Tuesday, February 15, 2011

The Royal African Company and the African Company



The Royal African Company was a slaving company set up by the Stuart family and London merchants once the former retook the English throne in the English Restoration of 1660. It was led by James, Duke of York, Charles II's brother.

Originally known as the Company of Royal Adventurers Trading to Africa, it was chartered by James II. Slaves were branded with the company's initials, RAC, on their chests.

Between 1672 and 1689 it transported around 90,000–100,000 slaves. Its profits made a major contribution to the increase in the financial power of those who controlled London.

In 1698, it lost its monopoly. This was advantageous for merchants in Bristol, even if, like the Bristolian Edward Colston, they had already been involved in the Company. The number of slaves transported on English ships then increased dramatically.

The Royal African Company's arms depicted an elephant and castle.The achievement was:

Arms: An elephant with a castle on his back flying thereof the red ensign, and a canton quarterly of a fleur de lys and a lion passant guardant

Crest: A crown of three leaves and two pearls, issuing therefrom the anchor of the Royal Navy per pale, between two wings Argent charged with a cross Gules, being the crest of London.

Supporters: Two negroes with feather-crowns, keeping in their exterior hands a bundle of arrows points downwards, and dressed in skirts

From 1668 to 1722 the Royal African Company provided gold to the English Mint. Coins made with this gold bear an elephant below the bust of the king and/or queen. This gold also gave the coinage its name - the guinea.

The company continued slaving until 1731, when it abandoned slaving in favour of trafficking in ivory and gold dust. Charles Hayes (1678-1760), mathematician and chronologist was sub-governor of Royal African Company till 1752 when it was dissolved. Its successor was the African Company. (source: Hubert de Vries. National Arms and Emblems: Past and Present)

A thirteen year old sharecropper in Georgia.


A thirteen year old sharecropper in Georgia.

Chapter Four: The Lash and the Loom



Past the heavy glass doors of the world's most famous jewelry store, two glimmering rings sit waiting to be selected for the proper marriage. One is a diamond-inlaid platinum band selling for $11,700, the other a matching engagement ring priced at $37,900.

Though it's not required, a bride and groom might find it easier to afford such luxury if they come from the "right" families. Such was the case with the man who, with a partner, started the world's most famous jewelry store.

Charles L. Tiffany originally sold goods in the company store to workers in his father's cotton mills in the hills of 19th century Connecticut, in a town named Killingly. He and the son of another mill owner bet a $1,000 stake they could make it in New York City.

They made it. Today Tiffany & Co. is an international business worth $3.3 billion, and a symbol of opulence and success.

That $1,000 investment - about $15,000 in today's dollars - is the start of just one of many strands of wealth created by the booming New England textile industry in the 19th century, an explosion that helped turn Connecticut from a colonial outpost of farms and villages into a center of manufacturing and international trade. Behind this transition were men of ingenuity and vision who invented the machinery, built the mills and developed revolutionary industrial processes.

What kept the mills humming were thousands of immigrant men, women and children who worked under often-dreadful conditions.

And what made it all possible were hundreds of thousands of slaves who, toiling for free under even worse conditions but at a convenient distance hundreds of miles away, provided the raw material: Cotton.

Before 1820, Connecticut's main export was food and drink. Most clothing, made from wool or linen, was woven at home.

Within 20 years, wool and cotton were the state's top products, and by 1850, tiny Connecticut ranked fifth in the nation in the number of cotton mills. By the Civil War, the state was producing wool and cotton goods worth nearly $14 million a year, not including the mills making thread, yarn and other cotton products.

The fortunes of Charles Tiffany and John Young and countless others who made names for themselves in Connecticut as merchants, manufacturers and traders have their roots in what Charles Sumner, abolitionist and later a senator from Massachusetts, called an "unhallowed union ... between the cotton planters and fleshmongers of Louisiana and Mississippi and the cotton spinners and traffickers of New England - between the lords of the lash and the lords of the loom."

