1. The Un-dehumanization of African-American Slaves
By Julie Groman

2. Big Idea: Community How does place influence a community’s culture?
What social system exist within a community?
What factors control who the leaders of a community are?
What conflicts can arise regarding leaders’ choices?
How does art reflect peoples’ roles in their community?

3. Before I teach… What do you know about African- American slavery?
Independently, list everything you know about this topic in your sketchbook.
Counts as a sketchbook grade

4. Now let’s share… Compare your answers with the students at your table.
One person, record all of the groups answers
Then, each group will share their answers will me and I will make a class graphic organizer to show what we know about this topic so far.

5. So, what is our lesson on?

6. The Un-Dehumanization of African-American Slaves: An interdisciplinary lesson between World History and Introduction to Art Virginia SOLs
World History SOLs
Introduction to Art SOLs
WH11.1e Analyze trends in human migration and cultural interaction.
WH11.4c Explain migration, settlement patterns, and cultural diffusion in colonized areas.
WH11.4e Map and explain the triangular trade
NAI.11.2 Evaluate how social contexts (e.g., gender constructs, inequality, power relationships, economics) contribute to meaning in works of art and design.
NAI.11.3 Evaluate how cultural contexts (e.g., geographic, religious, political, ethnic, racial, virtual) contribute to meaning in works of art and design.
NAI.11.4 Evaluate how historical contexts contribute to meaning in works of art and design.

7. How do you think we know anything about African-American history during colonial times?
The information available is extremely limited.

8. We know from: Written accounts Succession and judicial records
Newspapers
Runaway Ads
Letters
Travelers Descriptions
Patton, S.F. (1998) African American Art. Oxford, N.Y.: Oxford University Press.

9. Immigration and Slavery
As American colonies developed and populations increased, the need for labor increased.
Slaves were forced, by armed men, from their homes In turn, this reshaped American colonial society.
A triangular trade route was established between Europe, Africa, and the Americas.
European goods were brought to Africa to trade for slaves, African were transported to America and traded for goods, then American goods were shipped to Europe.
Ellis, E. G., Esler, A., & Pearson Education, Inc. (2011). Prentice Hall world history: The modern era. Upper Saddle River, N.J: Pearson.

10. The Middle Passage
This was the 2-3 month long journey across the Atlantic from Western Africa to the ‘New World.’
Slaves were brought from by ship to work for free between the 16th and 18th century.
Slaves were shackled, branded, and exposed to disease during this horrific trip. Ten percent did not survive.
Brown, R. & Lester, J. (1998). From slave ship to freedom road. New York, N.Y.: Dial Books.
Ellis, E. G., Esler, A., & Pearson Education, Inc. (2011). Prentice Hall world history: The modern era. Upper Saddle River, N.J: Pearson.

11. How many slaves do you think were brought to American during the slave trade? Why would people wants to hide this part of history?
12 million

12. How did slavery differ in the North and the south?
Labored as farmhands, dockworkers, sailors, and house servants
South
Raised labor intensive crops such as tobacco, rice, indigo, and sugar
Slaves outnumbered whites
Most slaves were imported to Southern port cities.
Ellis, E. G., Esler, A., & Pearson Education, Inc. (2011). Prentice Hall world history: The modern era. Upper Saddle River, N.J: Pearson.

13. Runaway Slaves: Why do you think white people helped free slaves?
Many white people and free blacks helped slaves escape.
It was not illegal to help a slave escape until The Fugitive Slave Act of 1850.
Slaves that were caught were severely punished and made examples of.
Slaves would also rebel by working slowly, feigning illness, or breaking tools.
Brown, R. & Lester, J. (1998). From slave ship to freedom road. New York, N.Y.: Dial Books.

14. The Civil War in 1861: Would America be devoid of slavery after this war? YES!
Blacks, free and enslaved, volunteered to fight in this war.
After slaves were granted freedom, some stayed with their owners and worked for money. Some left.
Some went in search of their wives, husbands, and children.
Brown, R. & Lester, J. (1998). From slave ship to freedom road. New York, N.Y.: Dial Books.

15. Slavery and Art: Think, Pair, Share Do you think slaves made art
Slavery and Art: Think, Pair, Share Do you think slaves made art? Do you think that they had opportunities to be creative? Do you think that they were able to keep practicing their cultural traditions as slaves?

16. Until 30 years ago, it was thought that African culture was erased after this group arrived by way of the slave trade. Scholars finally reconsidered this view, and started investigating evidence of African culture in the visual arts.
Patton, S.F. (1998) African American Art. Oxford, N.Y.: Oxford University Press.

17. What skills do you think slaves brought with them
What skills do you think slaves brought with them? How did Africans show continuation of their culture when brought to America?

18. They were able to practice:
Metalsmithing
Woodcarving
Pottery
Weaving
Slaves that were artisans were identified and were considered more valuable. Some had prior knowledge of skills and some were taught skills, such as carpentry, by their owners.
Patton, S.F. (1998) African American Art. Oxford, N.Y.: Oxford University Press.

