1 10 7 https://d1y502jg6fpugt.cloudfront.net/33439/archive/files/dee539d98307ccab4b6756c807f67b4f.jpg?Expires=1777507200&Signature=vPvilm8AAHfdNuEmPby2mOvXidmfNzw1je7TjK6SY6FkkjACfAUtJUXhLe94G5q4eN9IRTLQSckj6OKu6FjbEQLj5LLQNlslD16s4ZZlJ0vG7uaGR79q7juKrWlQ189Heo%7EA8q-Lqx2zmYEWwFBtuL-cBWmSioJgTE08bLd4ZPL8hwpY172bLg6QhoQyV1mKxk-ngYlcCpG1NAPpwjD78WSBq-aXHoIc97Ii8I1bVnav%7EGYyvoSPHyRtpJ6blPdtqBWu-DJo80ftjNGoiBzuVK2CPTvjgPEYXRqccxFyPH5Fk9n%7E48BZVyqbdYscHedJrEgSsAtY2g8yEKdNrHXL-w__&Key-Pair-Id=K6UGZS9ZTDSZM fbc0b036072a938339804dc3b93af7f6 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 Connecting the Medieval to the United States Still Image Catalog Entry In 2010, I moved to South Carolina from Virginia and made a new friend. I also learned about the Gullah-Geechee heritage in South Carolina. My friend’s mother, who passed away in 2004, was one of the country’s noted Gullah language experts. This is a brief story of how a group of enslaved West African people formed a nation in the North American continent and have preserved their heritage, identity, traditions, and culture for over 300 years. At the heart of Gullah-Geechee cultural survival in North America is the creation of a new language that members of differing tribes could understand, but which remained unintelligible to the white society and masters that surrounded them. Historically, the language evolved as a Creole trade language in Sierra Leone in the 17th and 18th centries and was brought to North America with the Rice Slaves (Turner) Its preservation, in large part, is thanks to the contributions of Virginia Mixson Geraty. Geraty lived for over fifty years in the Edisto Island area of South Carolina in the heart of the Low Country. This is the same area where West Africans were brought from Sierra Leone to the Charleston Slave Market and auctioned off to owners of cotton, rice, and indigo plantations. She first learned the Gullah language from a family servant, Maum Chrish’. By the 1950’s “Ginia” was one of very few people in the country who could fluently speak, read, and write this unique, English-based Creole language. She fiercely defended the language at a time when Gullah speech was ridiculed as "ignorant" and "backward," urging that white teachers be trained in Gullah to better serve the local student populations. During her 89 years, she created a Gullah/English dictionary, translated the Gospel according to St. Luke, translated Dubois Heyward’s “Porgy,” and authored a number of other books in the Gullah language. She also provided dialect coaching and consultation to the BBC (“The Story of English”), was a librarian with the Charleston County District schools for twenty years, and became an adjunct professor of Gullah at the College of Charleston, where she received an honorary Doctorate of Humane Letters from the college in 1995. Gullah Language Tidbits <ul class="ul1"><li class="li3">The language spoken by the Gullah-Geechee people is "Gullah." Gullah is a Creole language made up of English, and several African languages. The primary African language that makes up the Gullah language is Kria, spoken by the people of Sierra Leone (Turner).</li> <li class="li3">Gullah is the only English-based Creole language used in the US. (New Orleans Creole is French)</li> <li class="li3">Supreme Court Justice Clarence Thomas was raised as a Gullah-speaker.</li> <li class="li3">In 2017, Harvard University began to offer Gullah as a language class in the African Languages Program.</li> <li class="li3">In the 1930’s and 40’s, the linguist Lorenzo Dow Turner did a seminal study of the language based on field research in rural communities in coastal South Carolina and Georgia. Turner found that Gullah is strongly influenced by African languages in its phonology, vocabulary, grammar, sentence structure, and semantics. Turner identified over 300 loanwords from various languages of Africa in Gullah and almost 4,000 African personal names (basket names) used by Gullah people. He also found Gullahs living in remote seaside settlements who could recite songs and story fragments and do simple counting in the Mende, Vai, and Fulani languages of West Africa.