6 10 101 https://mirrorofrace.bc.edu/files/original/e2ab3b643e6ec7200892f7178869de25.tif d1063990c5d0c41bae308f28f939d88e 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 Daguerreotype Factual Commentary Factual Commentary We can be quite confident that these are an Irish man and boy, possibly (even probably) recent immigrants, because of the very distinct style of drum that the man holds. It is an Irish bodhran, played with a short wooden striker that is twirled by the fingers, and which can just be seen as a blur in the man’s hand. Thousands upon thousands of Irish left Ireland for America during the Potato Famines, around the time this photograph was taken (cir cal 1850). They faced often intense discrimination for their religion, and Protestant Anglo-Saxons often did not accept the Irish as properly “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 2 Title A name given to the resource Man and boy with Irish bodhran and fiddle Subject The topic of the resource Man and boy with Irish bodhran and fiddle Creator An entity primarily responsible for making the resource anonymous photographer Date A point or period of time associated with an event in the lifecycle of the resource circa 1850 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/c9acbbb0f84e94aa5945f51e8f91bf67.tif b5bc788542c319fb2db636afbc324793 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 tintype Physical Dimensions The actual physical size of the original image “gemtype” (0.75 x 1 inch) in a paper mat, cdv standard Factual Commentary Factual Commentary The photograph above is a tiny tintype portrait of kind known as the “gemtype” (click the image to the left for a close-up). Photographers would use special cameras with as many as 16 lenses to make multiple, postage-stamp-sized photographs on a single thin, metal plate, which the customer could then cut up and give to friends and family. The paper mat holding this one is embossed: “Hathaway, Photographer, Glens Falls,” which is in New York state. We know nothing about the man in the photograph, except that he is almost certainly a white man in “blackface,” which was a costume popularized by the minstrel shows of mid-19th century America. Blackface consisted of blackening a white person’s face with makeup, such as greasepaint or shoe polish, or even burnt cork. In this photograph the man also wears a wig to mimic the hair of African Americans. The minstrel show emerged in the United States in the 1830s and became enormously successful as a form of popular entertainment among whites. White performers, both professional and amateur, would wear blackface and perform satirical skits and musical numbers, posing as African Americans. Interpretive Commentary Interpretive Commentary One thing to notice about this photograph is that it was made in Glen Falls, New York, around the time of the Civil War. The extreme racial stereotyping that characterized the minstrel show was very popular in northern regions, and it is important to bear in mind that this form of racism was widespread in the United States. Blackface and the minstrel show was a form of mock reverse passing from white to black. In actual passing, a person attempts to convince others that they embody a different identity than would normally be ascribed to them. But in blackface, white performers played with taking on the persona of blacks for an audience that would still see them as white. This mock passing played on the fascination with racial boundaries. Comedy works on the borders of hysteria, and blackface touched a nerve by presenting a white person as black, exploiting a deep-seated anxiety about racial identity and purity ― but at the same time, this anxiety would be quelled by the audience knowing the performers was “really” white and by the demeaning representation of blacks, which would reassure them of their distance from the characters depicted. The audience could then return to a reassured sense of possessing their whiteness as a mark of genuine superiority, combined with a feeling of mastery over the black archetypes captured and forced, as the audience saw such performances, to reveal themselves in the caricatured forms of blackface. 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 Figure026 Title A name given to the resource man in blackface Subject The topic of the resource unknown 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. Gregory Fried Collection Creator An entity primarily responsible for making the resource Hathaway (dates Unknown Photographer Photographer) https://mirrorofrace.bc.edu/files/original/6ac6adbf045a7fcb6cfc39c65d77d737.jpg 1100565062f972e13e1198310078a7be 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 This photograph shows the third Ku Klux Klan outfit and weapons captured on the night of October 31, 1868, after the raid on Huntsville, Alabama. The previous slide shows the other two. The success of the raid itself in breaking up a politidal meeting, that the local white authorities would not cooperate with the Federal troops but instead let the captured KKK men go, shows how easily the KKK could operate with impunity to murder without consequences and terrorize free Blacks so as to reestablish white supremacy after the Civil War. Violence trumped law, and when Reconstruction failed, Jim Crow laws finished the process that terrorist violence had begun: to reestablish a system of racial dominance after a brief period of hope for equality. 