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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Universities and Slavery Monuments
Contributor
An entity responsible for making contributions to the resource
Renée Ater
Description
An account of the resource
<div style="padding-right: 30%;">The monuments in this collection examine the intertwined histories of<a href="https://ugapress.org/book/9780820354439/slavery-and-the-university/" target="_blank" rel="noopener"> American universities and slavery</a>. In his book, <a href="https://www.bloomsbury.com/us/ebony-and-ivy-9781608193837/" target="_blank" rel="noopener"><em>Ebony and Ivy: Race, Slavery, and the Troubled History of America’s Universities</em></a>, Craig Steven Wilder examines how universities and colleges were established and expanded because of the massive wealth they accrued from the transatlantic slave trade and slavery. Slave traders became the principal financiers of endowed faculty chairs and were appointed as university trustees, and colleges and universities made special efforts to recruit the sons of the slaveholding elite. Presidents of universities also held Black people in bondage, for example, Princeton’s<a href="https://https://slavery.princeton.edu/stories/slaveholding-presidents/stories/slaveholding-presidents" target="_blank" rel="noopener"> first nine university presidents</a> owned enslaved people. <br /><br />Universities and colleges such as the <a href="https://slavery.virginia.edu/unearth-and-understood/" target="_blank" rel="noopener">University of Virginia</a> have recognized how enslaved people labored on their campuses, waiting on faculty and students and tending to their grounds. Just as importantly, the classes at many universities upheld the logic of racism foundational to American slavery.<a href="https://scarletandblack.rutgers.edu/findings" target="_blank" rel="noopener"> As researchers at Rutgers found</a>, “The faculty and curriculum at Rutgers and other early American colleges reinforced the theological and scientific racism that provided the ideological and spiritual justification for the free labor of Africans, the absolute power of slave owners, and the separation of the races.” <br /><br />Often responding to pressure from students and activists, universities and colleges across the United States have begun to think more critically about how to address the complex, untold, and painful history of slavery and its ongoing legacy on their campuses. The memorials in this collection, such as the University of Virginia’s <a href="https://www.slaverymonuments.org/items/show/1127" target="_blank" rel="noopener" title="https://www.slaverymonuments.org/items/show/1127"><em>Memorial to Enslaved Laborers</em></a> are intended as spaces for learning, healing, and reconciliation. In addition to building monuments, universities are also attempting to redress and repair their relationship with communities most affected by slavery. William and Mary’s <a href="https://www.wm.edu/sites/lemonproject/" target="_blank" rel="noopener">Lemon Project</a>, for example, focuses on “contributing to and encouraging scholarship on the 300-year relationship between African Americans and William and Mary, and building bridges between the university and Williamsburg and Greater Tidewater area.”</div>
Creator
An entity primarily responsible for making the resource
Written by Grace Yasumura
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Sculpture
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>From Absence to Presence, The Commemorative to Enslaved Peoples of Southern Maryland </em>(<span>St. Mary's College of Maryland)</span>
Creator
An entity primarily responsible for making the resource
Allbritton, Shane<br /><a href="https://www.resite-studio.com/about" target="_blank" rel="noopener">RE:site Studio</a>
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Lee, Norman <br /><a href="https://www.resite-studio.com/about" target="_blank" rel="noopener">RE:site Studio</a>
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Baker, Quenton
Subject
The topic of the resource
<span>Subject (Topic)<br /></span>Mid-Atlantic United States<br />Public art <br />Public sculpture<br />Slavery--Maryland<br />St. Mary's College of Maryland--History
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Subject (Object Type) <br />Commemorative sculpture
Source
A related resource from which the described resource is derived
Photographs by Renée Ater<a href="https://www.smcm.edu/commemorative/%20" target="_blank" rel="noopener"><em></em></a>
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: November 20, 2020
Contributor
An entity responsible for making contributions to the resource
The Commemorative Selection Committee; Saint Mary's College; Governor Larry J. Hogan and the State of Maryland; Dr. Jeffrey J. Byrd and Mrs. Elizabeth A. Byrd; Maryland Heritage Areas Authority; Maryland State Arts Council; and Southern Maryland Heritage Area.
