7 10 101 https://mirrorofrace.bc.edu/files/original/8058112262c95ec738f26bdca38fbfe4.tif 6034d18bced7aa7905c750ba534b8738 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Coming to America Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Exhibition Name Name of the exhibition in which the item appears Coming to America Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Carte de visite Factual Commentary Factual Commentary In another double-exposure portrait, Moung Kyau (1841-1883) poses in the traditional clothes of the Karen people from Burma, where he was born, and Western dress. Kyau was not an immigrant but rather a visitor to the United States: he converted to Christianity in Burma, came to America to study the ministry at college, and returned to Burma to do missionary work there. Temporary visitors like Kyau might be treated with considerable interest, both both because their exotic background evoked curiosity and because their conversion to both Christianity and white Western customs confirmed a sense of cultural triumph for whites. Kyau himself seems to give equal weight here to each side of his double identity. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Figure 5 Title A name given to the resource Moung Kyau Subject The topic of the resource Moung Kyau Creator An entity primarily responsible for making the resource Dudley (Hamilton, New York) Date A point or period of time associated with an event in the lifecycle of the resource Date: circa 1865 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection https://mirrorofrace.bc.edu/files/original/f756c8f7d1cffbd3f6dbdbcddcbb743a.tif 6034d18bced7aa7905c750ba534b8738 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 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 In this double-exposure portrait, Moung Kyau (1841-1883) poses in traditional Burmese clothes on the left and European on the right. Kyau belonged to the Karen people of Burma (modern Myanmar). Moung Kyau converted to Christianity and came to the United States for education as a Baptist minister. Kyau seems to have lived in in Waterville, Maine, before returning with a large group of missionaries to preach in Burma. In Burma, he composed hymns as part of his missionary work, and he later became a schoolteacher. He died of consumption. A double exposure is a photograph produced by exposing the photographic plate or negative twice, so that two separate impressions from the light are made. In this case, the photographer probably covered half of the light-sensitive plate plate while exposing the other half so that Moung could appear twice in the same image. Interpretive Commentary Interpretive Commentary We do not know if it was the photographer’s or Moung Kyau’s idea to produce this unusual double-exposure portrait. What was its intended meaning? Did he seek to show his double identity both as a Burmese man and as a Christian who had understood the ways of the Europeans well enough to dress like a gentleman and earn an education as a missionary? Are we meant to read this image as a progression, from left to right, from “heathen” to Christian? Is this then an example of European colonialism and triumphalism, working through the respectable front of Christian evangelism? Is Kyau a victim of cultural imperialism? But if Kyau had completely rejected his origins, why would he keep his traditional clothes? Did he understand himself as having a double or multiple identity, rather than a divided one? Kyau studied in the eastern United States, after what must have been a very long voyage from Burma, probably supported by the Baptist missionaries who converted him and saw his potential as a preacher to his own people. Asian visitors were not common in the eastern part of the United States at this time (the 1860s), and especially if they were involved in education and religious work, they might well gain some acceptance in white society. Isolated individuals such as Kyau were not perceived as a racial threat and might even gain respect as exotic curiosities or as signs of the global triumph of white Christian civilization. In California, by contrast, where tens of thousands of Asians, mostly Chinese, immigrated for the Gold Rush, their sheer numbers and competition for jobs with whites exposed them to prejudice and abuse. 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 Figure060 Title A name given to the resource Moung Kyau Subject The topic of the resource Moung Kyau 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 Creator An entity primarily responsible for making the resource Unknown Photographer Photographer https://mirrorofrace.bc.edu/files/original/76f4c07315f52f9b155d6036c5f29865.pdf 79764e4557a1d93804f2b8f96263045d 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 Mr. Hunnewell’s Black Hands: Agassiz and the “Mixed Races” of Manaus Subject The topic of the resource Mr. Hunnewell’s Black Hands: Agassiz and the “Mixed Races” of Manaus Creator An entity primarily responsible for making the resource John M. Monteiro Date A point or period of time associated with an event in the lifecycle of the resource May 8, 2012 https://mirrorofrace.bc.edu/files/original/8e9a71899332586eabf1e83d57e4ca6e.jpg 6b5d708900698daecb2217d9d2e85391 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 According to the account on the back of this photograph, Mungo Park was found in 1868 in South Africa. Modern medicine would probably identify his condition as vitiligo, which causes the skin to lose pigmentation, but in the 19th century, when no one understood its scientific cause, there was a fascination with cases where dark-skinned people seemed to be turning as white ?as the skin of the fairest Caucasian,? as W. H. Vosper writes here. Such cases caused anxiety, because they suggested that 'colored' people might become white, or that skin color could be an accidental rather than an essential feature of a person?s physiognomy. This undermined the notion of clear division between the races.. Vosper was a photographer operating in Sydney, Australia; this is possibly a copy photograph by J. D. Dunn. 