19. Slave Houses
When slaves arrived, they were expected to build their own houses.
Many early ( ) slaves built houses resembled houses from West and Central Africa.
They were made from natural resources from the plantation and/or materials provided by owners.
Generally, they had dirt floors, clay walls, and leaf or reed roofs. They measure about 10’-12’ square.
This is one of the first cases in which African culture was transferred to America. Slave houses progressively adopted more European style as time progressed. Architecture became a sign of wealth and power.
Slaves also continued cooking and eating one-pot meals, practicing oral traditions and folklore, as well as practicing dance, art making, and ceremonies.
Patton, S.F. (1998) African American Art. Oxford, N.Y.: Oxford University Press

20. Textiles and Patchwork Quilts
In weaving room of plantation, slaves learned spinning, weaving, lace-making, and stitchery.
These works offset fluctuating income of cash crops.
Dyes were from local plants, trees, and flowers or they were imported.
Fabric was so expensive before the Industrial Revolutions, scraps of cloth were used for quilts.
Patton, S.F. (1998) African-American art. Oxford, N.Y.: Oxford University Press.
Runnymeade and individual authors. The art of slavery. Retrieved from

21. Quilt Codes
Sometimes, coded patterns of quilts revealed information to help slaves escape to freedom.
Directions for the Underground Railroad were told through patterns. Seamstresses would hang the quilts and escapees would memorize the directions, which were displayed in plain view.
There is little evidence to support this because of the secrecy embedded in it’s purpose.
Ives, S. (2004). Did quilts hold codes to the Underground Railroad? National Geographic News. Retrieved from

22. Wrench Pattern: Gather your tools. Physically and mentally prepare.
Hart Cottage Quilts. ( ). Retrieved November 16, 2015:

23. Wagon Wheel Pattern: Pack your bags
Wagon Wheel Pattern: Pack your bags. You’re are about to go on a long journey.
Retrieved from

24. Bear’s Paw Pattern: Head North to the Appalachian Mountains.
McNeil, M. (2014, May 18). Underground railroad quilt code. [Blog]. Retrieved from

25. Tumbling Box Pattern: Emergency! Pack up and go.
Harriet Tubman and the Underground Railroad. (n.d.) Retrieved November 16, 2015 from Weebly:

26. Sailboat Pattern: There is body of water and a boat nearby for a slave.
Harriet Tubman and the Underground Railroad. (n.d.) Retrieved November 16, 2015 from Weebly:

27. Aunt Ellen and Aunt Margaret, silk quilt, 1837-1850, from the Knob plantation in Kentucky
Patton, S.F. (1998) African-American art. Oxford, N.Y.: Oxford University Press.

28. Harriet Powers, biblical quilt, 1886
Powers was illiterate, but knew biblical stories that she had memorized from church sermons.
This quilt represented stories of Adam and Eve, Cain and Abel, Jacob, the birth of Christ, the betrayal of Judas, the Last Supper, and the Crucifixion.
Patton, S.F. (1998) African-American art. Oxford, N.Y.: Oxford University Press.

29. Harriet Power, biblical quilt, 1898
Also represented biblical stories that were about salvation and redemption. This may have been evidence that Powers realized that there may have been a reason to hope for freedom.
Patton, S.F. (1998) African-American art. Oxford, N.Y.: Oxford University Press.

30. Late 18th century quilt from the Beaver Dam plantation in Hanover County, VA
Patton, S.F. (1998) African-American art. Oxford, N.Y.: Oxford University Press.

31. Slave drum from 1645, found on a VA plantation
Replica of a Akan (West Africa) chief’s drum
Used for dance and ritual
Artist must have been of high ranking in West Africa, as well as the slave community. This drum denotes a woodcarving specialist.
Drums were typically prohibited because white colonist feared they could be used for revolt.
Patton, S.F. (1998) African-American art. Oxford, N.Y.: Oxford University Press.

32. Wrought-Iron figure from 1845 found in Alexandria, VA
In Africa, blacksmiths held the highest political and spiritual authority.
This figures were found buried under the floor of a blacksmith shop in slave quarters.
Aesthetic similarities to figures from Mali imply this was most likely made by a slave.
This figure may have had ritual significance.
Figures from Mali Figure found in Alexandria, VA
Patton, S.F. (1998) African-American art. Oxford, N.Y.: Oxford University Press.

33. Afro-Carolinian face vessel, 1860
These vessels’ small size (4’- 9’) suggests they may not have been for utilitarian purposes.
These face vessels may have been protective spiritual devices reflecting African spiritual concepts and practices.
This suggests continuity of African culture.
Patton, S.F. (1998) African-American art. Oxford, N.Y.: Oxford University Press.