Format
The file format, physical medium, or dimensions of the resource
JPEG
Language
A language of the resource
English
Description
An account of the resource
"In From Absence to Presence, the tectonic form of a slave quarter materializes from the ground up evoking how this history was uncovered from archaeological research – making the invisible visible. The surfaces are gradated in a pattern of staggered and alternating Ipe wood clapboard and mirror-polished stainless steel, recalling the staggered pattern of erasure poetry. In our design, rows of text on mirrored surfaces are “redacted” by clapboards to dramatically reveal an emergent narrative. Activist Angela Davis described the sacredness of slave quarters in the lives of enslaved peoples as “the only space where they could truly experience themselves as human beings.” As artists, we envision the private space of the slave quarters as a symbol of resilience, determination, and persistence." From RE:site Studio.
Relation
A related resource
To see the dedicatory ceremony, please click <a href="https://www.smcm.edu/commemorative/" target="_blank" rel="noopener">here</a>.
Rights Holder
A person or organization owning or managing rights over the resource.
Renée Ater
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
47777 Mattapany Road, Lexington Park, Maryland, United States
Rights
Information about rights held in and over the resource
St. Mary's College of Maryland, 47645 College Drive, St. Mary's City, Maryland, 20686
Type
The nature or genre of the resource
Building and Structures <br />Visual Arts-Sculpture
Medium
The material or physical carrier of the resource.
Steel frame; Clapboard; Mirrors
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
"About the Commemorative." St. Mary's College of Maryland. Accessed May 3, 2021, <a href="https://www.smcm.edu/honoring-enslaved/about-commemorative/" target="_blank" rel="noopener">https://www.smcm.edu/honoring-enslaved/about-commemorative/</a>.
Has Part
A related resource that is included either physically or logically in the described resource.
<em><strong>History of site information plaque:</strong></em><br />From Absence to Presence<br />Commemorative to Enslaved Peoples of Southern Maryland<br /><br />History of the Site<br />Between 1750 and 1815, this field was home to three or four enslaved households. They labored for John Hicks and later John Mackall, both planters whose wealth was bulit on slave labor. Here along Mattapatty Road--then the main route into St. Mary's City--this housing compound, and another one across the road, would have been visible to all who passed by.<br /><br />In 2016, St. Mary's College of Maryland archaeologists unearthed fragments of brick, ceramics, tobacco pipes and bottle glass suggesting where these families' cabins once stood. The archaeologists believe the houses were probably of rough log construction with wooden chimneys and brick hearths. The cabins probably had few or no windows and dirt floors.<br /><br />Inside the cabins and out of sight of plantation surveillance, the families furnished their homes with both plain and decorated ceramics, possibly purchased with money made selling garden vegetables. Traces of garden features were found in this vicinity and documents show that enslaved families or nearby plantations sold their produce in the neighborhood. Although enlsaved, the families living here were probably able to travel to nearby farms, to church, and to the store in nearby St. Inigoes.<br /><br />In 1814, during the War of 1812, the British Navy issued a call to enslaved people in Southern Maryland to join against Americans and thereby earn their freedom. Nineteen men, women, and children enslaved by John Mackall heeded the call and joined the British. Based on the absence of artifacts after 1814, archaeologists suspect that some of these individuals may have come from this compound.<br /><br />A short three years later, on Easter Monday in 1817, the memory of those who had self-emancipated still fresh in everyone's minds, free and enslaved, a group of an estimated 150-200 enslaved men gathered at a dram shop, or tavern, near the store in St. Inigoes. When the local constable attempted to break up the gathering, the men resisted, a melee ensued, and some men were arrested for insurrection. No doubt men from the Mackall plantation were involved in the uprising, although their names were not among the arrested.<br /><br />By uncovering this hidden Black landscape, both here in St. Mary's City and throughout Southern Maryland, we can understand not only the unfinished work of the American Revolution, but the African American role in the struggle for freedom for all.
