitionist banner, was found mislabeled in Pennsylvania. Both were photographed by Augustus Washington, an African American daguerreotypist in Hartford, Connecticut, in 1846 or 1847. The second daguerreotype (photographed within in a short period of time, but not on the same day), was purchased by the National Portrait Gallery with funds donated from descendants of Free-State militia who fought alongside John Brown in Kansas in 1856. http://www.civilwar.si.edu/slavery_brown1.html The writer of this article is the private historian who undertook gathering and digitizing the John Brown portraits from many archives and personal collections over a period of years. They were examined by N. Eileen Barrow of the FACES Laboratory (Forensics Anthropology and Computer Enhancement Services) at Louisiana State University in Baton Rouge in June 2003.