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There is no description of Winter but somehow I assume Winter is female. She was likely from Angola or possibly Gambia. Many of the enslaved to South Carolina at this time were from those regions. The same is likely true for King, Dido, Bell, Judge, Coaster, York and the nine other individuals along with Winter who were bequeathed to Mary Cochran Smith by her husband James Smith of Charleston, South Carolina. If they were bought from a single “parcel” that is unclear. If they were named by the Smiths or by the captors who first enslaved them is unclear.

There is only so much one can glean from the newspaper advertisements.

Carpenter, Ajax, Hercules, Thunder, Drummer, Soldier and Sailor who together ran away from Royal Governor Boone were new to the Carolina colony, unable to speak English, but based on their names had some inherent skills.

Uriah Edwards placed ads for two months in The South Carolina Gazette seeking the return of his “new Negro girl named Juno about 14 or 15 years of age.” Did he reclaim his property after that time or did he simply stop placing advertisements?

Phebe was a thin spare woman when she ran away from Joseph Wragg. She’d lived in Charles Town aka Charleston since she was sixteen years old because the advertisement stated that she was 36 years old and was well known around town as a washer woman for the past twenty years.

Virtue ran away from Titus Bateman along with a two-year old child. I wonder the name the of the child.

Edward Morris threatened prosecution of anyone harboring his Negro boy Shadwell.

Peter Roberts sought the return of his Eboe man named Primus. And further along the page of the same 1735 newspaper, Joseph Wragg and Company, the trading enterprise of Joseph Wragg and his brother Samuel, advertised “To be sold on Wednesday the 2nd day of July next … a choice parcel of slaves, imported in the ship Dove, Richard Fothergill Commander, directly from Angola.” And if you switch to the Slave Voyages Database you can see that the Dove commanded by Fothergill boarded 290 enslaved Africans of whom 248 survived for sale in Charleston.

When did these 248 people receive their new names?

The South-Carolina Gazette a few months later reported held in jail awaiting return to their enslavers two men both named Primus, a boy named Cesar and an Ebo girl who could not speak English and therefore had no known name. And in that same paper an ad reads “to be sold on the 24th of September a parcel of choice Negroes imported in the Happy Couple … Hill Master directly from the coast of Guiney by Jos. Wragg and Co.” The database shows that ship commanded by Captain Hill disembarked 141 souls.

London merchants Joseph and Samuel Wragg were the largest slave traders in Charleston during the early 1700s. They sat on various Royal councils. They did so well in promoting emigration to the new colony that they and later some of their descendants were granted tens of thousands of acres of land. During the 1730s 20,000 slaves were imported to Charleston, SC, most from Angola and more than a third brought in by Joseph Wragg and Company.

As recorded in transcribed Great Britain Colonial Records, in a report for the King of England about the numbers of enslaved Africans imported to the Carolina Colony at Charleston between May 30, 1721 to September 29, 1726, in July the ship Ruby docked with 112 people on board. Of that number Joseph Wragg received 24 men and women and 3 boys and girls. In September the ship Cape Coast disembarked 126 with Wragg receiving 112 men and women and 3 boys and girls. Other local trading houses received the rest. The South Carolina Gazette was started in 1732 I believe so I can find no newspaper advertisements about how these men, women and children were sold.

Or what names were thrust upon them.

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As far as I know, I have no Slavic blood in me but I do not think you need to be of Slavic heritage in order to appreciate the beauty and majesty of Alphonse Mucha’s Slav Epic anymore than you need to be of African American heritage to appreciate the Singing Windows at Tuskegee.

They both employ, in vastly different ways, visual storytelling to convey the histories of peoples and their journeys from subjugation to celebration, from despair to hope. As described on the Mucha Foundation website:  “The Slav Epic (Slovanská epopej) is a series of twenty monumental canvases (the largest measuring over 6 by 8 metres) depicting the history of the Slav people and civilisation. Mucha conceived it as a monument for all the Slavonic peoples …

The idea of the work was formed in 1899, while Mucha was working on the design for the interior of the Pavilion of Bosnia-Herzegovina, which had been commissioned by the Austro-Hungarian government for the Paris Exhibition of 1900.

In preparation for the assignment he travelled widely through the Balkans, researching their history and customs as well as observing the lives of the Southern Slavs in the regions that had been annexed by Austria-Hungary two decades earlier. From this experience sprang the inspiration for a new project – the creation of ‘an epic for all the Slavonic peoples’ that would portray the ‘joys and sorrows’ of his own nation and those of all the other Slavs. ”

On that website you will find a picture of all 20 paintings, a description of the stories depicted in each painting, and “related objects” which include photographs of Mucha at work on particular canvases, working with models, etc.

I read several reviews that said do not go out of your way to see this exhibit. I would say, if you have the opportunity to visit Prague, do all that you can to go out of your way to view this exhibit.  What struck me? The scale of this creation, the source of the inspiration, the vision of the artist and the dedication to completion. And of course the use of color and the expression of light.

It took Mucha approximately five years to shop his idea around and find a benefactor and then over a dozen years to produce his epic even as he produced all of the other art — the posters, the advertisements, murals, etc. — which are considered his definitive works.

Through December 2016 the exhibit can be found at the Trade Fair Palace in the City of Prague (http://www.ngprague.cz/en/exposition-detail/alfons-mucha-the-slav-epic/) and the online exhibit can be found on the Mucha Foundation website (http://www.muchafoundation.org/gallery/themes/theme/slav-epic).

 

Sources & Additional Readings

http://www.muchafoundation.org/gallery/themes/theme/slav-epic

https://en.wikipedia.org/wiki/The_Slav_Epic

1925 Article about the Epic as a Work in Progress

a 2010 post about the troubled history of the paintings

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