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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
Connecting the Medieval to New England
Still Image
Catalog Entry
<p>“Enjoy ye with us, and I thank you, for we be all ready for to die for the faith of Jesu Christ. We have suffered our fellow knights to be slain, and I have suffered your fellows to suffer death for Jesu Christ, and I have kept the commandment of God which said to Peter: ‘Put thy sword into the sheath.’ But now, because that we be enclosed with the bodies of the knights our fellows, and have our clothes red of their blood, let us then follow them by martyrdom. And if it please you, let us send this answer unto Cæsar: We be thy knights, sir emperor, and have taken arms to the defence of the common weal; in us is no treason ne dread, but in no wise we will forsake the law ne faith of Jesu Christ.” – “The Life of Saint Maurice” (c. 1275)</p>
<p>“Harmless, beautiful, proper, and praiseworthy as this demonstration is, I cannot forget that no such demonstration would have been tolerated here twenty years ago. The spirit of slavery and barbarism, which still lingers to blight and destroy in some dark and distant parts of our country, would have made our assembling here the signal and excuse for opening upon us all the flood-gates of wrath and violence. That we are here in peace to-day is a compliment and a credit to American civilization, and a prophecy of still greater national enlightenment and progress in the future. I refer to the past not in malice, for this is no day for malice; but simply to place more distinctly in front the gratifying and glorious change which has come both to our white fellow-citizens and ourselves, and to congratulate all upon the contrast between now and then; the new dispensation of freedom with its thousand blessings to both races, and the old dispensation of slavery with its ten thousand evils to both races—white and black. In view, then, of the past, the present, and the future, with the long and dark history of our bondage behind us, and with liberty, progress, and enlightenment before us, I again congratulate you upon this auspicious day and hour.” – Frederick Douglass, Oration at the Unveiling of the Freedmen’s Monument (April 14, 1876) </p>
<p>"[The Freedmen’s Monument] showed the Negro on his knees when a more manly attitude would have been indicative of freedom." – Frederick Douglass, Comments at the Unveiling of the Freedmen’s Monument (April 14, 1876)</p>
Bibliography
<p>Jacobus de Voragine. “The Life of St. Maurice.” <em>The Golden Legend</em>. Ed. F.S. Ellis. Christian Iconography. 2000. https://www.christianiconography.info/goldenLegend/maurice.htm.</p>
<p>Levin, Kevin M. “The Boston Statue that Reinforces the Need for Black History Month.” <em>History News Network. </em>Columbian College of Arts & Sciences. 25 Feb. 2018. https://historynewsnetwork.org/article/168303.</p>
<p>“Oration by Frederick Douglass Delivered on the Occasion of the Unveiling of the Freedmen’s Monument, April 14, 1876.” <em>Smithsonian</em>. Digital Volunteers: Transcription Center. https://transcription.si.edu/project/12955.</p>
Photographer(s)
Kisha G. Tracy
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
Magdeburg, Germany – Saint Maurice Statue (Magdeburg Cathedral); Lynn, MA – Frederick Douglass Monument (Lynn Common)
african american
african festival
hammondexhibition
lynn
massachusetts
statue
-
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355d4daef03599cbea49ba17e9da8ae5
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
<p>The Black Madonna tradition originated in the Middle Ages around the twelfth to the fifteenth centuries, concentrated in France but also in other areas; there are approximately four to five hundred of them in Europe. The prominence of the tradition is attributed to the stories of miracles surrounding these paintings and statues. In a study of approximately one hundred examples, Leonard Moss divided them into three categories with the majority falling into the first: “dark brown or black madonnas with physiognomy and skin pigmentation matching that of the indigenous population” (Duricy).</p>
<p>The Black Madonna in Chartres Cathedral in France is a 1508 wooden replica of a thirteenth-century silver version. The Black Madonna in Magdeburg Cathedral in Germany dates to around the thirteenth century.</p>
<p>The Black Madonna in Saint John the Guardian of Our Lady Parish in Clinton, MA originally belonged to Our Lady of Jasna Gora. Jasna Gora was constructed in 1913, held its last mass in 2010, and was demolished in 2012. The Black Madonna, Our Lady of Jasna Gora, was painted in Poland in the Byzantine style and brought to the church in 1938. The painting is modeled after the Black Madonna of Czestochowa, Poland, which was said to have originally been painted by St. Luke then brought to Poland via Constantinople in 1384. More likely, it was a sixth to ninth-century piece. The original was destroyed beyond repair by robbers in 1430. It is credited with a number of miracles, including several Polish military victories, making the painting a national monument.</p>
<p>Although the Black Madonna is a widespread and popular tradition, there is a distinct issue with many of these pieces of art: namely, that they are being “restored” and turned distinctly white. Indeed, the Chartres Black Madonna no longer looks like the image in this photo. It looks more like the image here of the Magdeburg Black Madonna, which was “cleaned” in the nineteenth century. Pilgrims travel long distances to visit these statues, only to find them altered beyond recognition. </p>
Bibliography
<p>“The Black Madonna of Czestochowa: Poland’s Most Revered Icon.” <em>Polish American Journal</em>. http://www.polamjournal.com/Library/APHistory/blackmadonna/blackmadonna.html.</p>