"The first industrial spy"

Samuel Slater grew up in a small mill town near Manchester, England. At 14, he went to work in a factory and for six years learned every aspect of cotton manufacture, including how to build and operate the spinning loom introduced by Richard Arkwright in 1768. Arkwright's innovation helped produce the first sturdy cotton yarn. Though Slater eventually became a mill manager, he soon decided he could find better opportunities in America.

In the years after the American Revolution, Britain strictly protected its textile industries, banning the export of any related technology and the emigration of anyone with expertise in the field. So Slater knew he was breaking the law when, in 1789, he disguised himself as a farmer and slipped past British agents to sail for New York. He had the plans for the Arkwright loom in his head.

Slater, whom Putnam town historian Robert Miller calls "the first industrial spy," arrived in Rhode Island and created America's first Arkwright-style mill in a small shop in Pawtucket. "Slater system" operations soon sprang up on streams all over the state. He moved into eastern Connecticut in 1804, buying 2,000 acres and the right to use power along the Quinebaug River in Putnam. His father-in-law, Oziel Wilkinson, followed the next year, buying the Pomfret Manufacturing Co.

Slater created more than an industry; he created a way of life in southern New England. Each mill and its surrounding village, built around small, fast-moving streams, operated under a single extended family, and ownership and management were based on blood and marriage ties, says Barbara Tucker, a Slater biographer and history professor at Eastern Connecticut State University. Families who lived in the mill villages supplied the labor, including children as young as 7, and often shopped in a company store and attended company schools and churches.
By and large, the mill owners saw no conflict between reliance on slave labor for their raw materials and a morality that had begun to condemn the ownership of one human being by another.

"They separated their conscience from profit," says Myron Stachiw, an archaeologist, college professor and expert on Rhode Island's textile industry. And those profits were large. When Slater died in 1835, his estate was worth $9 million - more than $153 million today.
Some Rhode Island textile manufacturers who were abolitionists had family ties to the slave trade. One of Slater's original partners, Moses Brown, whose family helped endow Brown University, lobbied for the emancipation of slaves while his brother, John, continued the family business of slave trading.

Though moral sentiment in New England turned increasingly against slavery in the 1800s, outright opponents of the system who were willing to live out their beliefs were rare. They were akin to the modern consumer who declines to buy shoes made by child labor or a blouse sewn in a sweatshop. Jesse Garrettson Baldwin, a native of Meriden, was one: He became a peddler in the South and returned to his home state committed to the abolitionist cause.

"He was obsessive about his anti-slavery views," says historian Elizabeth Ann Warner, author of "A Pictorial History of Middletown." "He would not use cane sugar because it was produced by slave labor. There were stories about him carrying his own lump sugar with him when he traveled. And he refused to wear spun clothing." Baldwin's webbing business in Middletown used cotton grown on a settlement where all the workers were free. He also made certain that the canvas for the sails of his schooner was produced by free labor.

"Apply to Mr. Whitney"

Many historians cast Eli Whitney, inventor of the cotton gin, as the man who crowned "King Cotton." But an exasperated William Brown, director of the Eli Whitney Museum in Hamden, insists the story is not that simple.

The cotton gin "made short-staple cotton more profitable, but it did not revive slavery by itself," Brown says. "It made cotton fiber less expensive. ... It's a bit like saying net stockings led to prostitution."

What's indisputable is that Whitney's timing was perfect. His gin came six years after the Constitutional Convention, which had postponed any federal regulation of the slave trade until 1808. At the time of the convention in 1787, cotton was largely a coastal crop, and many Southern plantations were struggling to survive.


Whitney's invention in 1793 revolutionized cotton product

***

Wednesday, February 9, 2011

Greensboro Lunch Counter Reinstallation




Mark Auslander (Anthropology/Cultural Production, Brandeis University) discuses the recent re-installation of the Greensboro lunch counter (site of an important civil rights sit-in in 1960) at the National Museum of American History in Washington D.C. What is gained and lost through the repositioning of this important historical object of memory?

