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One of the more famous African American potters during the Civil War times in the United States was David Drake (Burrison, 2012). Until he became emancipated he was known simply as Dave or Dave the Slave (Burrison, 2012). In 1801, Dave was born in the United States under his first owner Harvey Drake (Burrison, 2012). Harvey Drake is the most probable person to have taught young Dave how to read and write because of his belief that God gave him the responsibility to help his servants, or slaves how to read the word of God (Burrison, 2012). Many of his pieces are signed and dated, some have short facts about the piece, and others have short poems (Burrison, 2012). The words written on the pottery seems to have been inscribed while it was barely damp greenware (Burrison, 2012). Harvey Drake died in 1832 and in 1834, the South Carolina General Assembly passed a regulation that made it illegal for slaves to be taught how to read and write (Burrison, 2012). In 1840, after passing from one master to another Dave was finally given to Lewis Miles (Burrison, 2012). Dave was one of the few enslaved potters to be allowed to sign the ceramic pieces he produced during his enslavement under Lewis Miles (Burrison, 2012). On one piece Dave inscribed the words "LM says handle will crack" (Chaney). These words mean much more than what is written. It shows that Dave knew what he was doing and possibly even knew more than his master LM, Lewis Miles (Chaney). It seemed that Dave who was an enslaved man was the master, and his master was the fool because the handle, to date, has never cracked (Burrison, 2012). Dave Drake continued to sign his name and sometimes writing poetry on his pottery even though the law had been passed that made it illegal (Burri...
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...with a function in mind or even a purpose. Odundo's ceramic pieces are more of a contemporary conceptual idea of the human body transcribed to clay and made into a vessel.
Works Cited
British Museum. (2000). Magdalene odundo, ceramic vessel. Retrieved from http://www.britishmuseum.org/explore/highlights/highlight_objects/aoa/m/magdalene_od undo,_ceramic_vess.aspx
Burrison, J. A. (2012). South carolina’s edgefield district: an early international crossroads of clay. Retrieved from http://www.asjournal.org/archive/56/213.html
Chaney, M. A. (n.d.). The concatenate poetics of slavery and thearticulate material of dave the potter . Retrieved from http://www.academia.edu/1904635/The_Concatenate_ Poetics_of_Slavery_and_the_Articulate_Material_of_Dave_the_Potter
Slayter-Ralph, A. (n.d.). Magdalene odundo. Retrieved from http://magdaleneodundo.com/
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Douglass was taught the alphabet by his master’s wife he didn’t approve because “it is the wish of most masters within my knowledge to keep their slaves thus ignorant...
In the pre-Civil War plantations of the South, slaves were forbidden to read or write. In other words, they were forced to be ignorant and locked in mental darkness. In the Narrative of the Life of Frederick Douglass, he writes in dept about his life as a slave in these plantations. After leaning the ABC's and learning to spell words consisting of three or four letters from Ms. Auld, Frederick Douglass illustrates how he secretly taught himself how to read and write using various strategies such as: Learning the letters on the timber at Durgin and Bailey's ship yard, getting lessons from the white boy's he met on the street, Webster's Spelling Book, and master Thomas's copy-book. Frederick Douglass furthermore illustrates how he held his Sabboth School, teaching other slaves how to read and write. Learning to read and write provided Frederick Douglass with the empowerment to free himself from physical and intellectual enslavement.
I recently visited the American History museum and came upon the most interesting artifact in the Lighting a Revolution section within the Transportation and Technology wing of the museum. This artifact is an advertisement from Charleston, South Carolina in 1769 about the selling of “a choice cargo” of two hundred and fifty slaves.
The community of the American Colonies in the 16th to 17th century shared ideas and ways of life with one another. “The colonist came from many countries—England, France, Holland, Germany, and Spain. They brought with them their different customs and skills” (Corwin 7). Together they learned to formulate and develop items. Home crafts are gender specific; typically women became the ones who wove, sewed, embroidered, and quilted; while the men cleared land, farmed, cut wood, butchered and hunted animals. In colonial America, home crafts became not just decoration or a hobby, but a thrifty use of leftover resources, a way of life, rebellion, and a huge role in women’s history.
When his father died in 1826, ownership of Frederick and the other slaves went to Anthony’s son-in-law Thomas Auld. Thomas sent Frederick to work for his brother Hugh Auld and his wife Sophia, in Baltimore, Maryland. They wanted a companion for their toddler son. Frederick spent his days entertaining and taking care of Thomas. Sophia taught Frederick his ABC’s until her husband discovered what she was doing and ended the lessons. Frederick decided nothing would keep him from learning to read and write. He carried a Webster’s spelling book with him and asked poor white neighbor children to teach him words in exchange for bread.
