5 10 101 https://mirrorofrace.bc.edu/files/original/cfdd71cacc6aaa9ab6fb3a0df1f67dfc.jpg dc51b20f8656dab25b086d9452ce9084 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 Frontiers of the Human Body 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 Frontiers of the Human Body Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Carte de visite, albumen print Factual Commentary Factual Commentary This family of albinos were performers in a circus such as the one created by P. T. Barnum. The man might be Charles Gohren, who can be seen in Figure 2 in this slideshow. Note the strange ?wild man? costume he is wearing, including an animal skin skirt. This, together with his teased hair, was meant to display him as exotic, perhaps playing on the belief that alibinos were a more primitive form of white people. For an essay on the obsession with forms of primordial whiteness, see the essay <a href=?http://mirrorofrace.org/circassian/? target=?_blank?> ?A Freakish Whiteness: The Circassian Lady and the Caucasian Fantasy?</a> on this site. 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 3 Title A name given to the resource Family of albino performers Subject The topic of the resource Family of albino performers Creator An entity primarily responsible for making the resource Mathew Brady Date A point or period of time associated with an event in the lifecycle of the resource 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/0d9da12d82b5855178a3bfeda9c0f1de.jpg b4e59f9bf68b61dc02aaaa2d842b6b52 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 Violence 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 Violence Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Hand colored glass slide copy of a carte de visit Factual Commentary Factual Commentary Gordon was the victim of a whip such as the one held by Abraham in the previous slide. When Gordon (the only name we have for him) escaped from a master in Mississippi, he made his way to the Union Army lines in Baton Rouge, Louisiana in April, 1863. The condition of his back was was discovered by an army surgeon when Gordon underwent a medical examination to enter the Union Army, which he did. So shocking was Gordon’s condition that this portrait was made; it became widely distributed in the United States and abroad and was the subject of a story in Harper’s Weekly. 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 The Scourged Back Subject The topic of the resource “The Scourged Back” (Gordon) Creator An entity primarily responsible for making the resource McPherson and Oliver (New Orleans) Date A point or period of time associated with an event in the lifecycle of the resource original carte de visit, 1863; slide copy, 1891 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/8bf03874b480258ca7c1ed56864955fe.pdf 7482b1f736b0cab6288418d0a07db967 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 Fair Women and Transformed into Negresses Description An account of the resource A med­i­ta­tion on writ­ing about oppressed indi­vid­u­als pho­tographed for sci­en­tific pur­poses, and whether it is pos­si­ble to lib­er­ate such peo­ple through an act of imagination. Creator An entity primarily responsible for making the resource Molly Rogers Date A point or period of time associated with an event in the lifecycle of the resource January 18, 2012 Type The nature or genre of the resource Essay https://mirrorofrace.bc.edu/files/original/a652790058d615c09a14b08b420fe54b.pdf af7695569e7125ce491337f072b176e2 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 Louis Agassiz: Full Face and Profile Subject The topic of the resource Louis Agassiz: Full Face and Profile Description An account of the resource A bio­graph­i­cal approach to pho­tographs of slaves, con­sid­er­ing the images in rela­tion to the per­sonal and pro­fes­sional atti­tudes of the nat­u­ral­ist who com­mis­sioned them. Creator An entity primarily responsible for making the resource Molly Rogers Date A point or period of time associated with an event in the lifecycle of the resource January 18, 2012 https://mirrorofrace.bc.edu/files/original/9aaa9b5e8882f980d4a8284965c458a2.jpg 03b0a0612bc95d8a55212349442a2438 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 Inscribed in period pencil at the top of the back of the card: “Zublia Aggolia, Circassian Lady”; and then along the right side: “H. M. Hill.” H. M. Hill was probably the collector who first bought the card. The printed stamp on reverse of card reads: “Moore Brothers, Opposite Court Square, Springfield, Mass.” This is probably the maker’s mark of Hiram Charles Moore and C. L. Moore. Hiram Moore began his career as an ambrotypist and daguerreotypist in Boston in 1858, moving to Springfield, MA in 1859. Although no further information about Zublia Aggolia in particular has been found, the “Circassian Lady” was a type of performer that became very popular in circuses and sideshows, starting in the 1860s and continuing until around the turn of the century. Based on the style of the carte de visite and the woman’s clothing, we can date this photograph to some time in the 1870s. For further discussion, see the Interpretive Commentary page. For a subsidiary exhibition of people whose bodies challeges the expectations of the period, please follow this link Interpretive Commentary Interpretive Commentary For an analysis of this and similar images, see the article on the Essays page entitled "A Freakish Whiteness: The Circassian Lady as Sideshow Spectacle." 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 Figure071 Title A name given to the resource Zublia Aggolia Subject The topic of the resource Zublia Aggolia Creator An entity primarily responsible for making the resource Moore Brothers (American) Date A point or period of time associated with an event in the lifecycle of the resource 1870s Type The nature or genre of the resource studio portrait, commercial/circus performer Rights Holder A person or organization owning or managing rights over the resource. Gregory Fried Collection https://mirrorofrace.bc.edu/files/original/8ea31de89716d2fa243785b687cc5475.tif 85967b2840a2336a0774e99099a94a07 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 Cabinet photograph Factual Commentary Factual Commentary This portrait is a visual echo of the two previous ones, though it is not a double exposure but rather a father and son from the Pawnee tribe. Like the double exposures, it too marks a cultural transition in identity, but here between generations rather than in a single person. Native Americans are precisely that: <i>native</i> to this land. In a nation of immigrants, they are the exception. And yet, in the harsh irony of history, the son has, in a sense, immigrated to “America” (itself a European name for the so-called New World) by adopting Western dress. For many Native Americans, this cultural colonialism was not a choice, it was forced upon them, though that does not seem to be the case here. Despite all the suffering that transition caused to so many, these two men, at least here, seem entirely self-possessed, in stances that mirror one another. 