***

Woolworth Lunch Counter



A History Lost and Found video clip on the Woolworth Lunch Counter which was one of the focal points of the Civil Rights movement.

Monday, February 7, 2011

Slavery Paintings Coming Down from Atlanta State Office

Murals of slavery coming down from Atlanta office


According to the Associated Press article from Monday, 03 January 2011, by Ray Henry: The 4-by-7-foot mural in the Department of Agriculture lobby "... of slaves harvesting sugar cane on a Georgia plantation and picking and ginning cotton are coming off the walls of a state building on the order of a new agriculture commissioner."

The murals are part of a collection of eight works painted by George Beattie in 1956 depicting an idealized version of Georgia farming,

from the corn grown by prehistoric American Indians to a 20th-century veterinary lab. In the Deep South, the history in between includes the forced use of slave labor.


“I don't like those pictures,” said Republican Gary Black, the newly elected agriculture commissioner. “There are a lot of other people who don't like them.”



AG Commissioner Gary Black is Shocked and Outraged that Georgia had agricultural slave labor on stolen Indian land.

Slavery was indisputably part of 19th-century farming in Georgia. By 1840, more than 280,000 slaves were living in the state, many as field hands. Just before the Civil War, slaves made up about 40 percent of the state's population.


Beattie's murals tell part of the story. In one painting, two well-dressed white gentlemen in top hats and dress coats leisurely inspect processed cotton.

They're framed on either side by black slaves doing the backbreaking work of cotton farming.On the left, a slave hunches over to pick cotton bolls by hand. Two other slaves are using a Whitney gin to separate cotton fiber from seeds as a white overseer weighs cotton bags behind them.

“I think we can depict a better picture of agriculture,” Black said.

There are no signs of the whippings, beatings, shackles or brutality used to subjugate the slaves, who appear healthy, muscular, even robust.
Black said less controversial murals, a scene at a state farmers market, for example, may find a new home in a conference room or elsewhere in the building.Few have openly protested the murals, maybe because the agriculture department is not heavily visited. Black's election marks a generational shift. He will succeed Democrat Tommy Irvin, who was appointed to the post by a segregationist governor in 1969 and won re-election ever since.

Black's plans after the inauguration next month include painting rooms, cleaning offices, patching walls – and taking down those murals.A full century after the Civil War, Southerners still argue over how to handle potent symbols of slavery and segregation in public places. It's nothing new.

Georgia State Flag 1956-2001 (post Brown v. Board Decision ending school segregation)

The same year Beattie finished the murals, state lawmakers put the Confederate battle flag back into Georgia's state flag to protest integration.

Georgia State Flag 2003-present

Only in 2001 did Gov. Roy Barnes replace it, and some say it cost him the election the following year.

Those conflicts spill into art. In 2007, a black lawmaker lashed out at white colleagues for refusing to support putting a portrait of Coretta Scott King in the Statehouse beside that of her husband, slain civil rights leader Martin Luther King Jr. The sponsor suggested her white colleagues were bigoted. The opposing lawmakers argued that portraits in the capitol should be reserved for Georgia legislators.

In 1995, shortly before he died, Beattie defended his murals in a department-sponsored article that mentioned the art had spurred debate and concern among visitors and employees.

“As a human being, I am vehemently opposed to slavery, as anyone should be,” Beattie said, “but it was a significant epoch in our history; it would have been inaccurate not to include this period.”

"His paintings showing slavery could be interpreted as an indictment. They hang in a lower lobby opposite a painting of colonial founder James Oglethorpe, a utopian who dreamed of making Georgia a classless society free of slavery."

***

Perhaps, Mr. Beattie shouldn't have painted such a happy darkie narrative of slavery. In all of Mr. Beattie's murals, the enslaved labor is wearing shoes, well heeled or "likely negroes" are picking the cotton, and their clothes are well fitted and mended. As we've seen in photographs, most slaves were barefooted and dressed in rags. Furthermore, most of the picking was done by child slaves, women or older people. The strong men, loaded the bales of cotton, dug ditches, felled trees, built the railroads and roadways.