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 Man in Ku Klux Klan uniforms Subject The topic of the resource Man in Ku Klux Klan uniforms Creator An entity primarily responsible for making the resource Robinson and Murphy (Hunstville, Alabama) Date A point or period of time associated with an event in the lifecycle of the resource 1868 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/41c4897ee73c4220176ce0660b51a133.tif 7225cf3e11c1bf51cbf6c7cd8ecd9ba5 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 daguerreotype Physical Dimensions The actual physical size of the original image Sixth Plate (2.75 x 3.25 inches) Factual Commentary Factual Commentary The African American man in this early (around 1845) daguerreotype holds a musical instrument known as a keyed bugle. He is almost certainly a free person, and we can tell this for several reasons. First, his clothing is well tailored and therefore would be expensive, not something given to a slave. Next, the keyed bugle itself is a valuable musical instrument, one played by highly trained musicians. Finally, he holds a sheet of music, a sign that he must have been literate, something nearly impossible, and generally illegal, for slaves. The keyed bugle was invented in 1810 in Ireland by a man named Joseph Halliday. First employed in the British military, the keyed bugle soon came into wider use by composers and orchestras. In the United States, perhaps the greatest keyed bugle player was an African American man named Francis Johnson (1792-1844), who both composed and performed, and who achieved wide fame for his virtuosity and tremendous success with both white and black audiences. Johnson lived in Philadelphia, where he instructed other free blacks in the keyed bugle, and some of them played with his traveling band. The man in this photography might have been one of Johnson’s students or a member of his circle of performers. To learn more about the keyed bugle, and to hear it played by the most accomplished modern scholar of this instrument, Ralph Dudgeon, go to this webpage. Dudgeon has also published the definitive study on the instrument, The Keyed Bugle. You can hear some of Francis Johnson’s compositions, scored for the piano, here. This brief biography, from University of Pennsylvania, provides an overview of Johnson’s life and accomplishments. Interpretive Commentary Interpretive Commentary Even though we do not know the identity of this man, we can see that he has made a very deliberate decision to pose with such evident pride with his keyed bugle and sheet music. In early photography, people would frequently pose with the tools of their trade or profession, so there is good reason to believe this man is a professional musician. The sheet music he holds is important for several reasons. Even if the man portrayed here was not a member of the circle of the African American composer, conductor, and band leader, Francis Johnson, he would have certainly known of him, as he was the most famous Black musician of his era and a great promoter of the virtues of the keyed bugle. Johnson was the first African American composer to publish his work as sheet music; this man poses with sheet music, perhaps in honor of Johnson, but certainly to convey that he is a literate reader of music, a skill symbolizing refinement and distinction. African American musicians faced racial prejudice and even violence in pursuing their careers. Accomplished musicians such as Johnson and the man portrayed here were subject to discrimination and insults by white bands, who resented competition from Black performers, and they sometimes had to dodge angry crowds of whites, who were threatened by the sheer fact that Black musicians could perform so well or even that they could read music. Despite these obstacles, Johnson was hailed as a great musician; he broke ground by performing to mixed race audiences, and he was much in demand for private and public occasions. If the man we see here played his bugle as part of that world, then he also played a part in laying the foundations for the enduring influence of Black music in the United States. 