</li> <li class="li3">In 1949, Turner published his findings in Africanisms in the Gullah Dialect. The fourth edition of the book was reprinted with a new introduction in 2002.</li> </ul> Bibliography The Charleston Museum. "Foot too Crooked." YouTube, 20 February 2013. https://youtu.be/RZFiDbhHo1c. Geraty, Virginia Mixson. Gulluh Fuh Oonuh/Gullah for You: A Guide to the Gullah Language. Sandlapper, 1998. Heyward, DuBose. Porgy: A Gullah Version. Trans. Virginia Mixson Geraty. Gibbs Smith, 1990. Jones, Jr., Charles Colcock. Gullah Folktales from the Georgia Coast. University of Georgia Press, 2000. Opala, Joseph A. "The Gullah: Rice, Slavery, and the Sierra Leone-American Connection." Gilder Lehrman Center for the Study of Slavery, Resistance, and Abolition, Yale University. https://glc.yale.edu/sites/default/files/files/Gullah%20Language.pdf. Turner, Lorenzo Dow. Africanisms in the Gullah Dialect. University of South Carolina Press, 2002. Catalog Entry Author(s) Veda Ross, Adult Learning in the Fitchburg Area Photographer(s) From the <a href="https://www.findagrave.com/memorial/45599953/virginia-joyce-geraty">Find a Grave site</a> 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 New Language for Old (South Carolina - Gullah-Geechee) africa african american ALFA author language south carolina https://d1y502jg6fpugt.cloudfront.net/33439/archive/files/c392d5491441a36cf273d2bae3fbfea4.jpeg?Expires=1777507200&Signature=OnT8Pn7Wq26m3dikB922zmDEmp%7EpQ9gvSmC8Vk7gc-mBAt5qnlNQa1xjRoKoLZYBCbGSMAckf9t3tHVquPeRkfYBaW4wBQEzHTEPsrsalWAT28T8ucQXtmS0%7EKWCPXl7bNhm3U1ib8w5miQuXz0spNOHuxZye3I0rsVzETtXKagVS0a0uA7QBdT7JH99kQ2cSpKRdE-6mbVjFQDoq8EBbN74fsXYwCFEir3J6iy1zXCaUd-BhDLBGSPPx%7EmHXhcM-QyuqadYpywIcokGc7rkD2fQ64qMpJadnwB%7EUkbPKgAYoQUR8CrQlcq04eDEcUVOqy34AZ0etg5hbgC44HMQ5g__&Key-Pair-Id=K6UGZS9ZTDSZM 6ba95dddfc67ab5c39df9efac15dda98 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 Connecting the Medieval to New England Still Image Catalog Entry Throughout the Sahel region of Africa, women have long been the storytellers and weavers-of-history-into-tales told repeatedly over the centuries. The heroines in these tales are resourceful, and intelligent, who may play both the narrator and performer (El-Nour). These stories often brought both memorable events as well as everyday occurrences, social dictates, and cultural mores into the future so people would remember what had occurred in the past. Harriet Wilson, born in Milford, New Hampshire in 1825 to an Afro-American father and white mother, was just such a person: a storyteller who through her autobiography, became the first published Afro-American author. She narrated her own history in her book Our Nig or Sketches of a Free Black published in 1859 with the hope of earning enough money to keep her and her son, George, alive. After it was published, thought originally to be the work of a white author, it became a controversial story told with an emotional and narrative power that was deemed “unsettling” to many who read it. It wasn’t just read in the United States, but had an international following as well (The Harriet Wilson Project). What the book reveals is Wilson’s tenacity and drive to survive in spite of the odds. Between the ages of five and six, Harriet was abandoned by her mother and began serving as an indentured servant. She was able to attend school three months each year between 1832 and 1834 in Milford, NH. By the time she reached eighteen, she had taken on several other jobs serving local families, but her health began to fail between 1846 and 1850, when she was listed as