7 10 101 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/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/59661da67004aab86e62461b5712b663.jpg 90e9ec9f1f6861e94ccc87d5f3079792 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 The makers’ imprint on the back of each of these two photographs reads: “Robinson and Murphy, Artists, No. 4 Bank Row, Huntsville, Ala” (click on the image to see an enlargement). There is also a handwritten note in period pen that reads as follows: “Photograph of uniforms etc taken by Lt. L. E. Campbell 38th NY on the night of the 31st of October, 1868 ― these were worn by Ku Klux on the night of the fight.” The “fight” mentioned here was a raid on Huntsville, Alabama on Oct. 31, 1868 by approximately 150 mounted men, all wearing Ku Klux Klan regalia and armed with pistols, shotguns, and other other weapons. The 1868 report of the Joint Committee on Outrages, compiled and published to record the increasing activities of the KKK, describes how the raiders came to town to break up a meeting of the Republican Party and to intimidate the now free Blacks of the region. Following is an excerpt from the testimony of A. J. Applegate, a witness to the raid: “About 10 o’clock, the excitement in the meeting and around the court house, became very great. I could hear from all quarters that the Ku Klux were com- ing. I walked down in front of the court house, and saw the head of the column coming up the street, on the east side of the square. They were riding three and four abreast. Their horses were covered with white sheets. The members wore gowns made of light colored material, with masks, hideously ornamented. Each horseman had from one to two pistols, one of which was carried in his right hand, cocked ; also, a carbine or double-barreled shot gun. The column consisted of about one hundred and fifty men. As they passed around the square, I passed through the hall of the court house, crossed the street ahead of the column. When I came out of the court house yard, I saw large crowds of the white citizens stand- ing in groups, or running to and fro, and a considerable number of negroes, who seemed worked up to a state of perfect phrenzy with fear.” The KKK raiders shot Judge Thurlow, who died of his wounds, as well as two African American men, also killed, and wounded several more. Citizens of Huntsville sent to a nearby Federal army camp for protection. That evening, Lieutenant Campbell’s patrol caught three mounted men with weapons and KKK robes in their saddle bags, arrested them, and confiscated the weapons and regalia. But the local authorities released them from prison the next morning; with the help of local citizens, they rearmed, took back their horses by force, and escaped. There seems to have been no other consequences for the attackers. The men in the two photographs are therefore not members of the Ku Klux Klan. They are Federal soldiers who have put on the confiscated robes to record them with a photographer as part of an effort to document the practices of the KKK. These are then very early examples of documentary or forensic photography. According to the Arlington National Cemetery Website, Lieutenant Lafayette E. Campbell (1845-1919) was a career soldier who entered the military as a private in 1862 and rose to the rank of first lieutenant by the end of the Civil War. In 1875, Campbell married Margaret Lynd Dent, the daughter of General Frederick Tracy Dent, who was the brother-in-law of President Ulysses Simpson Grant. In the late 1880’s, Captain Campbell served as quartermaster overseeing the construction of Fort Logan, Denver, Colorado. He retired at the rank of Lieutenant Colonel. Another on-line sourcefor Campbell is the Friends of Historic Fort Logan. Interpretive Commentary Interpretive Commentary These two photographs encapsulate one aspect of the tragedy of the period after the Civil War known as Reconstruction, which lasted from 1865 to 1876. During Reconstruction, Federal military forces occupied the former states of the Confederacy. Their role was to provide security and oversee the reintegration of the former rebellious states into the Union. During Reconstruction, the more radical of the Republicans hoped to orchestrate political and social change so that former slaves would have a fully participatory role in the economy and government of the southern states. African Americans identified almost universally with the Republicans and sought political office as members of that party, and many were elected to state and national positions. However, the forces of white supremacy could not tolerate change this profound, and within a few years of the end of the Civil War, groups such as the Ku Klux Klan had organized to employ terroristic violence against both Blacks and any whites who supported them. The raid on Huntsville is a good example of how such groups could operate almost without fear of the local authorities. The Federal troops stationed in the are could only act after the fact, and not effectively. They captured the KKK robes and weapons shown in the photographs, but could not stop the men who used them. Slowly but surely, the campaign of terror wore away at the national resolve to promote equality for the former slaves, and their leaders and supporters were either murdered, run out of town, or terrified into silence. By 1876, Reconstruction was effectively dead, and the the era of Jim Crow segregation and subjugation had begun. 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 Figure019 Title A name given to the resource Ku Klux Klan uniforms and gear Subject The topic of the resource Ku Klux Klan uniforms and gear 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 Creator An entity primarily responsible for making the resource Robinson and Murphy (dates Unknown Photographer Photographer) 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/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/859e81567acb683dd400b030d6d466eb.jpg 4fe839bf3f9b4a4fd856b4a8a931383b 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 Frederick Douglass sat for this portrait by S. M. Fassett of Chicago around 1870, after the exhausting work he did during the Civil War to support the Union cause and to recruit African American regiments to fight. 