6 10 101 https://mirrorofrace.bc.edu/files/original/ca1c897893ad3fe3d9c8e05282d02a37.tif f8cd1aa36bac50257fc1163b92e56c65 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 Isaac White and Rosina Downs pose in this portrait. The subtitle of the caption calls them “Emancipated slave Children, from the Free Schools of Louisiana,” emphasizing both the political reality of the effects of the Emancipation Proclamation of January 1, 1863 and the policy goal of educating the now free people of the occupied territory of the Confederacy. Once again, the photographer, in this case Myron H. Kimball, has sought to produce a shock by placing a matching pair of the “blackest” and the “whitest” of the children together. 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 8 Title A name given to the resource Isaac and Rosa Subject The topic of the resource Isaac and Rosa 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/6569ee6d5a6ee5f309cf49b015c54a02.jpg 5cfef2cdf7a0edf3c26939202515401f 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 Rebecca Huger seems to have been a favorite with the photographer. Certainly she is pretty, and she also could easily have passed for white. She is also on the verge of becoming a young woman, and probably something the photographer sought to provoke for the viewer is the fate such a young woman might meet at the hands of an owner for whom an enslaved woman’s body was property to use in any way he saw fit — which would account also for the very existence of “white” slaves such as Rebecca in the first place. The publicity campaign used these photographs to uphold support for a war to end such practices. 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 9 Title A name given to the resource Rebecca: A Slave Girl from New Orleans Subject The topic of the resource Rebecca: A Slave Girl from New Orleans 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. Joan Gage Collection https://mirrorofrace.bc.edu/files/original/f7554c1adcc35e0b65fb7765ccdff84a.jpg d2b4d340745f0c59a27a03deebac40c1 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 Cabinet photo, albumen print Factual Commentary Factual Commentary Albinos such as Miss Millie La Mar sometimes found work in circus sideshows; some believed that albinos? extreme whiteness granted them supernatural powers, and the circus exploited such superstitions. Nothing more is known about Miss La Mar at the moment, but if any viewers have further information, we would welcome anything that can be documented. 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 4 Title A name given to the resource Miss Millie La Mar, Mind Reader Subject The topic of the resource Miss Millie La Mar, Mind Reader Creator An entity primarily responsible for making the resource Obermuller and Kern (New York) Date A point or period of time associated with an event in the lifecycle of the resource circa 1890 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/7377ec92a84719cd24f6bc9f6fcad5c2.tif a2132deb7a8a07cd2b31a751200201d2 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 Abolitionists 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 Abolitionists Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Daguerreotype, sixth plate (2.75 x 3.25 inches) Factual Commentary Factual Commentary This is the earliest know portrait of the great American orator and abolitionist, Frederick Douglass (1818-1895), taken around 1845, probably shortly after the publication of his autobiography, Narrative of the Life of Frederick Douglass, an American Slave. Douglass devoted his energies to civil and human rights, advocating the abolition of slavery, founding newspapers to support the cause, recruiting African American regiments during the Civil War to fight for the Union, and serving the government after the war as ambassador to Haiti. Douglass believed in photography as medium of persuasion and sat for his portrait often. The next two slides show him later in life. 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 Frederick Douglass Subject The topic of the resource Frederick Douglass Date A point or period of time associated with an event in the lifecycle of the resource circa 1845 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 Creator An entity primarily responsible for making the resource photographer Unknown Photographer Photographer https://mirrorofrace.bc.edu/files/original/c9756288312827168b037e7a1c8fa923.jpg 05a4a65cf32bc6a4832c2a3588128581 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 prin Factual Commentary Factual Commentary Kady Brownell (1842-1915) was born in South Africa, in the camp of an officer of the British army, where she became used to military life. Around 1860, he immigrated to Providence, Rhode Island, where she worked in a factory and fell in love with the man she married, Robert Brownell. When Robert enlisted in a Rhode Island regiment, Kady insisted on joining him. She learned to shoot, use the sword, and bear the regimental flag. For a contemporary account of how she participated bravely in the battles of Bull Run and New Bern, see Women of the War: Their Heroism and Self-sacrifice (1866), by Frank Moore, pages 54-64. Brownell was the only woman in the Civil War to receive military discharge papers and, eventually, a veteran’s pension. 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 Kady Brownell Subject The topic of the resource Kady Brownell Date A point or period of time associated with an event in the lifecycle of the resource 1861-65 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 Creator An entity primarily responsible for making the resource photographer Unknown Photographer Photographer https://mirrorofrace.bc.edu/files/original/f495abfbb6008763f21e99523f654d7a.tif 43c7fa8f0ae118466edee25152ce9077 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 Tintype Factual Commentary Factual Commentary Albert Cashier (1843-1915), seated on the left, emigrated from Ireland to America as Jennie Hodgers. In 1862, Hodgers assumed the name Albert Cashier to enlist in the 95th Illinois infantry, serving through the war undiscovered and fighting in many battles. For half a century after the war, Cashier maintained an identity as a man, living in Saunemin, a small town in Illinois, drawing a military pension. When Cashier’s biological identity as female was revealed after an accident, he was forced to wear a dress, but former comrades rallied to him to ensure he kept his pension and was buried in his uniform. For a deposition in that case, see here. Cashier’s career is documented in They Fought Like Demons: Women Soldiers in the Civil War, by De Anne Blanton and Lauren Cook. 