a town pauper. In 1851 Harriet married Thomas Wilson in Milford, and by 1852 their son, George, was born at the Hillsborough County Poor Farm, where they were living. Just prior to this, Harriet had a small success when she published her poem, Fading Away, in the local Farmer’s Cabinet newspaper (The Harriet Wilson Project). Harriet’s husband, Thomas, is said to have died in May of 1853. In 1855, she returned to live at the poor farm while George was sent to live as a foster child with a local family and eventually returned to the poor farm where he died at the age of seven in 1860. Harriet’s health was a continual issue which often left her on the edge of poverty even though she earned a small amount as a seamstress, servant, and seller of hair products throughout New England. Her hair product business began to make money and between 1857 and 1960, it is reported that she became self-sufficient. It was during this period that Our Nig was published. Her later years were spent in and around Boston where she was a lecturer and spiritualist. It is thought that she died in 1900 (The Harriet Wilson Project). Seventy-four years after Wilson’s book was published, Henry Louis Gates discovered Wilson’s Afro-American heritage, republished the work, pulling it out of obscurity and putting it back on the shelves of contemporary readers (The Black Past). A statue of Wilson now stands in a park in Milford, NH. Bibliography El-Nour, Eiman Abbas H. "Not just a pretty face: Women as storytellers and subjects in the folktales of Northern Sudan." Tydskrif Vir Letterkunde 48.2 (2011): 171-185. The Black Past, 2020. https://www.blackpast.org/. The Harriet Wilson Project. http://www.harrietwilsonproject.net/. Catalog Entry Author(s) Gail Hoar, Adult Learning in the Fitchburg Area Photographer(s) From the Harriet Wilson Project 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 African Storytellers (Milford, NH - Harriet Wilson) africa african american ALFA author new hampshire statue women https://d1y502jg6fpugt.cloudfront.net/33439/archive/files/104be1ad3dd4a6c28c6343f1fc646325.jpg?Expires=1777507200&Signature=uPF3DtqunM1lBfLwSYLb1J-XVtVozz3fIyHfDg-mIjzRBJJt1jjvMWe-GEaqWOxyrs1FDvQF%7EoiNK7gXVA9fWBuVoOJGgknKjpy0X3wDDPzQPZhvWkTslNU%7E5mmFjSXpAUh-juMyG5xL677e5dp-UyJi3LAM9AYjC0-oX3TQkXYDmPl7s25ruk-x0sxx%7ETLIabQ1isFEEUGPIMQ3CX6V%7EnmQG8dooen7ZnwvzcZ3I3pjqLFYQonLP4BQNefLH%7EzcOaCfWlRHiWYM31omc3Ph0W3rIEz%7EBOR0YNZMkhCht7KXzQuomsqo1AuPh1MtJo%7EQa9AaKfBGld6akAJswYWSGA__&Key-Pair-Id=K6UGZS9ZTDSZM ca9ad5b957d2d829d784fc7f944a81cd https://d1y502jg6fpugt.cloudfront.net/33439/archive/files/59219bd515e30fcdb9c074395c603283.jpg?Expires=1777507200&Signature=Bdh6iZa-M9EQGCUjSfhUlpdZnspoHQD-ouJ3R0Ah8Y4RRtneSEqIWOB1mP47m0A2ulOneB%7EyyxPP3WrOsjQe0AkhU-5Ylsga0ifXSapBhC9QYxOuOGaKvuvBx-ELWlHfYzoN7FYdYY-JFYsUSyyP5ALvrjF7UsXOlmRRzoZejC90CJ1W7xiI06b1ubFgE47QpJiqgJzGylDBgEaS31m%7EKFwkiwYvGJtbar1W7GhYg%7EScaG4jX0747Lg3oLetZcv2M6-kFiRYXZp9pd2zWcg8Yt4TA0subIpOJeL6qiK%7E24q094sg7DgpdhmGBv9BnwS-InRwXf-njIi1YkmC4kK-pA__&Key-Pair-Id=K6UGZS9ZTDSZM 556ab7bbb3a376a9c5d4dc04e11b6437 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 Connecting the Medieval to New England Still Image Catalog Entry The Seville Cathedral, located in Seville, Spain, is one of the largest religious buildings in the world. Now a Christian cathedral, this structure has a diverse religious history. The building was founded in 1403 on the site of a former mosque. The structure has five naves which make it the largest Gothic building in Europe. The style of architecture of the entire building, mudéjar, is unique to and originates in Spain. This art style embodies the meeting of Islam and Christianity and the stages of history in the city, which is visible in the structure of the cathedral. Mudéjar is the term given to Muslims who continued to practice their religion in areas which had come under