2 10 101 https://mirrorofrace.bc.edu/files/original/6471c80a4ede695d049abd702315b359.tif 74441cc8306dc86c0117e3b60f5361ab 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 Slaves in Black and White 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. Exhibition Name Name of the exhibition in which the item appears Slaves in Black and White Original Format The type of object, such as painting, sculpture, paper, photo, and additional data carte de visite, albumen print Factual Commentary Factual Commentary Charles Paxson has selected the three “whitest” from among the “Slave Children from New Orleans” —Rosina Downs, Charles Taylor, and Rebecca Huger —to pose them literally wrapped in an enormous American flag. Paxson has titled the image “Our Protection” because the flag symbolizes both the Union army, that had taken New Orleans and given former slaves such as these the opportunity to escape bondage, and because of the foundational principles of liberty represented by the flag that Paxson and other abolitionists sought to make the goal of the war as a fight to end slavery, not just to preserve the Union. By 1863, the war exacting an enormous cost in lives and treasure, and Paxson seeks to reinforce what is worth fighting for in the conflict. 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/. Identifier An unambiguous reference to the resource within a given context Figure 6 Title A name given to the resource Our Protection Subject The topic of the resource Our Protection Creator An entity primarily responsible for making the resource Charles Paxson (New York) Date A point or period of time associated with an event in the lifecycle of the resource 1864 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Gregory Fried Collection https://mirrorofrace.bc.edu/files/original/86588c306997cf708285dd8e9d4119ab.jpg 045b4fb735f5c052b93e30f3538eb89e 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 Slaves in Black and White 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. Exhibition Name Name of the exhibition in which the item appears Slaves in Black and White Original Format The type of object, such as painting, sculpture, paper, photo, and additional data carte de visite, albumen print Factual Commentary Factual Commentary Photographer Charles Paxson has posed Rebecca Huger before the same huge flag as in the previous image. She crosses here arms in an almost prayerful gesture that indicates both love and a sense of protection. 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/. Identifier An unambiguous reference to the resource within a given context Figure 7 Title A name given to the resource "Oh! How I Love the Old Flag." Subject The topic of the resource "Oh! How I Love the Old Flag." Creator An entity primarily responsible for making the resource Charles Paxson (New York) Date A point or period of time associated with an event in the lifecycle of the resource 1864 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Joan Gage Collection https://mirrorofrace.bc.edu/files/original/e4dad503533856b0973bbb15910ca658.tif 438bce92861163b917df646467a1fbea 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 Mirror of Race Subject The topic of the resource Mirror of Race Main Collection 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 carte de visite: albumen print Physical Dimensions The actual physical size of the original image cdv standard Factual Commentary Factual Commentary Adah Isaacs Menken (1835-1868) was a dancer, performer and poet. Her origins were obscure even in her lifetime, but she seems to have been born as Adelaide or Ada C. McCord in Louisiana, and she took the stage name Ada Bertha Theodore until her first marriage. She had a short but sensational career as an actress, her fame due as much to her own genius for self-promotion as to talent. Her most famous role was playing a man in Byron’s Mazeppa, wearing a flesh-colored body stocking to appear nearly nude, a shocking thing to do at the time, and this photograph portrays her in that role. Menken wore her hair short, smoked at her press conferences, and flaunted her connections with famous men. She married six times. Her first marriage was to Alexander Isaacs Menken, who was Jewish and for whom she converted; she remained in the faith until her death. Her origins are disputed, with reports of lineage that includes a Spanish Jewish father, a New Orleans creole mother, and a free Black father, among other accounts. Menken seems to have reveled in this kind of dramatic ambiguity. From 1864 to 1866, Menken took her Mazeppa role to London and Paris, where it had enormous success, in part due to her notoriety, but attention waned as the novelty wore off. Menken died in Paris in 1868. The photographer Charles Reutlinger (1816-1881?) was born in Karlsruhe, Germany, and opened a studio in Paris in 1850, where his clients included the upper echelons of society. Menken visited his studio during her European theatrical tour. Menken would have used copies of this carte de visit for publicity and sales for the Mazeppa production. A contemporary (but not necessarily reliable) account of Menken’s life may be read here. A collection of Menken’s poetry, Infelicia, may be read here.Adah Issacs Menken managed to flout many of the most hardened conventions of her time: she converted to marry a Jew, she smoked, she wrote and published on topics a "lady" would not discuss in that era, she appeared on stage nearly nude, she divorced five times, she dressed as a man for roles on the stage -- to name some of her transgressions. Add to this the strong possibility that she was mixed race and her career raises important questions about the performative