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 Frederick Douglass Subject The topic of the resource Frederick Douglass Creator An entity primarily responsible for making the resource S. M. Fassett (Chicago) Date A point or period of time associated with an event in the lifecycle of the resource circa 1870 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/dc937d8c877f2742ea4d7c1699db654d.jpg fd30d15095e4cdc8aa38f44853d30e63 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 Frances Clayton adopted the name Jack Williams and posed as a man so that she could join her husband, Elmer Clayton, when he enlisted in the Union army. They fought together in several Missouri regiments, both cavalry and artillery. Elmer Clayton was killed in action, in front of Frances, at the battle of Mufreesboro on December 31, 1862, but she kept on fighting. She was wounded multiple times herself, but managed to keep her identity hidden even after the death of her husband. She fought at many engagements, including the decisive battle of Fort Donelson on February 12, 1862. Interpretive Commentary Interpretive Commentary Frances Clayton was not the only woman to adopt a male persona to fight in the war. Dozens if not hundreds did so, too. The Miror of Race is interested in exploring the issue of gender passing as it relates to race passing. How do the two forms of passing compare? Which was more of a transgression at the time? When and why did it become acceptable to pass, either by race or by gender? What kind of "performance" was required to carry it off? And what does passing tell about the reality, or non-reality, of race and gender as natural categories? Please go here for a sub-exhibition of portraits of women pushing the boundaries of gender roles in this period. 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 Figure020 Title A name given to the resource Frances Clalin Clayton, aka Jack Williams Subject The topic of the resource Frances Clalin Clayton, aka Jack Williams Creator An entity primarily responsible for making the resource S. Masury 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/5dca36daab7f86c0db028978af3e60b4.jpg fd30d15095e4cdc8aa38f44853d30e63 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 Frances Clalin Clayton (misidentified as Celetin on the back of this photo) was one of possibly hundreds of women who passed as men to fight in the Civil War. She adopted the name Jack Williams to join her husband, Elmer Clayton, when he enlisted in the Union army. She served in both the artillery and cavalry (her uniform here), and fought in several battles, including Fort Donelson and Stones River, where Elmer was killed right in front of her, but she stepped over him and kept on fighting. For a book about Clayton and other gender-bending warriors, see 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 6 Title A name given to the resource Frances Clalin Clayton, aka Jack Williams Subject The topic of the resource Frances Clalin Clayton, aka Jack Williams Creator An entity primarily responsible for making the resource Samuel Masury (Boston) 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/7d88c10e589242cc38924581e3ebacb9.pdf c3df88ae8efbaafd6b330fbdef3a0144 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 A Spirit Photograph Description An account of the resource An analy­sis of a “spirit pho­to­graph,” a form of pho­tog­ra­phy thought to bridge this world and the next. Creator An entity primarily responsible for making the resource Shawn Michelle Smith Date A point or period of time associated with an event in the lifecycle of the resource December 17, 2011 https://mirrorofrace.bc.edu/files/original/91b023c380f18a825f7f5388e458d614.tif 74963b51d61b23ec90f7d5ea4edf5d28 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 Ninth Plate (2 x 2.5 inches) Factual Commentary Factual Commentary This daguerreotype by Thomas M. Easterly (1809-1882), of St. Louis, portrays Na-Che-ninga (1797-1862), a chief of the Ioway, or Iowa, tribe. Easterly took several photographs of Na-Che-ninga (more commonly known as Nacheninga) at the same sitting. Several clues show that this particular image is a copy daguerreotype of another, original image. For one thing, the edges of the original are dimly visible. Secondly, Easterly used a sharp tool to inscribe a caption into the silver surface of the daguerreotype plate. That inscription shows up here backwards, because unless a camera had reversing lens, it would show the subject in a mirror image, as it is in this case. That inscription reads as follows (see below for a close-up of the photograph, with the image reversed to show the writing more clearly): “Na-Che-ninga, or No Heart of fear. Chief of the Iowa tribe.” Nacheninga had a reputation as a fierce warrior and shrewd negotiator, one who kept his people whole. He rose to the position as chief in 1851, when his predecessor, Mahaska (White Cloud) died. Nacheninga dealt with the United States government and negotiated treaties in Washington, DC. In this daguerreotype, he poses wrapped in a heavy blanket and holding what must have been a prized possession, a splendidly crafted rifle. On another daguerreotype from the same session, Easterly inscribed the following about this weapon: "The Rifle was presented to the Chief of the Chippeways by King William the fourth of England during his sojourn in America.” And: "The barrel is made of Gold, Silver, and Platina, and carries an ounce ball with accuracy a distance of one mile.” If that is all true, the rifle would have been an exceptionally valuable weapon. William IV reigned 1830-1837, and as a much younger man, he served in the British navy, stationed in New York during the Revolution, and that is how the rifle may have come to the Chippewa. It is not know how the rifle traveled from the Chippewa, located around the Great Lakes, to the Iowa, although there were certainly trade and diplomatic ties between the peoples. Harvard’s Peabody Museum, where this photograph is held, notes that the image was collected by David Bushnell, Jr. (1875-1941), an amateur anthropologist and ethnographer with roots in the St. Louis area who donated his collection to the museum after his death. Interpretive Commentary Interpretive Commentary Thomas Easterly was an exceptionally skilled daguerreotypist who truly loved the medium ― he refused to give it up even when the daguerreotype process fell out of fashion after around 1860. Easterly took a particular interest in the Native American people of the regions around St. Louis. That he made multiple images of Nacheninga, and even copied them later, indicates his desire to document those peoples. It is fair to call this image of Nacheninga a portrait, for he seems to be a fully willing partner in his own representation, and as a diplomat and negotiator for his people, the Iowa, he was a man who might have understood the power of projecting an image by whatever means available. 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 Figure078 Title A name given to the resource Na-Che-Ninga, Chief of the Iowa Subject The topic of the resource Na-Che-Ninga, Chief of the Iowa Creator An entity primarily responsible for making the resource Thomas M. Easterly Date A point or period of time associated with an event in the lifecycle of the resource circa 1847-51 Type The nature or genre of the resource studio portrait Rights Holder A person or organization owning or managing rights over the resource. Harvard Peabody Museum (T1904 41-72-10; 53023B)