Christian possession during the Reconquest of 1248. The promotion of peaceful coexistence between Christians, Muslims, and Jews allowed for the construction and prosperity of the cathedral and also contributed to the complexity of the structure. The site of the Seville Cathedral was declared a “World Heritage” in 1987 by UNESCO because of its unique architectural style and because the structure is the largest Gothic edifice in Europe. The African Meeting House in Boston, Massachusetts was consecrated in 1806, housing the first African Baptist Church of Boston. It is the oldest black church building in America. This building served as a cultural, educational, and political connection for Boston’s black community. The building committee for this building consisted of two branches: financial and labor. The labor branch mainly consisted of African-American craftsmen. The African Meeting House offered education opportunities for both children and adults. The African-Americans which made up the first congregation of this church established a sanctuary for peaceful worship and school that would support African-American education. The first abolition organization, Massachusetts General Colored Association, met here. In 1832, the New England Anti-Slavery Society was founded here by William Lloyd Garrison. The African Meeting House also served as a recruitment center for the Massachusetts 54th Volunteer Regiment, which was the first official African-American military regiment for the Union in the Civil War. In 1898, the African Meeting House was sold to a Jewish Congregation and was a synagogue until it was later acquired by the Museum of African American History in 1972. Both structures are places which promote peaceful religious coexistence and provide a gathering place for this coexistence. As demographics and cultures changed in Spain and Boston, these buildings changed as well. The Seville Cathedral’s architecture changed as different groups possessed power in the region, demonstrating a unique architectural style: mudéjar. The African Meeting House served as a church, school, and meeting house and was later utilized as a synagogue. The mudéjar style reflects the integration of Islamic and Christian influence on the construction of the building. The African Meeting House was occupied by diverse religious groups as the Seville Cathedral was, first as a Baptist Church then later a synagogue. The Seville Cathedral first existed as a mosque and then later as the Seville Cathedral. Both the Seville Cathedral and the African Meeting House are multifunctional religious buildings which promote acceptance of diverse cultures and histories. Bibliography The Ministry of Culture and Sport. “Mudéjar Art.” Spain is Culture, SEGITTUR, http://www.spainisculture.com/en/estilos/mudejar/. Museum of African American History. “A Gathering Place for Freedom.” Museum of African American History, https://www.maah.org/exhibits_detail/A-Gathering-Place-for-Freedom. National Historic Landmarks Program. “African Meeting House.” National Historical Landmarks Program, National Park Service, https://web.archive.org/web/20090606132718/http://tps.cr.nps.gov/nhl/detail.cfm?ResourceId=1069&ResourceType=Building. National Park Service. “African Meeting House.” National Park Service, 23 Dec. 2015, https://www.nps.gov/boaf/learn/historyculture/amh.htm. Seville Cathedral. “World Heritage.” Catedral De Sevilla, artiSplendore, https://www.catedraldesevilla.es/la-catedral/patrimonio-de-la-humanidad/. UNESCO. “Cathedral, Alcázar and Archivo de Indias in Seville.” UNESCO, https://whc.unesco.org/en/list/383/. Photographer(s) Kisha G. Tracy Courtesy of The Society for the Preservation of New England Antiquities Catalog Entry Author(s) Ashley Grant, Student, Fitchburg State University 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 Seville, Spain – Seville