Being a resident of South Carolina, African-American Culture was chosen as part of the applied learning project for the Intercultural Nursing class, because African-Americans make up more than a quarter of this state’s population. According to the 2010 United States Census Bureau, the total population for South Carolina (S.C.) is 4,625,364, with 27.9% being of African-American descent. The purpose of this paper is to develop an understanding and sensitivity to issues and cultural variances or phenomena that are unique to the African-American Culture. Another goal is to identify nursing interventions that are important for the nurse to consider in caring for this population. These phenomena’s include variances in social organization, communication, space, perception of time, environmental control, and biological variations associated with the African-American culture. (Giger, 2013 and South Carolina minority, n.d.)
Michael Twitty is a food writer and culinary historian best known for preparing, preserving and promoting African American food ways and its origins in Africa. He emphasizes how African food culture has made a great impact on the American South. His cooking helped him to learn about his identity and culture. He describes “identity cooking” a way to better understand him and his culture as a Jewish-African American. A project he developed called “The Cooking Gene” is what he explains as a means of “exploring my family history through food, from Africa to America, from slavery to freedom.” Race, food and ethnicity all have a more complex and cultural meaning especially when fused together. Different
In the article of “Exhibiting Intention: Some Preconditions of the Visual Display of Culturally Purposeful Objects”, the author, Michael Baxandall mainly discussed interrelationship within the group of three agents upon their influence and reflect of the artifacts in the museum, and the understanding of culture elements behind the display. In the first part of this paper, I will identify the points of view of the author. In the second part, I will analyze the layout of the gallery, “Imagining the Underground” in Earth Matters in Fowler Museum in UCLA. Several discussion related to the settings of the museum and the article will be discussed interactively. In general, this paper tries to show the robustness and the weakness of Baxandall’s model, which will specified.
Before there was a United States of America, there were tribes of Native Americans living off the land. In the southeastern part of the country, the largest group of Native Americans were the Cherokee people (Boulware, 2009). Cherokees are networked through vast kinship lines that separates them from other tribes in the region (Boulware, 2009). They once occupied a territory that ran throughout the Appalachian Mountains (Boulware, 2009). Cherokees spoke a common language known as Iroquoian, different from the surrounding tribes (Boulware, 2009).
Many African cultures see life as a cycle we are born, we grow and mature, enter adulthood, and one day we will eventually die but the cycle continues long after death. In Africa art is used as a way to express many things in their society, in this paper I will focus on different ways traditional African art are used to describe the cycle of one’s life. Since Africa is such a large continent it is important to keep in mind that every country and tribe has different rituals and views when it comes to the cycle of life. It is estimated to be well over a thousand different ethnic groups and cultures in Africa today. Thousands of cultures in Africa see the stages of life bound together in a continuous cycle; a cycle of birth, growth, maturity,
For example, the Chi Wara is a ceremonial object. The Chi Wara is from the Bamana people, who used the visuals of dance as well in their art. The Chi Wara is a mystical, zoomorphic, animal headpiece that encompasses an antelope, anteater, and human. It is said to bring favors of fertility, agri...
I am the master of the elements but I am not the master of myself. I am Dave the potter and I am also an African American slave. I know nothing more than Edgefield, South Carolina but my pottery is my connection to other lands. It is also a job and lifestyle that keeps me grounded. Pottery is my body and it is my voice.
The people on the cartoon are European characters representing their own country by how they are dressed. African culture is so diverse between each country and each area of a country that every part of Africa is truly unique. In the 1800s Africa was lacking behind in technology compared to other continents like Europe which led to them being controlled by European countries. Invasion by European countries has influenced African culture in many ways from art, dance and music. Most African style music reflects on things “like gospel, jazz, and, but often have a strong local flavor” brining even more diversity in their culture (our-africa). Many tribal cultures have rich oral traditions like stories, poems and epics which were learned and recited
In the slippery terrain created by globalization and cultural brokering, contemporary art made in Africa (and its diasporas) has enjoyed a steady growth in interest and appreciation by Western audiences during the last few decades (Kasfir, 2007). Several biennials, triennials, and scholarly works attest to that, with much of its impact owed to the figure of Okwui Enwezor. However, seamlessly uniting diverse African artists under the untrained Western gaze for the commercialism of the international art circuit – notwithstanding their different cultural contexts and the medium in which they work – is bound to create problems. Enwezor’s and other authors’ sophisticated publications and curatorial works show both the vitality and issues still to be addressed in this field of study (Ogbechie, 2010).
The forest not only hides man's enemies but it’s full of man's medicine, healing power and food. ~African Proverb.