Four hundred years ago, a ship carrying the first enslaved Africans arrived in Jamestown, Virginia.
On August 13, 2019, The New York Times Magazine will launch “The 1619 Project.”
The entire issue of the magazine will be devoted to an examination of “the many ways the legacy of slavery continues to shape and define life in the United States.” The launch event is sold out. You can watch the free live stream here on Tuesday, August 13, at 7 p.m. E.T.
On or about August 25, 1619, the first enslaved Africans landed in British North America. The 400th anniversary will not be celebrated. Instead, it will be commemorated lest we forget that our ancestors were brought here in the bowels of slave ships.
For nearly 250 years, our ancestors were sold on the auction block and subjected to unimaginable dehumanization and brutality. Children were separated from their parents and put up for sale.
In her groundbreaking book, The Value of the Enslaved, from Womb to Grave, in the Building of a Nation, Prof. Daina Ramey Berry observed:
The pubescent years were terrifying. Not only were their bodies changing, but this was also a time when enslaved children experienced the separation they had feared all their lives. Daughters and sons were taken from their parents as the external value of their bodies increased. Market scenes from their childhood now made sense and haunted them for the rest of their lives. At this stage in their maturation, they knew full well that others claimed ownership of them and sexual assault came at any age.
Children are at the center of an event organized by Avenging The Ancestors Coalition (ATAC), “400 Years of Slavery and Other Official Racism: Never Forget, Always Avenge.” The event will be held on Sunday, August 25, 2019, 2:00 p.m., at the Slavery Memorial/President’s House, 6th and Market streets, Philadelphia.
ATAC Co-founder Michael Coard recently wrote:
The highlight of the event will be 400 Black children who will identify and condemn each of the 400 years of slavery as well as its residue, which includes the reactionary Redemption Era, Black Codes, sharecropping, convict leasing, peonage labor, mass lynchings, de jure segregation (known as Jim Crow), de facto segregation, stop-and-frisk, police brutality, mass incarceration, disenfranchising voter ID legislation, court-sanctioned gerrymandering, and other forms of official racial injustice up to and including 2019.
Of the 12.5 million Africans stolen from the Motherland, 26 percent, meaning 3.25 million, were children. And 13 percent of those children, meaning 420,000, died during the more than 60-day Middle Passage voyage in the bottom of feces-filled, urine-soaked, vomit-drenched, rat-infested, disease-ridden “slave” ships. By 1860, shortly before the Civil War, about 33 percent of the nearly 4 million enslaved Black population, meaning 1.32 million, were children. Think about that for a minute.
It’s not too late to get your children, grandchildren, nieces, nephews and other young people age 4 to 14 involved. Help them avenge their enslaved ancestors by calling ATAC at (215) 552-8751 or emailing ATAC@AvengingTheAncestors.com and leave a message stating your name, phone number, email address, and the children’s names and ages. The deadline to sign up is August 9.
On July 5, 1852, before the Ladies Anti-Slavery Society in Rochester, New York, Frederick Douglass asked, “What to the slave is the Fourth of July?”
What indeed?
Today we often communicate via memes, but the message is the same.
To commemorate Juneteenth, Google Street View launched the Slave Dwellings Project, a virtual tour of slave quarters built between the late 1700s and mid-1800s in Virginia. From Google blog:
Several years ago, when Google Street View began to include views of interiors, we saw an opportunity to document slave dwellings for Encyclopedia Virginia, where we collect resources about the state’s history and culture. Most of the former housing sites for enslaved people are on private property, and therefore not open to visitors. Our virtual tours give access to places that people can’t visit in person.
The Street View tours also play a role in virtual preservation. Many of the dwellings are in poor condition—even in worse shape than when we started photographing them a few years ago. By creating the virtual tours, we preserve the dwellings for future generations.
For the tours, we consciously chose a range of dwelling types and locations to highlight how ubiquitous slavery was throughout Virginia—from the Eastern Shore to Mecklenburg County. People tend to think that enslaved people only lived on rural plantations. But we have tours of slave dwellings in urban cities like Alexandria and Richmond, which challenge the stereotypes of how enslaved people lived.
This year marks the 40th anniversary of Black Music Month, the brainchild of music mogul and Rock and Roll Hall of Fame inductee Kenny Gamble and broadcast executive Ed Wright. Radio personality Dyana Williams, the “Mother of Black Music Month,” breaks down the origin of the celebration.
2019 also marks the 400th anniversary of the arrival of the first enslaved Africans in British North America. Music helped the ancestors survive the dehumanization and barbarity of slavery. This mandolin was crafted by a slave circa 1800s. It is on display at the National Constitution Center.
The ancestors used music to express their grief and sorrow. In 25 Black Gospel Songs that Have their Roots in Slavery, BlackExcellence.com wrote:
This traditional Negro spiritual dates back to the slavery era. Sometimes I Feel Like a Motherless Child expresses despair and pain. Furthermore, it conveys the lack of hope of a child who’s been torn from the parents. The word sometimes is repeated several times, which can be interpreted as a measure of hope, as it suggests that occasionally this child doesn’t feel motherless. This child can represent a slave who, in the trafficking process, has been separated from something dear to his or her heart (such as a spouse, home country, parents, children, siblings, and so on) and is yearning for it.
Music was a form of resistance. Again, from BlackExcellence.com:
Wade in the Water is a Negro spiritual song that teaches slaves to hide and make it through by getting into the water. It’s a perfect map song example with lyrics that offer precious coded directions.
Last week I attended a preview of a new exhibit, Civil War and Reconstruction: The Battle for Freedom and Equality .
Jeffrey Rosen, President and CEO of the National Constitution Center, said in a statement:
The National Constitution Center is thrilled to open the first permanent gallery in America that will tell the story of how the freedom and equality promised in the Declaration of Independence was thwarted in the original Constitution, resurrected by Lincoln at Gettysburg, and, after the bloodiest war in American history, finally enshrined in the 13th, 14th, and 15th Amendments to the Constitution.
Harvard University Professor and Director of the Hutchins Center for African & African American Research Henry Louis Gates Jr. said it is the “most amazing” Reconstruction exhibit he has ever seen. Gates hosted the PBS documentary, Reconstruction: America after the Civil War. In conversation with Rosen, Gates observed:
Reconstruction produced a violent, racist backlash. We are still trying to come to terms with the ending of slavery and derailing of Reconstruction.
The exhibit includes certified copies of the three Reconstruction Amendments. I was filled with amazement as I viewed the resolution to amend the Constitution that Secretary of State William H. Seward submitted to the states on February 1, 1865. The 13th Amendment was ratified on December 6, 1865.
The wall of abolitionists ignited my imagination of what it might have looked like when they gathered at Abolition Hall, an anti-slavery meeting place. The Underground Railroad site played host to Frederick Douglass, William Lloyd Garrison and Harriet Beecher Stowe.
John Brown never visited Abolition Hall but his spirit looms large. After the Civil War, the purpose-built structure was converted into an artist’s studio where Thomas Hovenden painted The Last Moments of John Brown. The iconic painting was donated to the Metropolitan Museum of Art in 1897.
Abolition Hall is listed in the National Register of Historic Places. But it is at risk of degradation by K. Hovnanian’s cookie-cutter development, the Villages at Whitemarsh. A ruling on the appeal of the Whitemarsh Board of Supervisors’ zoning decision is still pending. For information on how you can help protect this historic landmark, please visit Friends of Abolition Hall.