Cathedral; Boston, MA – African Meeting House african american african festival boston hammondexhibition massachusetts spain https://d1y502jg6fpugt.cloudfront.net/33439/archive/files/36063e2db7356986b2cfa0d354e47d2b.jpg?Expires=1777507200&Signature=lgwf2-OKxYFpkMhu9IIUA%7EH8p82U1Qtdcs5L209mSrJyGK-jN8zbqWnfhcbs7x9KucUYEdmybo4TFOLXXRr4cXgAsv0hcXjBj0FmoHoky2Ht0jppBVXZ8Jebo4EtqVYqTAZsVMZ0teA1kg5EO%7E0OBhL9XWccOhLCRgp8bZOnlmYZau8dtVDysFkQA4bNDoSMaMBVNA55zlRveaoeV5GPiGwM5%7EJuyHkAAZQ-9tRktmXsUKwqu89JvJoLgBd01q8nJodKxTgYgAxlBfGVywKBTwwke8fyK1Mnomj9POaXTPOrlKrlV0FhTT47LDmLPfTGozohTjQ4im%7ElsU00Cuikww__&Key-Pair-Id=K6UGZS9ZTDSZM e7b249520b7440f8feb312ea4bbe6d53 https://d1y502jg6fpugt.cloudfront.net/33439/archive/files/3a5ead84c423e5115975c5d5b7c88b99.png?Expires=1777507200&Signature=sOrkKqcjEdXwZb9OI-oaZOq11uvPTKZi-QG2lIId7rTv5orIXws0b7PtXJlPVQSuRIR71dy1mRMOEHpjOnKsKVJMAcNUizhgZDtW60i4yU3vVh%7Eqv29oEfjtObfAK6aCZ4aELZDqDsl%7EZ6CNlSONDMwBYNys-jrdl22tcrWoF9jpVGcpIV3f3fg%7EJqDakT3Z01vc3XuXQ6IDybkacV7hJ1Fm-CKdxjkxl8KRCm7XvWD-g4gbCiY2x8Mr-GLoByMw2ZIxP9IZouAvs-7UmhZoENXgqPAe73Mgg7-%7EJ8dhKIds%7EMRJIqE9cDbcUgks32X8IDNP%7EdgRI%7EjzbhchxBLMCA__&Key-Pair-Id=K6UGZS9ZTDSZM 97025c9b752d33d893664e9e2ba8221d 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 Connecting the Ancient to New England Still Image Catalog Entry “The caged bird sings with fearful trill of the things unknown, but longed for still and his tune is heard on the distant hill, for the caged bird sings for freedom.” Famous words written by the infamous African-American author and poet Maya Angelou. While looking at the beautiful carving of the Nubian girl on the mirror holding that bird, one can be reminded of those very words. Wondering to yourself if you are the caged bird or the free bird. Whether you are African-American or Caucasian-American or any other type of American, you can ask yourself, are you living a caged life or a free one? However as a person of color the chances of you living the free one are slim. Eyes gazing up to the mirror itself you wonder. If you look in it, what will you see? Will you see him? Dr. Martin Luther King, Jr.? Will you see a person of color that makes him proud? That makes him think he died for a good cause? Will the person you are today, right now, be a person he would be glad to die for? Or do you forget where you come from? Do you choose to bury your head in the sand while others suffer? Do you think “oh, it’s not my problem” as you live your Anglo-Saxon life with your Anglo-Saxon friends? Do you remember what he died for or just enjoy the day off of work in January? Being a person of color in 2018 can be difficult. You gaze in mirrors daily, hoping to see the strength of MLK, Jr., and the wisdom of Maya Angelou shining out from behind your eyes. You hope to be the free bird that thinks of nothing but “breezes, and fat worms, and writing his name on the sky.” But if you are that caged bird, the one who doesn’t remember anything more than the first few sentences of “I Have A Dream,” maybe you look in this mirror again and remember. Bibliography Demby, Gene. “How Black Americans See Discrimination.” National Public Radio, 25 Oct. 2017, https://www.npr.org/sections/codeswitch/2017/10/25/559015355/how-black-americans-see-discrimination. Photographer(s) Courtesy of the MFA Courtesy of the Boston Globe via Getty Images Catalog Entry Author(s) Shani Farrell, Student, Fitchburg State University Artifact Owner Museum of Fine Arts, Boston 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 Museum of Fine Arts, Boston, MA - Nubian Mirror; Boston, MA – King Speaking at Massachusetts State House african american african festival boston massachusetts MFA nubian storytelling and oral tradition fall 2018 