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 Figure017 Title A name given to the resource man with keyed bugle Subject The topic of the resource unknown 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, possibly occupational 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 Unknown Photographer https://mirrorofrace.bc.edu/files/original/54a293636b9225433d69e5b47cb993d5.jpg 2026f1f6eadf4c9fab7133334f13e24f 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) Factual Commentary Factual Commentary A period slip of paper inserted into the image case (see below) identifies the sitters as “Manuel Ybana Dudagertia, Pedro Ybana D. (bald)”; the English notation “bald” indicates a United States maker and context for the photograph, as do the style of case and the mat, although these materials were imported for the use of photographers in Mexico and other Central and Latin American countries. Interpretive Commentary Interpretive Commentary Latinos, or Hispanics, have been part of the Americas for longer than the northern European colonizers, who began arriving in significant numbers and lasting settlement in North America only in the 1600s. When looking at a photograph such as this one, it is worth remembering that Latinos were living in the lands that became the United States for generations, even centuries, before those lands became states of the Union. We do not know, but it may well be the case that the brothers Manuel and Pedro were just such Latino citizens of the United States. 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 Figure008 Title A name given to the resource Manuel and Pedro Ybana Dudagertia Subject The topic of the resource Manuel and Pedro Ybana Dudagertia Date A point or period of time associated with an event in the lifecycle of the resource circa 1860 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 Unknown Photographer https://mirrorofrace.bc.edu/files/original/6e0e3fd052cbb9055318ffb1acd9587f.jpg a3b73b8d9bc1e9a5eac3147ce1b23793 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 Mary Tebe (also known as Marie or Mary Tepe, French Mary, and Zouave Mary) was a vivandiere with Pennsylvania’s 114th Regiment, Collis’ Zouaves. Zouaves were units in the Civil War that modeled their uniforms on French Algerian troops; as a vivandiere, Mary Tebe was a paid member of the regiment who served in many support roles, but especially as a nurse on and off the battlefield. Here, she wears a uniform modeled on that of Collis’ Zouaves; she carries her cask to administer water or spirits to wounded soldiers, and she wears the Kearny Cross that she was awarded for her bravery at the battle of Fredricksburg. Tebe also served at Gettysburg. For a contemporary description of Zouave Mary, see Four Brothers in Blue, by Robert Goldthwaite Carter, pages 281-3. 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 Mary Tebe Subject The topic of the resource Mary Tebe Creator An entity primarily responsible for making the resource R. W. Addis (Washington, DC) 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/adffd9197f6dbe74a2306eac1f0ba1b1.jpg 3fd00ba2ffa4e13976cbffc8a7486527 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 On the night of Oct. 31, 1868, approximately 150 armed men in Ku Klux Klan regalia rode into Huntsville, Alabama to break up a meeting of the Republican Party and to terrorize the Blacks of the city, who had been free since the Emancipation Proclamation and the Union victory in the Civil War. The KKK shot and killed a judge and two African American men. That night, Federal troops captured three of the KKK men and confiscated their robes. In this photo, Federal soldiers wear the robes and show the confiscated weapons to record the practices of the KKK. The jailers in Huntsville simply let go the three captives, who rearmed, took back their horses by force, and left town. For an account of the Huntsville raid and other KKK activity, see the <a href=”http://archive.org/stream/reportofjointcom00alab/reportofjointcom00alab_djvu.txt“ target=” _blank”=””>1868 report</a> of the Joint Committee on Outrages. 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 Men in Ku Klux Klan uniforms Subject The topic of the resource Men in Ku Klux Klan uniforms Creator An entity primarily responsible for making the resource Robinson and Murphy (Hunstville, Alabama) Date A point or period of time associated with an event in the lifecycle of the resource 1868 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/722a372bf266fba47092b420e77780f2.jpg 2d56e3bc6432f3f8177bd263884f312d 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 Process: carte de visite, albumen print Factual Commentary Factual Commentary The back on this photograph reads, 'Miss Halleon, American Bearded Lady, age 28, Castile, Wyoming County, N.Y.' Like Mungo Park, the 'Spotted Boy' in the previous slide, the ?bearded lady? was also a cause of fascination for the Victorian imagination. Both raised the disruptive possibility that what were assumed to be fixed and natural categories ?&nbsp;race and sex ? might not be as stable as desired by the social structures that depended on these categories being defined, certain, and enduring. The color on this photograph was applied by hand in the photographer?s studio, and the image would have been used for marketing and for sales. 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 Miss Halleon, American Bearded Lady Subject The topic of the resource Miss Halleon, American Bearded Lady 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. Gregory Fried Collection Creator An entity primarily responsible for making the resource photographer Unknown Photographer Photographer (Meadville, Pennsylvania) 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/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