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 Albert Cashier and unknown sergeant Subject The topic of the resource Albert Cashier and unknown sergeant 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. The Gilder Lehrman Collection Creator An entity primarily responsible for making the resource photographer Unknown Photographer Photographer https://mirrorofrace.bc.edu/files/original/5464bec9aeb3c05b1e6f782fa32a68fe.jpg c5989d2d00520bafa477c5283ec9fb59 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 The 19th century fascination with permutations of the human body extended as much to people ordinarily categorized as white as to people outside that grouping. P. T. Barnum (1810-1891), the great American huckster and showman, reserved a whole section of his American Museum in New York City for performers of this type and sold souvenir photographs such as this to the public. See the back of the photograph for identification of the performers, although many of these are stage names. Revenue stamps, such as the one on the back of this image, were used from 1864 to 1866 to raise funds to pay for the Civil War. 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 Performers in Barnum's American Museum Subject The topic of the resource Performers in Barnum's American Museum Date A point or period of time associated with an event in the lifecycle of the resource circa 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 Creator An entity primarily responsible for making the resource photographer Unknown Photographer Photographer https://mirrorofrace.bc.edu/files/original/62b6b67be8e491b4034ddd69300ae305.jpg 45beb16fa420ba5af1c9cde821932749 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 Ambrotype Factual Commentary Factual Commentary The man identified only as “Abraham, Slave Master” holds a whip clenched tightly in his fist. This is an “occupational” portrait, one where the sitter poses with an object symbolic of his profession. Abraham was probably a slave overseer, or perhaps a slave trader, not a more refined and aristocratic owner of a large and old-family plantation. But the whip is symbolic of more than the job of slave driver: it embodies the fear, the punishment, the pain, the violence that was necessary to enforce slavery’s structure of domination. 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 Abraham, Slave Master Subject The topic of the resource Abraham, Slave Master Date A point or period of time associated with an event in the lifecycle of the resource late 1850s Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Cowan’s Auctions, Inc., Cincinnati, OH Creator An entity primarily responsible for making the resource photographer Unknown Photographer Photographer https://mirrorofrace.bc.edu/files/original/90a2347e4688408645eda29e94d7fcc4.tif 33a59c8b6edc3ba9493c888f2b2068a7 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 Abolitionists 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 Abolitionists Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Carte de visit, albumen print Factual Commentary Factual Commentary Sojourner Truth (1797-1883) was born Isabella Baumfree in Swartekill, New York, when slavery was still legal in that state. She escaped in 1823, and in 1843 she took the name Sojourner Truth to symbolize her pilgrimage through this world as a witness to God’s truth of liberation for all human beings. A campaigner against slavery and for women’s rights, she delivered her famous “Ain’t I a Woman?”speech in 1851 at the Women’s Rights Convention. Along with Frederick Douglass, she helped recruit African American soldiers during the Civil War 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 4 Title A name given to the resource Sojurner Truth Subject The topic of the resource Sojurner Truth 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. Wikimedia Commons Collection Creator An entity primarily responsible for making the resource photographer Unknown Photographer Photographer https://mirrorofrace.bc.edu/files/original/5057a601cc5df349c7a41e245be00e91.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 Abolitionists 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 Abolitionists Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Ambortype, sixth plate (2.75 x 3.25 inches) Factual Commentary Factual Commentary The cause of abolitionism had many adherents beyond the famous names. David James Van Meter of Rock Island, Illinois, poses here in a double portrait with his wife Martha; he holds W. O. Blake’s The History of Slavery and the Slave Trade. Published in 1857, Blake’s History is an exhaustive treatment of the subject, from the ancient world to contemporary political debates, that underlines the horrors of the middle passage in the slave trade to the Americas. David Van Meter displays the title on the spine of the book to announce his moral and political principles. 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 David James and Martha Avery Van Meter Subject The topic of the resource David James and Martha Avery Van Meter Date A point or period of time associated with an event in the lifecycle of the resource 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 Creator An entity primarily responsible for making the resource photographer Unknown Photographer Photographer