https://d1y502jg6fpugt.cloudfront.net/33439/archive/files/b391e74e3f4f244de838fa9275325ee6.jpg?Expires=1777507200&Signature=qU%7EkNq-PkA09Sj08vOo2llSF3jHcFUM084tT1L-b5lnqp5FS4%7EhMmK5icVc9xqEAclPdj8iYDF6Co3XcWVOzE-PnP4TNNiSXuCFEIs4fnn3Gdip4dDXTyCnZ7ij45wYltRJZfpuoGTUyMTeD8h4kjlnS2ew1S1Lxr8aDZBKS8z6tuotUSnK9lDE2NEeRhFGOFxbBARngNzAYVmf2KIXNwPvviuALnm%7EDVsukul2ie59quVVsJzAyCE482gVp904Er4TZ8GtczFJ0eB-PlmPxYB5R7vORtwIZAC7%7E9v2zhtJbHKJDYFU6Tg7eBEIYqNIgcAC05zYJNHFw16xHl00zZw__&Key-Pair-Id=K6UGZS9ZTDSZM e449612d60bee5e1f25f31725a3c8196 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 Connecting the Ancient to New England Still Image Catalog Entry Although different in shape and composition, both of these lanterns have a deeper significance to Nubian culture and African-American culture. In the Nubian culture, they often carved important objects into figures that they valued. They were inspired by animals and almost worshipped them for their usefulness, relying on them for their survival. Therefore, they carved most of their weapons, and other tools into shapes of animals such as a crocodile or a lion head. This correlation, however, also goes the other way. Ancient cultures heavily relied on light, whether it be from the sun itself or from their handmade lanterns when the sun set. Without replicating the light of the sun using these lanterns, they would be restricted to only the sun’s beams. Light was a huge advantage to this culture. To highlight the lantern’s impact in their lives, such as they did with many objects, they decorated these lanterns. They sculpted these items with symbolism as a way to preserve the value it had on their culture. For them to depict the face of a Nubian person tells us they had a story to tell the world, about their people and about their culture. Art in the ancient world typically tells a story about a civilization's way of life. (The lantern depicted is from the 2nd-4th century.) We can say the same for the Civil War lantern in the Fitchburg Historical Society. The use of light itself is symbolic during this period because it was a sign of hope, a way to light the way into a brighter future. Lighting the way with the guide of the moon, and the lantern itself, was an important theme with the Underground Railroad slaves, such as depicted in DeMisty D. Bellinger’s poems. The value of such a lantern today is not just the lantern, or what it was made out of. Such as the Nubian lamp, the value that the lantern had in their lives shows us more about their experiences and who they were. Slaves in search of freedom relied on such light to bring them forward to freedom; they followed the light’s path. Lanterns, in addition, were used as a signal for safe houses, to let slaves know the place was safe to take shelter. It is symbolic to preserve these lanterns because it preserves the experience, and it allows us to put ourselves in their shoes, to illuminate their journeys. Bibliography Ikram, Salima. “From Food to Furniture: Animals in Ancient Nubia." In Ancient Nubia: African Kingdoms on the Nile. Eds. M. Fisher, P. Lacovara, S. Ikram, and S. D'Auria. Cairo: AUC Press, 2012. 210-228. “Underground Railroad: A Path to Freedom.” Eastern Illinois University, www.eiu.edu/eiutps/underground_railroad.php. Photographer(s) Courtesy of the MFA Catalog Entry Author(s) Traer Wilson, Student, Fitchburg State University Artifact Owner Museum of Fine Arts, Boston 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 Museum of Fine Arts, Boston, MA - Lamp with the Head of a Nubian; Fitchburg Historical Society, Fitchburg, MA – Civil War-Era Lantern african american african festival fitchburg historical society nubian poetry storytelling and oral tradition fall 2018 https://d1y502jg6fpugt.cloudfront.net/33439/archive/files/7024a3ece9961d64b25521653f53a794.jpg?Expires=1777507200&Signature=gwrWas6aMJZpFl7bx7hSbanPv%7EYzlUuHdsBdlXNM6z59vkpR1yo5yPLDVuLeFn%7ENyglu0RS43GLXfaJFGL-vUdPZ0OpJLVbPL5PeXZXlzVSPHHQiHqZbBA%7ETJGwIxZkYZu4mrADyeaE1V-87a24rwKpGNrBFY%7EHqWhk1x8C90YMpXjg9pYvMMA3kuj6S0cyfTGcCBDvrnR9Q-mYT%7EW1ko2rNjFREbl7M9Yc7959GMyRaPK2ObWvR94-Vz2itNQiw1Sb7%7EvFeFQ7IQD-RoVNRFPN4dFwBJnmnWnOu84CJxOTt4zEVgfo-sseAYi09FidXxMXUB0KueAHVxrUCM5fGKA__&Key-Pair-Id=K6UGZS9ZTDSZM