nature of both racial and gender identity. What did it take to "pass" over these lines as boldly as Menken did? How was it possible for her to have public success at all when she violated some of the most stubborn taboos of her society? Interpretive Commentary Interpretive Commentary Adah Issacs Menken managed to flout many of the most hardened conventions of her time: she converted to Judaism, she smoked, she wrote and published on topics a "lady" would not discuss in that era, she appeared on stage nearly nude, she divorced five times, she dressed as a man for roles on the stage -- to name some of her transgressions. Add to this the strong possibility that she was mixed race and her career raises important questions about the performative nature of both racial and gender identity. What did it take to "pass" over these lines as boldly as Menken did? How was it possible for her to have public success at all when she violated some of the most stubborn taboos of her society? For a valuable study of Menken and her transgressive life and career, see Performing Menken: Adah Isaacs Menken and the Birth of American Celebrity, by Renée Sentilles. A recent (2011) biography for a general audience is A Dangerous Woman: The Life, Loves, and Scandals of Adah Isaacs Menken, 1835-1868, America's Original Superstar, by Michael and Barbara Foster. 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/. Identifier An unambiguous reference to the resource within a given context Figure095 Title A name given to the resource Adah Isaacs Menken (1835-68) Subject The topic of the resource Adah Isaacs Menken (1835-68) Creator An entity primarily responsible for making the resource Charles Reutlinger (Paris) Date A point or period of time associated with an event in the lifecycle of the resource circa 1866 Type The nature or genre of the resource studio portrait, theatrical performer Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection https://mirrorofrace.bc.edu/files/original/a527d2de0b11747a9bc306b17709630f.jpg 644e447f73a3a0495f5f00ed01e1e804 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 Mirror of Race Subject The topic of the resource Mirror of Race Main Collection 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 ambrotype Physical Dimensions The actual physical size of the original image Sixth Plate (2.75 x 3.25 inches) (pair) Factual Commentary Factual Commentary Van Meter has posed holding a copy of W. O. Blake’s History of Slavery and the Slave Trade, Ancient and Modern. The title on the book’s spine can be seen by magnifying and reversing the image:Blake’s History was first published in 1857 by J. & H. Miller of Columbus, Ohio and sold exclusively by subscription. Blake’s History is a vast overview of the historical forms of slavery, treating the subject up to the debates over Kansas in the US Congress. It strives to maintain “objectivity,” but is clearly abolitionist in its didactic intent. The Van Meters lived near Rock Island, Illinois, and Van Meter’s posing with this book seems a clear declaration of his views on the slavery question. Presented below are the title page, two page Preface, and an illustration of a slave ship, all from Blake’s History: Interpretive Commentary Interpretive Commentary For an exhibition of portraits of abolitionists, please see this link on the Mirror of Race website.http://mirrorofrace.org/abolitionits-page/ 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/. Identifier An unambiguous reference to the resource within a given context Figure018 Title A name given to the resource David James Van Meter and Martha Avery Van Meter Subject The topic of the resource David James Van Meter and Martha Avery Van Meter Creator An entity primarily responsible for making the resource David James Van Meter and Martha Avery Van Meter Date A point or period of time associated with an event in the lifecycle of the resource circa 1859 Type The nature or genre of the resource studio portrait Rights Holder A person or organization owning or managing rights over the resource. Gregory Fried Collection https://mirrorofrace.bc.edu/files/original/5088c1b7584969edc0ce8009943776b3.pdf 4be9c61fe63827cd1d263483613ef947 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 Critical Analysis 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 On Seeing and Writing Together: An introduction to a multimedia, collaborative writing project Subject The topic of the resource On Seeing and Writing Together: An introduction to a multimedia, collaborative writing project Description An account of the resource This col­lab­o­ra­tive essay by a pro­fes­sor and her stu­dents in a col­lege writ­ing course demon­strates how the images in the Mir­ror of Race exhi­bi­tion may be used to teach research and reflec­tion on the mean­ing of race in Amer­i­can his­tory and culture. Creator An entity primarily responsible for making the resource Dominique Zino Date A point or period of time associated with an event in the lifecycle of the resource April 18, 2013 https://mirrorofrace.bc.edu/files/original/8058112262c95ec738f26bdca38fbfe4.tif 6034d18bced7aa7905c750ba534b8738 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 Coming to America 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. Exhibition Name Name of the exhibition in which the item appears Coming to America Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Carte de visite Factual Commentary Factual Commentary In another double-exposure portrait, Moung Kyau (1841-1883) poses in the traditional clothes of the Karen people from Burma, where he was born, and Western dress. Kyau was not an immigrant but rather a visitor to the United States: he converted to Christianity in Burma, came to America to study the ministry at college, and returned to Burma to do missionary work there. Temporary visitors like Kyau might be treated with considerable interest, both both because their exotic background evoked curiosity and because their conversion to both Christianity and white Western customs confirmed a sense of cultural triumph for whites. Kyau himself seems to give equal weight here to each side of his double identity. 