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 Kritkahock George and William Polack, Pawnee father and son Subject The topic of the resource Kritkahock George and William Polack, Pawnee father and son Creator An entity primarily responsible for making the resource Morris (Lawrence, Kansas) Date A point or period of time associated with an event in the lifecycle of the resource Date: circa 1885 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/f04d5aabd9a8d56270f9cd3c78c2f680.tif 6147d41bd1db0c600220a3fd43cb26b6 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 Violence 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 Violence Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Carte de visite, albumen print Factual Commentary Factual Commentary Wilson Chinn, who escaped from slavery during the Civil War, poses here with the instruments of bondage and punishment used on slaves, both to restrain their movement and to terrify them. Chinn participated in a series of such photographs in part to help educate people about the violence involved in the system of slavery. As one of the measures of control employed on Chinn, his former master branded him with the initials VBM, for Volsey B. Marmillion, a sugar planter in the New Orleans area. More images from series of former slaves may be seen on the Mirror of Race website in the special exhibition entitled “Slaves in Black and White.” 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 3 Title A name given to the resource Wilson Chinn Subject The topic of the resource Wilson Chinn, a branded slave from Louisiana Creator An entity primarily responsible for making the resource Myron H. Kimball (New York) Date A point or period of time associated with an event in the lifecycle of the resource 1863 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/ea67a9f562380470277b0710b0878d4f.tif 9f37b03d39e29da4ca460fa42258db53 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 albumen print Factual Commentary Factual Commentary This larger format photograph is the only known portrait of the entire New Orleans group, including three adults (Wilson Chinn, Mary Johnson, and Robert Whitehead) and five children (Charles Taylor, Augusta Broujey, Isaac White, Rebecca Huger, and Rosina Downs). Note that the negative has been retouched to emphasize the initials “VBM” that Chinn’s former owner, Volsey B. Marmillion branded onto his forehead. This image also tells us that Colonel George H. Hanks brought the group north for its tour and that the children come from the free schools established by General Banks for the education of emancipated slaves.Each member of this group is described in a story of January 30, 1864 in <i>Harper’s Weekly. For an analysis and bibliography, see the essay on ”White Slaves” by Celia Caust-Ellenbogen. 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 Emancipated Slaves Subject The topic of the resource Emancipated Slaves Creator An entity primarily responsible for making the resource Myron H. Kimball (New York) Date A point or period of time associated with an event in the lifecycle of the resource 1863 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. New York Historical Society Collection https://mirrorofrace.bc.edu/files/original/3aa0cf41fe1e0d3439e83e11bada236e.jpg 6b459e857052d872c4d41f97ae779b9b 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 The caption to this image, “White and Black Slaves from New Orleans,” is designed to shock the (mostly white) viewers of such portraits with the realization that skin color was no obvious marker of who counted as a slave —&nbsp;after generations of masters forcing themselves upon enslaved women. This portrait seeks both to arouse moral outrage and prey upon the sympathy of a white audience that would identify with the “white” slave in the image. The back of the image explains that proceeds of the sale of such photographs “will be devoted exclusively to the education of colored people in the Department of the Gulf,” the region of the Confederacy around New Orleans occupied by the Union army. 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 White and Black Slaves Subject The topic of the resource White and Black Slaves Creator An entity primarily responsible for making the resource Myron H. Kimball (New York) Date A point or period of time associated with an event in the lifecycle of the resource 1863 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/71882d0290b1ea384ed80b67188e7fec.tif 6147d41bd1db0c600220a3fd43cb26b6 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 This portrait shows Wilson Chinn, branded on his forehead with the initials of his former master, Volsey B. Marmillion, and displaying implements of bondage and punishment for slaves. The device with the three prongs around his neck would prevent a person from lying down, and the rigid leg iron would prevent running to escape. The perforated paddle on the floor was for beatings. Marmillion ran a sugar plantation outside of New Orleans, and 105 of his slaves, including Chinn, escaped to the Union lines. Harper’s Weekly in a story of January 30, 1864, reported that “Thirty of them had been branded like cattle with a hot iron, four of them on the forehead, and the others on the breast or arm.” 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 3 Title A name given to the resource Wilson Chinn, a branded slave from Louisiana Subject The topic of the resource Wilson Chinn, a branded slave from Louisiana Creator An entity primarily responsible for making the resource Myron H. Kimball (New York) Date A point or period of time associated with an event in the lifecycle of the resource 1863 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