b300263e3fcfbbee5baed77aeee6705d https://d1y502jg6fpugt.cloudfront.net/33439/archive/files/0738e4d6e42ca4b9b24382c9aab478e6.jpg?Expires=1777507200&Signature=fHggbESBsB-FX34PaH6b4cNIgrEIAakfmeGrV8xaDo5mqE7wWKYNgmMH16fleO4SZ9j4o1eCB85SRQsehIV5xAYxH-InDKwuU%7EoRb3ol1olODtF4ddLbsh1WAHDJ7s10fJUUgHDyqyn2qD9uRpYlvrHsv35-LpgMbelQGxSY6D3WqWQRVOli87yQ7%7El%7EBhXdsdSoLLI8NX92pXOqXLtRfrJ7D3Qyu-O3v0CUrRoLaDL34Qclb51zGJhZHaoSCPKmCTwHALri3WKIrIB1X-dLdyWAUAnx50RDEI2unQ9y5fbw9nxyrWEVwja5YV5A%7EKu3-Va3M%7Etr%7EjxRY4XaPM9tpg__&Key-Pair-Id=K6UGZS9ZTDSZM 015f204fe4e7529d4b3804127385b61f 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 Connecting the Medieval to New England Still Image Catalog Entry Boudicca, queen of the Iceni, lifts her hands in victory or in challenge. This ancient queen led her people against Rome, even managing to sack and burn Londinium at the heart of Roman Britain. This rebellion had followed Rome’s betrayal of her late husband’s will, which had named the Roman Emperor as well as Boudicca’s daughters as his heirs in an effort to keep the peace. After suffering a flogging and the rape of her daughters, Boudicca began a campaign of revenge which did not end until 80,000 Romans were killed and many Roman cities sacked and burned. Her statue in modern-day London now stands as a reminder of her legend and bravery. Much closer to home in the South End of Boston, there stands a memorial to another brave woman. The Harriet Tubman Memorial, also known as Step on Board, honors a woman who showed a different kind of bravery. Nicknamed “Moses” for her work in the Underground Railroad, Harriet Tubman not only escaped herself, but led roughly 300 slaves to freedom over the course of ten years. Neither Harriet nor any she helped escape were recaptured. This was all accomplished while suffering from a head injury which caused sleeping spells from which she could not be awakened. Her statue shows her holding a Bible in front of those she led to safety depicted on a vertical slab. On the back there are various quotes from Harriet Tubman, Fredrick Douglass, and Sarah Bradford. There is also a map depicting stops on the Underground Railroad. Both Boudicca and Harriet Tubman are immortalized in bronze in the heart of two cities that each played an important role in their lives. They faced tremendous odds in order to lead their people to freedom and safety from tyranny, and their courage still inspires us today. Bibliography “Facts: Harriet Tubman.” Harriet Tubman Historical Society, www.harriet-tubman.org/facts/. “Step on Board/Harriet Tubman Memorial.” Boston.gov, Boston Art Commission, 26 June 2019, www.boston.gov/departments/arts-and-culture/boston-art-commission. Photographer(s) Kisha G. Tracy Sonia Marks, Student, FSU Catalog Entry Author(s) Pagan Rose Maeve, Alum, Fitchburg State University 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 London, UK - Statue of Boudicca; Boston, MA - Statue of Harriet Tubman african american african festival boston england hammondexhibition massachusetts photography ii fall 2017 statue women https://d1y502jg6fpugt.cloudfront.net/33439/archive/files/24cfa7d3cb7fddd07220b3be95caf385.jpg?Expires=1777507200&Signature=bWUkE84Tjek6P-te%7E3H1GRhRUN1p-NriCeDLuinzmmt-21scGJhOCUnYOv00t1voKg6PJjLKFJvk7DyghocLHYoj%7EowMZ0%7ExtLKGL9VND1Ve58Yvn03Y2QF2IR0OKQcxioa7lrOW-KkD2nXac0iIFOysU3oy4GWWfE6YK6viktPm-gSv9tt2BOtfqvqSDiFOfBXPLktA7-FhwkPn1TeACAASZp5fktZACwlWxlEz6PTYQ31grHLhmc2q3InkikIJbmPdQ2stK1h3gUgKk5SFVSKnQPF7zNdpiIJXkwqBQPf5uSk32FutXwEafzCh1p-qcqFNlUoacJuL1DQz2WHZXA__&Key-Pair-Id=K6UGZS9ZTDSZM d997582f7111a94abd2b63c28a1c19f4 