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<em><strong>Object information plaque:</strong> </em><br />From Absence to Presence <br />Commemorative to Enslaved Peoples of Southern Maryland<br /><br />Activist Angela Davis described the sacredness of slave quarters in the lives of enslaved people as "the only space where they could truly experience themselves as human beings."<br /><br />This form is inspired by the 'ghost frame' architecture found on the site of Historic St. Mary's City.
<em><strong>Erasure Poetry</strong></em><br />" Erasure poetry is a form of found poetry that is created by erasing, or redacting, words from an existing piece of prose or verse. The redactions allow poets to create symbolism while also putting a focus on the social and political meanings of erasure. New questions, suggestions, and meanings in existing pieces of writing are revealed through erasure poetry. The erasure poetry that covers the structure is adapted from historical documents related to the Mackall-Brome plantation — one of three known plantations located on the land around St. Mary’s City. These documents include slave property and runaway slave advertisements, newspaper articles, and slave depositions of the Mackall-Brome family. These poems become the walls and roof of the structure revealing powerful stories hidden within the language of a dark past. " From <a href="https://www.smcm.edu/honoring-enslaved/about-commemorative/#poetry" target="_blank" rel="noopener">About the Commemorative</a>.
Maryland
Norman Lee
Quenton Baker
RE:site Studio
Shane Allbritton
slave cabin
slavery
universities and slavery
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Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Buildings and Structures
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>The Whitney Plantation Museum </em>(<span>Wallace, Louisiana)</span>
Creator
An entity primarily responsible for making the resource
Museum founder: Cummings, John, 1938-
Subject
The topic of the resource
Subject (Topic) <br />Dwellings--Louisiana<br />Plantations--Louisiana<br />Slavery<br />Sugar--Social aspects--History<br />United States--Louisiana--St. John the Baptist Parish--Wallace
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Subject (Object Type)<br />History Museums
Description
An account of the resource
Dedicated to the history of enslavement in the Southern United States, the Whitney Plantation is sited on the grounds where enslaved people labored in bondage for over 100 years. The museum is comprised of twelve historic structures. A number of memorials are also located on grounds, including a series of granite walls engraved with the names of the 107,000 the enslaved who spent their lives in Louisiana before 1820.
Source
A related resource from which the described resource is derived
Photographs by Renée Ater
Date
A point or period of time associated with an event in the lifecycle of the resource
Opened as a museum: December 7, 2014
Format
The file format, physical medium, or dimensions of the resource
JPEG
Language
A language of the resource
English
Type
The nature or genre of the resource
Building and Structures
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
5099 Louisiana Highway 19, Edgard, Louisiana, 70449, United States
References
A related resource that is referenced, cited, or otherwise pointed to by the described resource.
<a href="https://www.nytimes.com/2015/03/01/magazine/building-the-first-slave-museum-in-america.html" target="_blank" rel="noopener"></a>
Rights
Information about rights held in and over the resource
The Whitney Plantation, 5099 Louisiana Highway 19, Edgard, Louisiana, 70449
Relation
A related resource
<a href="https://www.whitneyplantation.org/history/plantation-owners/" target="_blank" rel="noopener">The Whitney Plantation</a>
Has Part
A related resource that is included either physically or logically in the described resource.
The Whitney Plantation is a complex of buildings which includes at least twelve historic structures. For a description of the historic buildings, visit the <a href="https://www.whitneyplantation.org/history/the-big-house-and-the-outbuildings/" target="_blank" rel="noopener">Whitney Plantation website</a>.
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
Armstrong, Kalim. "Telling the Story of Slavery." The New Yorker, February 17, 2016. Accessed May 1, 2021, <a href="https://www.newyorker.com/culture/culture-desk/telling-the-story-of-slavery" target="_blank" rel="noopener">https://www.newyorker.com/culture/culture-desk/telling-the-story-of-slavery</a>.
Rights Holder
A person or organization owning or managing rights over the resource.
Renée Ater
Louisiana
plantation
site of slavery
slave cabin
slavery
sugar