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 Mungo Park: The Spotted Boy Subject The topic of the resource Mungo Park: The Spotted Boy Creator An entity primarily responsible for making the resource J. D. Dunn (Meadville, Pennsylvania) Date A point or period of time associated with an event in the lifecycle of the resource circa 1875 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/953960dd5fadd238081dce9518b00946.tif 0e1a5dfca1339812e9f653dfcaae801f 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 N. A. Morjickian poses here in a double exposure photograph, showing himself in conventional western European clothes on the left and in traditional clothes on the right. In his autobiographical book, life of morjickian , he tells how he was born in Armenia in 1863, came to America, and entered Ohio Wesleyan University in 1882, all of which he obviously took pride in. Does an image like this demonstrate the possibility of integrating an American identity and one from the immigrant’s land of origin, or does it visually underline the schism between the two, and what is the fate of so many immigrants in America: that within a few generations, the former eclipses the latter? 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 N. A. Morjickian Subject The topic of the resource N. A. Morjickian Creator An entity primarily responsible for making the resource G. C. Urlin (Columbus, Ohio) Date A point or period of time associated with an event in the lifecycle of the resource Date: 1886 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/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) https://mirrorofrace.bc.edu/files/original/33a1049fc0d8b5cfe501e9574bd7699e.tif 7519191e31bc21d48cd3499a74e3c508 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 Quarter Plate (3.25 x 4.25 inches) Factual Commentary Factual Commentary In this highly unusual image, human hair, placed between the glass cover and photographic plate, frames the image. It was not uncommon for family members to place locks of their loved ones hair together with their portraits, pinning the hair into the mat, but this portrait incorporates the hair into the composition of the photograph itself. We do not know who the woman or the baby were, but the type of photograph (an ambrotype) and its style of case and mat suggest a date of the late 1850s to the early 1860s. Exposure times in early photography could be quite long, and so a baby or toddler would often have to be held to prevent a blurred portrait. The African America woman holding this white baby still is almost certainly its nanny. Was she enslaved, or a free servant living in a free state? We do not know. Interpretive Commentary Interpretive Commentary What is so arresting in this image is the juxtaposition between the photographic plate and the human hair adorning the composition. Why is it there? Whose hair is it? Does it belong to the woman or to the baby? While locks of hair were often treasured as keepsakes of distant or even dead friends, spouses, and relatives, the inclusion of the hair in the photograph is unusual and even jarring because it does not fit in with our regular expectation of what a photographic plate should include. The child is almost certainly the focus of this portrait. As noted in the factual commentary, early photography usually involved a relatively long exposure time, so in portraits of very young children, we often see an adult present to keep the child from moving and blurring the image. The baby sits in the center of the composition, clearly the focus. Also, the baby’s clothing is tinted blue; such tinting cost extra, and it also indicates that this image, as a portrait, is at least intended as a portrait of the child. If the photograph was intended as a portrait of the white child, then the young African American woman was probably the child’s caretaker or nanny. But is she a free servant, employed by the family, or a slave? Her clothes are ordinary but good quality, and she wears a brooch and a ring that are tinted gold, all of which would be quite unusual for a slave. Even if she was free, what does her inclusion in this portrait mean? Was she simply used as tool to hold the child still? Keeping a servant was expensive; was the intent to display the family’s wealth? Also, keeping a servant of color was a status symbol for whites, a sign of social ascendancy and racial dominance available only to the elite. Or was she intended to be part of the portrait, as a valued member of the household? The fact that some of her possessions are tinted in the photograph indicates at least some attention for her as more than a mere prop. Or was it some combination of these motives? 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 Figure005 Title A name given to the resource Nanny, Baby, Human Hair 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 1860 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 Unknown Photographer https://mirrorofrace.bc.edu/files/original/8ebe131736436539cfe746a9c6f7a2d2.jpg d551a70eeafb53d20208ea43aec7aff2 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 We do not know more about the man sitting for this portrait other than his name, written on the back of the image: Nathan T. Burrows. He was probably a performer, as he poses here with various implements he could use, despite his lack of arms: in one foot he hold a pen and writes on a sheet of paper, an ink pot beside it. He must also have been able to shoot with the pistol propped up by the stool. 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 Nathan T. Burrows Subject The topic of the resource Nathan T. Burrows Creator An entity primarily responsible for making the resource J. H. Dodge (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/304b3915fe32455cba504f9f8fcc6995.pdf 2f77e843d8dfa074d19fa0af3218dc6a 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 Nineteenth-Century Scientific Travel and Racial Photography: The Formation of Louis Agassiz’s Brazilian Collection Subject The topic of the resource Nineteenth-Century Scientific Travel and Racial Photography: The Formation of Louis Agassiz’s Brazilian Collection Creator An entity primarily responsible for making the resource Maria Helena P. T. Machado https://mirrorofrace.bc.edu/files/original/5088c1b7584969edc0ce8009943776b3.pdf 4be9c61fe63827cd1d263483613ef947 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Critical Analysis Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource On Seeing and Writing Together: An introduction to a multimedia, collaborative writing project Subject The topic of the resource On Seeing and Writing Together: An introduction to a multimedia, collaborative writing project Description An account of the resource This col­lab­o­ra­tive essay by a pro­fes­sor and her stu­dents in a col­lege writ­ing course demon­strates how the images in the Mir­ror of Race exhi­bi­tion may be used to teach research and reflec­tion on the mean­ing of race in Amer­i­can his­tory and culture. Creator An entity primarily responsible for making the resource Dominique Zino Date A point or period of time associated with an event in the lifecycle of the resource April 18, 2013