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/. Identifier An unambiguous reference to the resource within a given context Figure 5 Title A name given to the resource Moung Kyau Subject The topic of the resource Moung Kyau Creator An entity primarily responsible for making the resource Dudley (Hamilton, New York) Date A point or period of time associated with an event in the lifecycle of the resource Date: circa 1865 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection https://mirrorofrace.bc.edu/files/original/42be839ef7e851f3ce567b670d826e85.jpg 579d00d516502ec2f50a394bb51807d8 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 Gender Benders 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. Exhibition Name Name of the exhibition in which the item appears Gender Benders Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Carte de visite, albumen print Factual Commentary Factual Commentary Pauline Cushman (1833-1893) was born Harriet Wood in New Orleans and grew up in Grand Rapids, Michigan. She began a theatrical career in Louisiana in 1851 with “Pauline Cushman” as a stage name. During the Civil War, she became a spy for the Union, supposedly dressing as a man to infiltrate Confederate lines. Cushman narrowly escaped execution once when caught. Granted the honorary rank of major by General James Garfield (later president), after the war she toured and lectured in uniform as “Miss Major Pauline Cushman.” For more on Cushman’s exploits, see Pauline Cushman: Spy of the Cumberland (2006), by William J. Christen; for a contemporary (1865) account, see Life of Pauline Cushman, by F. L. Sarmiento. 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/. Identifier An unambiguous reference to the resource within a given context Figure 2 Title A name given to the resource Miss Major Pauline Cushman Subject The topic of the resource Miss Major Pauline Cushman Creator An entity primarily responsible for making the resource E. and H. T. Anthony (New York) Date A point or period of time associated with an event in the lifecycle of the resource 1864-66 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection https://mirrorofrace.bc.edu/files/original/10ddd713d2b9a3e724d4581983229a13.jpg 26393048ef4924aef25bff4b6d3d83b3 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 Gender Benders 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. Exhibition Name Name of the exhibition in which the item appears Gender Benders Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Carte de visite Factual Commentary Factual Commentary A staunch advocate of women’s rights, Dr. Mary Edwards Walker (1832-1919) was one of the first American women to go to medical school; , during the Civil War, she also became one of the first women to serve as a surgeon for the military, operating on wounded Union soldiers as well as tending civilians on both sides. She served with such distinction that she became the first woman to earn the Congressional Medal of Honor, which she wears here on her left shoulder. Dr. Walker was also a daring believer in the reform of women’s clothing: In this photograph she wears pants (then worn only by men) and a comfortable tunic that allowed the ease of movement needed for the active life of a doctor, then almost universally a man’s profession, while posing in front of a mirror to celebrate her femininity, symbolized by her long hair 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/. Identifier An unambiguous reference to the resource within a given context Figure 1 Title A name given to the resource Dr. Mary Walker Subject The topic of the resource Dr. Mary Walker Creator An entity primarily responsible for making the resource Elliott and Fry (London, England) Date A point or period of time associated with an event in the lifecycle of the resource circa 1866 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection https://mirrorofrace.bc.edu/files/original/bdb958c2b52855a20c607ae043cceb01.pdf 8c44e0f6e4b861cf6c97fed92a6cac10 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 Critical Analysis 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 Black Civil War Portraiture in Context Description An account of the resource An inves­ti­ga­tion into the kinds of mean­ings that pho­to­graphic por­traits of black Civil War sol­diers had at the time of their mak­ing as well as some of the chal­lenges that such a recov­ery poses for his­to­ri­ans today. Creator An entity primarily responsible for making the resource Erina Duganne Date A point or period of time associated with an event in the lifecycle of the resource April 5, 2012 https://mirrorofrace.bc.edu/files/original/6e8e16ce950bab278aa1c1c41eb63b9f.pdf e227f00b8f441782b3ceb7571f04bceb 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 Critical Analysis 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 “Pure Race” Africans and Ethnic Diversity in Nineteenth-Century Rio de Janeiro Subject The topic of the resource “Pure Race” Africans and Ethnic Diversity in Nineteenth-Century Rio de Janeiro Creator An entity primarily responsible for making the resource Flavio dos Santos Gomes Date A point or period of time associated with an event in the lifecycle of the resource May 8, 2012