https://d1y502jg6fpugt.cloudfront.net/33439/archive/files/b7f790f537e4f683944e984bb20f2403.jpg?Expires=1777507200&Signature=NzwOsshYi0ocrtXOTEolewMFQ8WGvs1wHlNyzDVJBsE22k%7EoAvCH2qzkIgWTTzYqbRHDMJIPP4og3n4Dfou3DwnUzvpBUkPwn62iFDOXFRL4SCvsZFQk7fx0nCt4pP8zml1mILgmq4qojkYzyOJy7412D9M6hnHoPxgPrT9hkj-Mm%7EwSXlIbahsQr%7EkTlBfmRy11lApa5Xj%7E5xEJ25l5OGTGnvbVE2dg1CDMM357kN8jzRblGPPta6dpcNbMSjh3DmEwhvLVOlfT%7EZ9nxsL6h9aiIiLTe9ntEdjpO%7E-5hPW3XBTmxD1V1cbBDF2GaOyBq4Z2QWap8xBY%7EExXYO3mWw__&Key-Pair-Id=K6UGZS9ZTDSZM 8285986068446a4e93e5aed7e34cd89a 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 Connecting the Ancient to New England Still Image Catalog Entry This sandal was uncovered in a land of the forgotten. It was worn by a member of the ancient Nubian civilization. It is estimated to be from a time somewhere between 2400-1550 BCE. This civilization, also known as the kingdom of Kush, is considered to be one of the first black African civilizations. Kush possessed an abundance of riches, including spices, incense, animal skins, and gold, making them desirable trade partners with the neighboring nation of Egypt. The Egyptian empire overshadowed this society and at times occupied the region, impacting what information we have and the distinctions between the two communities. The sandal depicted is made of cowhide. Sandals like these were most likely worn to protect their feet from the hot sediment. The second photo is the gravestone of Jan Matzeliger, a man of African descent who revolutionized the shoe-making industry. This monument can be found in Pine Grove Cemetery in Lynn, Massachusetts, where Matzeliger made his invention “The Shoe Laster.” Lynn, Massachusetts during the late 1800s produced more than half of our country’s shoes. Matzeliger was an immigrant who worked hard to put himself through school first to learn English and then to study physics and mechanical science. Despite the challenges Matzeliger faced he kept pushing through. Many of his peers in the shoe making industry belittled his idea believing no machine could do such work. By 1883 Matzeliger had a patent for the machine he invented which attaches the top portion of the shoe to the sole, typically done by hand through an intricate process called lasting. Master lasters could make about fifty shoes during a ten-hour work day, and Matzeliger’s final design made up to 700 shoes a day. Unfortunately, Jan Matzeliger died at the age of 37 in 1889 before receiving much compensation for his invention. These two artifacts represent apparel advances in history. They show that the history of footwear has greatly transformed over the centuries. Both from underrepresented and overlooked cultures, these artifacts are evidence of the talent and artistic skill of people of African descent. Jan Matzeliger may have died and Ancient Nubian legacies may have died out, but, to give them both their well-deserved gratitude, we must share all the knowledge and history we have. Bibliography "Jan Matzeliger (1852–1889)." African American Almanac, Lean'tin Bracks, Visible Ink Press, 2012. Credo Reference,http://ezproxy.fitchburgstate.edu:2048/login?url=https://search.credoreference.com/content/entry/vipaaalm/jan_matzeliger_1852_1889/0?institutionId=934. Accessed 23 Nov. 2018. "University of Chicago opens new gallery devoted to ancient Nubia." Diverse Issues in Higher Education, 6 Apr. 2006, 13. Expanded Academic ASAP, http://link.galegroup.com/apps/doc/A144871564/EAIM?u=mlin_c_fitchcol&sid=EAIM&xid=f807c6ba. Accessed 20 Nov. 2018. Photographer(s) Courtesy of the MFA Kisha G. Tracy Catalog Entry Author(s) Dana Tribandis, Student, Fitchburg State University Artifact Owner Museum of Fine Arts, Boston 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 Museum of Fine Arts, Boston, MA - Nubian Sandal; Lynn, MA – Jan Matzeliger Grave (Pine Grove Cemetery) african american african festival lynn massachusetts MFA nubian storytelling and oral tradition fall 2018