The shocking narrative isn't that there was slavery, that was well established in Georgia during the 18th Century. No, of course enslaved men, women and children were the sin qua non of Georgia agriculture and the planter plutocracy wealth. There are plenty of accounts of Georgia's slave auctions, illegal slave trading in Savannah, the convict lease system was notoriously racially abusive.

Wednesday, February 2, 2011

Brazil: An Inconvenient History



Phil Grabsky, Seventh Art Productions

While everyone knows of the history of slavery in the USA, few people realize that Brazil was actually the largest participant in the slave trade. Forty percent of all slaves that survived the Atlantic crossing were destined for Brazil, while only 4 % were sent to the U.S. At one time half of the population of Brazil were slaves. It was the last country to officially abolish slavery (1888) and one of the ex-slaves is still alive today.


This well- researched BBC production charts Brazil's history using original texts, letters, accounts and decrees. From these original sources, we learn firsthand about the brutality of the slave traders and slave owners, and the hardship of plantation life. With the Portugese colony of Angola acting as a "factory" supplying Africans to Brazil, it was cheaper to replace any slave starved and worked to death than to extend his life by treating him humanely. Few plantation owners sent for their wives to live in this hot climate, so the softening effect of family life was absent among the rough white settlers.


Historians Joao Jose Reis, Cya Teixeira, Marilene Rosa Da Silva, anthropologist Peter Fry, and others recount the effect of centuries of slavery on Brazil today.This is an important documentary for Black history, African history and Latin American studies.


Brazilian Slavery An Inconvenient Portuguese History PT.1




Brazilian Slavery An Inconvenient Portuguese History PT.2



Brazilian Slavery An Inconvenient Portuguese History PT.3


Brazilian Slavery An Inconvenient Portuguese History PT.4


Brazilian Slavery An Inconvenient Portuguese History PT.5

Fort Jesus

Enslaving in the sweet name of Jesus. "In 1498 the Portuguese explorer Vasco De Gama arrived in Mombasa on his route to India. Fort Jesus was built after the Portuguese had been masters of the East African coast for nearly an hundred years. During this time they had as main base an unfortified factory at Malindi."

Fort Jesus, located on the edge of a coral ridge overlooking the entrance to the Old Port of Mombasa, was built by the Portuguese in 1593-1596 to protect their trade route to India and their interests in East Africa. It was designed by an Italian architect, Giovanni Battista Cairati*. Mombasa became Portugal’s main trading centre along the East Coast of Africa.

  • Portuguese: 11 Apr. 1593 Fortaleza de Jesus - 15 Aug. 1631
  • Sultan of Mombasa: 15/16 Aug. 1631 - 16 May 1632
  • Abandoned: 16 May 1632 - 5 Aug. 1632
  • Portuguese: 5 Aug 1632 - 13 Dec. 1698
  • Oman: 13 Dec. 1698 - Mar. 1728
  • Portuguese: 16 Mar. 1728 - 26 Nov. 1729
  • Oman: Nov. 1729 - 1741
  • Governor of Mombasa: 1741 - 1747
  • Oman: 1747
  • Governor of Mombasa: 1747 - 1828 (English protection 1824-1826)
  • Oman: 1828
  • Governor of Mombasa: 1828 - 1837
  • Oman: 1837 - 1856
  • Zanzibar: 1856 - 1895
  • English: 1895 - 1963

Portugal in the World - Mozambique Island

7 Wonders Travel

The wonders of Portugal in the World - Mozambique Island

On the voyage by Portuguese wonders in the world back to Africa, to Mozambique Island. This was the last stopover of Vasco da Gama before arriving in India, and the island has given the country its name. Due to the rich history it holds, the Island of Mozambique was considered by UNESCO World Heritage Site. 2009-05-21 15:33:33




As Maravilhas de Portugal no Mundo - Ilha de Moçambique @ RTP 2009

Tuesday, February 1, 2011

Nigger Head Tobacco


Nigger Head Smoking Tobacco
Wh. S. Kimball & Company
"Dis 'Nigger Head' am de crack shot! Yah! Yah!Yah!"