34. “Dave the Potter” from South Carolina
Born in America into slavery in 1801
Started creating stoneware vessels in his teens
His owner and a religious man, Harvey Drake, taught him how to read so that Dave could read the bible.
Teaching slaves to read was frowned upon. Slaves owners did not want slaves to rebel or be able to ‘think on their own.’
The location where Dave fired his pots.
Todd, L. (2008) Carolina clay: The life and legend of the slave potter, Dave. Retrieved from

35. Dave’s Poetry
Dave belongs to Mr Miles wher the oven bakes & the pot biles —July 31, 1840
I made this Jar = for cash though its called = lucre Trash —August 22, 1857
a pretty little Girl, on a virge Volcaic mountain, how they burge —August 24, 1857
I saw a leppard, & a lions face, then I felt the need of — Grace. —November 3, 1858
Slave literacy was against the law. Slaves mostly abided by this for fear of punishment. Because of this, there is very little recorded information from the perspective of slaves. Dave’s poems are some of the few writings that have survived from the time of slavery.
Todd, L. (2008) Carolina clay: The life and legend of the slave potter, Dave. Retrieved from

36. Jug from 1848
Dave started many of his forms on the pottery wheel, and then used coils to complete the form.
Some forms could hold up to 25 gallons of water.
Dave often used this glaze, which was composed of wood ash, sand, and clay.
Todd, L. (2008) Carolina clay: The life and legend of the slave potter, Dave. Retrieved from

37. After a tragic accident in which Dave’s leg was run over by a train at age 35, he collaborated with another slave named Henry, whose arms were crippled. Henry worked the petal while Dave worked the wheel.
Their pottery was considered best in the country and sold in Georgia, North Carolina, and South Carolina.
Dave began to sign the pottery, which was an act of bravery for an African- American during this time period. He also taught one of his owners, Lewis Miles, everything he knew about potter.
Dave’s Pottery
Pottery made by Lewis Miles under the teachings of Dave.
Todd, L. (2008) Carolina clay: The life and legend of the slave potter, Dave. Retrieved from

38. History Wall in Edgefield, SC
Dave is commemorated on the History Wall for his contribution to the pottery industry. His style is still reproduced at Old Edgefield Pottery in South Carolina.
Todd, L. (2008) Carolina clay: The life and legend of the slave potter, Dave. Retrieved from

39. Urban African-American Artisans
This chest was made by Thomas Gross, Jr. between 1805 and in Philadelphia, PA. It was the earliest signed piece of furniture by an African American.
African-American dominated the artisan professions, which helped develop the black middle class. Artisans were paid higher than plantation workers.
There was a need for European style furniture and metalwork.
Patton, S.F. (1998) African-American art. Oxford, N.Y.: Oxford University Press.

40. Dutreuil Barjon, Sleigh bed, 1835
This fine furniture denoted social status for the Europeans / slave owners.
The slaves that created this furniture were also highly respected in the slave community.
Barjon had his own business in Louisianna where he sold his own designs as well as imports.
Patton, S.F. (1998) African-American art. Oxford, N.Y.: Oxford University Press.

41. Thomas Day, Secretary, 1840 Day was a free black.
He owned his own shop in North Carolina from
He was one of the wealthiest men in his county and had many artisans and slaves working under his supervision,
His style is recognizable by the s- scrolls.
He would go so far as to travel hundreds of miles to buyer’s homes so that he could visualize custom orders.
Patton, S.F. (1998) African-American art. Oxford, N.Y.: Oxford University Press.

42. Peter Lee, Cellarette, 1850
This piece is from Alabama and was used to store wine and liquor.
The cabinet industry declined in the 1850’s as tensions rose between the North and the South. May slaves were rebelling and escaping.
Patton, S.F. (1998) African-American art. Oxford, N.Y.: Oxford University Press.

43. Metalwork
This footed cup was made by Peter Benzton between and 1841.
He is the only identified African-American silversmith during the times of slavery.
He eventually was able to open his own shop in Philadelphia
Patton, S.F. (1998) African-American art. Oxford, N.Y.: Oxford University Press.

44. Abolitionist Patronage
Robert S. Duncanson, Uncle Tom and Little Eva, 1853
What do you think is the purpose of this painting? What is the artist saying about African-Americans?
Patton, S.F. (1998) African-American art. Oxford, N.Y.: Oxford University Press.

45. Slave emblems and prints were distributes by Abolitionists.
William Hackwood, Am I Not a Man and a Brother?, 1787
Patrick Reason, Am I Not a Man and a Brother?, 1839
Patton, S.F. (1998) African-American art. Oxford, N.Y.: Oxford University Press.

46. Patrick H. Reason, Portrait of Henry Bibb, 1848.
This was an engraving for a former slave autobiography Narrative and the Life and Adventures of Henry Bibb, an American Slave.
Patton, S.F. (1998) African-American art. Oxford, N.Y.: Oxford University Press.