<p>Duricy, Michael. “Black Madonnas: Origin, History, Controversy.” All About Mary. <em>University of Dayton. </em>https://udayton.edu/imri/mary/b/black-madonnas-origin-history-controversy.php.</p>
<p>Ramm, Benjamin. “A Controversial Restoration That Wipes Away the Past.” <em>The New York Times</em>, 1 Sept. 2017. https://www.nytimes.com/2017/09/01/arts/design/chartres-cathedral-restoration-controversial.html.</p>
<p>Travers, Terry A. “History of Parish Retold.” <em>Worcester Daily Telegraph</em>, 1 Feb. 1969. http://tqretro.blogspot.com/2016/07/our-lady-of-jasna-gora-story-211969.html.</p>
Photographer(s)
Kisha G. Tracy
Courtesy of Saint John the Guardian of Our Lady Parish
Catalog Entry Author(s)
Kisha G. Tracy
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
Chartres, France – Black Madonna (Chartres Cathedral); Clinton, MA – Black Madonna (Saint John the Guardian of Our Lady Parish); Magdeburg, Germany – Black Madonna (Magdeburg Cathedral)
african festival
clinton
hammondexhibition
massachusetts
statue
women
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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
<p>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, <em>mud</em><em>é</em><em>jar</em>, 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. <em>Mud</em><em>é</em><em>jar</em> 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.</p>
<p>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 54<sup>th</sup> 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.</p>
<p>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: <em>mudéjar</em>. The African Meeting House served as a church, school, and meeting house and was later utilized as a synagogue. The <em>mudéjar</em> 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.</p>
Bibliography
<p>The Ministry of Culture and Sport. “Mudéjar Art.” <em>Spain is Culture</em>, SEGITTUR, http://www.spainisculture.com/en/estilos/mudejar/.</p>
<p>Museum of African American History. “A Gathering Place for Freedom.” <em>Museum of African </em><em>American History</em>, https://www.maah.org/exhibits_detail/A-Gathering-Place-for-Freedom.</p>
<p>National Historic Landmarks Program. “African Meeting House.” <em>National Historical </em><em>Landmarks Program</em>, National Park Service, https://web.archive.org/web/20090606132718/http://tps.cr.nps.gov/nhl/detail.cfm?ResourceId=1069&ResourceType=Building. <br /><br />National Park Service. “African Meeting House.” <em>National Park Service</em>, 23 Dec. 2015, https://www.nps.gov/boaf/learn/historyculture/amh.htm.</p>
<p>Seville Cathedral. “World Heritage.” <em>Catedral De Sevilla</em>, artiSplendore, https://www.catedraldesevilla.es/la-catedral/patrimonio-de-la-humanidad/.</p>
<p>UNESCO. “Cathedral, Alcázar and Archivo de Indias in Seville.” <em>UNESCO</em>, https://whc.unesco.org/en/list/383/.</p>
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
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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
<p>“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.” </p>
<p>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.</p>
Bibliography
<p>Demby, Gene. “How Black Americans See Discrimination.” <em>National Public Radio</em>, 25 Oct. 2017, https://www.npr.org/sections/codeswitch/2017/10/25/559015355/how-black-americans-see-discrimination<span>.</span></p>
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
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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
<p>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 2<sup>nd</sup>-4<sup>th</sup> century.)</p>
<p>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.</p>
Bibliography
<p>Ikram, Salima. “From Food to Furniture: Animals in Ancient Nubia." In <em>Ancient Nubia: African Kingdoms on </em><em>the Nile</em>. Eds. M. Fisher, P. Lacovara, S. Ikram, and S. D'Auria. Cairo: AUC Press, 2012. 210-228.</p>
<p>“Underground Railroad: A Path to Freedom.” Eastern Illinois University, www.eiu.edu/eiutps/underground_railroad.php.</p>
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
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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
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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
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Connecting the Medieval to New England
Still Image
Catalog Entry
<p>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.</p>
<p>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.</p>
<p>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.</p>
Bibliography
<p>“Facts: Harriet Tubman.” Harriet Tubman Historical Society, www.harriet-tubman.org/facts/.</p>
<p>“Step on Board/Harriet Tubman Memorial.” Boston.gov, Boston Art Commission, 26 June 2019, www.boston.gov/departments/arts-and-culture/boston-art-commission.</p>
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
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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
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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
Connecting the Ancient to New England
Still Image
Catalog Entry
<p>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.</p>
<p>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.</p>
<p>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.</p>
Bibliography
<p>"Jan Matzeliger (1852–1889)." <em>African American Almanac</em>, Lean'tin Bracks, Visible Ink Press, 2012. <em>Credo </em><em>Reference</em>,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.</p>
<p>"University of Chicago opens new gallery devoted to ancient Nubia." <em>Diverse Issues in Higher Education</em>, 6 Apr. 2006, 13. <em>Expanded Academic ASAP</em>, http://link.galegroup.com/apps/doc/A144871564/EAIM?u=mlin_c_fitchcol&sid=EAIM&xid=f807c6ba. Accessed 20 Nov. 2018.</p>
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