Clinging to Mammy: Our Relationship with Slavery



Clinging to Mammy: Our Relationship with Slavery

October 21, 2007

Micki McElya professor, American studies, University of Alabama

Micki McElya, professor of American studies at the University of Alabama examines why we cling to the notion of "mammy." She argues that the figure of the loyal slave has played a powerful role in modern American politics and culture. Stories of faithful slaves expose the power and reach of the myth, not only in popular advertising, films, and literature about the South, but also in national monument proposals, child custody cases, New Negro activism, anti-lynching campaigns, and the civil rights movement. If we are to reckon with the continuing legacy of slavery in the United States, McElya argues, we must confront the depths of our desire for mammy and recognize its full racial implications.


video platformvideo managementvideo solutionsvideo player

Slave Ship Jesus

Slave Ship Jesus Coat of Arms

Slavery is a stain on the history of the British Empire. The Anglo-Saxons kept slaves, but although serfdom survived for many years, slavery had all but gone from England by the 12th century. Certainly the earliest colonies, the West Indies and Virginia could not have survived without slaves.

The British were not the first Europeans in the slave trade. The Portuguese had established themselves as traders a century earlier.

Our story, here in the sixteenth century, centres on three voyages of John Hawkins. Hawkins was the first established English slave trader. Between 1562 and 1567 he made such profits so lucrative that he was supported by the Queen who showed her investment by donating two of her own ships, the Jesus of Lubeck and the Minion.

The pattern was consistent. Hawkins sailed for the west coast of Africa and, sometimes with the help of other African natives, kidnapped villagers. He would then cross the Atlantic and sell his cargo, or those who survived the voyage, to the Spanish. The slave trade was better business than plantations.


Sir John Hawkins

For Hawkins, the trade ended in 1567 when his fleet, which included a ship commanded by Francis Drake, took shelter from a hurricane in the Gulf of Mexico. The Spanish were also there. In the chaos and fight that followed, many of his men were killed. The Queen's Jesus of Lubeck was lost. Hawkins escaped in one ship and Drake in another. He'd lost 325 men on that voyage but it still showed a financial profit.

That skirmish between the Spanish and English ships was partly a turning point in the naval confrontation between the two nations; it continued for two decades and was only partially settled by the 1588 English Channel battle with the Spanish Armada. However, slavery continued after Hawkins and, although banned in England in 1772, it continued in the colonies until the 19th century. (source: BBC)


Slave Ship Jesus of Lubeck

JESUS OF LUBECK

The Jesus Of Lubeck was a German-built carrack of 700 tons displacement built around 1544 as a Hanseatic trading ship, before being bought by Henry VIII of England and converted to a warship. In 1564 she was leased as an armed slave-ship to Captain John Hawkins who used her until she was sunk during an engagement with the Spanish at San Juan de Ulloa in the Gulf of Mexico.

The Jesus Of Lubeck had four masts, the fore and main masts were square-rigged, the mizzens lateen rigged, carried a crew of 300 and was armed with 26 guns. (source: probertencyclopaedia.com

Monday, January 31, 2011

"The Floating Dungeon: A History of the Slave Ship"

The Slave Ship: A Human History

The missing link in the chain of American slavery

For more than three centuries slave ships carried millions of people from the coasts of Africa across the Atlantic to the New World. Much is known of the slave trade and the American plantation complex, but little of the ships that made it all possible. In The Slave Ship, award-winning historian Marcus Rediker draws on thirty years of research in maritime archives to create an unprecedented history of these vessels and the human drama acted out on their rolling decks. He reconstructs in chilling detail the lives, deaths, and terrors of captains, sailors, and the enslaved aboard a “floating dungeon” trailed by sharks. From the young African kidnapped from his village and sold to the slaver by a neighboring tribe; to the would-be priest who takes a job as a sailor on a slave ship only to be horrified by the evil he sees; to the captain who relishes having “a hell of my own,” Rediker illuminates the lives of people who were thought to have left no trace.

This is a tale of tragedy and terror, but also an epic of resilience, survival, and the creation of something entirely new, something that could only be called African-American. Marcus Rediker restores the slave ship to its rightful place alongside the plantation as a formative institution of slavery, as a place where a profound and still haunting history of race, class, and modern capitalism was made.




Watch video of Marcus Rediker, professor of history at the University of Pittsburgh, speaking on "The Floating Dungeon: A History of the Slave Ship" at the Vanderbilt Law School March 10, 2009.

Wednesday, January 26, 2011

Internal Slave Trade, U.S., ca. 1830

Source
Library of Congress, Prints and Photographs Division, LC-USZ62-89701

Comments
An engraving, captioned "United States Slave Trade. 1830" which shows slaves in shackles, whites holding whips; capital dome in Washington, D.C. is in background. The Library of Congress notes for this illustration indicate it was an abolitionist print, "possibly engraved in 1830; more details on its origin are also given in the Prints and Photographs Online Catalog.

Slave Coffle, Virginia, 1839

Slave Coffle, Virginia, 1839

Source

James Buckingham, The Slave States of America (London, 1842), vol. 2, facing p. 553. (Copy in Special Collections Department, University of Virginia Library)

Comments

Caption, "Gang of Slaves journeying to be sold in a Southern Market"; illustrates the domestic slave trade in the U.S. James Buckingham viewed this scene in September, 1839, a few miles from Fredericksburg. "It was in a valley ," he wrote, "that we met a gang of slaves, including men, women, and children, the men chained together in pairs, and the women carrying the children and bundles on their march to the south.

The gang was under several white drivers, who rode near them on horseback, with large whips, while the slaves marched on foot beside them; and there was one driver behind, to bring up the rear . . . . They were chained together for precaution, rather than punishment; because when accompanied by one or two white men . . . they might be tempted to rise against them in any solitary part of the road, or, at the very least, escape from them if they could. . . " (pp. 552-553). Secondary sources which reproduce this image sometimes, without citing the original source, caption this "crossing the Rapidan" river, but the author does not identify the body of water shown in the illustration; moreover, given the route that he describes having taken, it is unlikely it was the Rapidan

Slave Coffle, Near Paris, Kentucky, 1850s

Slave Coffle, Near Paris, Kentucky, 1850s

Source
Anon., The Suppressed Book About Slavery! Prepared for Publication in 1857 (New York, 1864), facing p. 49. (Library of Congress, Prints and Photographs Division, LC-USZ62-30798)

Comments
Caption, "The Coffle Gang"; led by white on horseback and black musicians at the front. An eye-witness account of the scene depicted in this illustration is given on pp. 164-65 of this abolitionist book; the scene described is of "about forty men, all chained together. . . . Behind them were about thirty women, in double rank, the couples tied hand to hand...."

Slave Coffle, Washington, D.C., ca. 1819

Slave Coffle, Washington, D.C., ca. 1819

Wood engraving, captioned "A Slave-Coffle passing the Capital" and depicting slaves wearing handcuffs and shackles passing the U.S. Capital, meant to depict a scene ca. 1819.

This image was intended to illustrate part of a debate in the U.S. House of Representatives in 1819, concerning the admission of Missouri to the Union. The representative from New York, James Tallmadge, Jr., proposed that as a condition of admission slavery not be permitted in Missouri "except of those already held as slaves."

While the debate was going on, Tallmadge pointed out that the South wanted Missouri to be a slave state and that a "striking illustration of what the South" wanted was to be viewed at that moment in front of the Capital. Apparently, as the debate was in progress "a trafficker in human flesh . . . has passed the door of your Capital . . . driving before him about fifteen of these wretched victims of his power. The males . . . were handcuffed and chained to each other, while the females and children were marched in their rear, under the guidance of the driver's whip" (p. 265).

Wednesday, March 17, 2010

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