Landscape Of Slavery

Assessing a unique collection of more than eighty images, this innovative study of visual culture reveals the productive organization of plantation landscapes in the nineteenth-century Atlantic world. These landscapes—from cotton fields in the Lower Mississippi Valley to sugar plantations in western Cuba and coffee plantations in Brazil's Paraiba Valley—demonstrate how the restructuring of the capitalist world economy led to the formation of new zones of commodity production. By extension, these environments radically transformed slave labor and the role such labor played in the expansion of the global economy. Artists and mapmakers documented in surprising detail how the physical organization of the landscape itself made possible the increased exploitation of enslaved labor. Reading these images today, one sees how technologies combined with evolving conceptions of plantation management that reduced enslaved workers to black bodies. Planter control of enslaved people's lives and labor maximized the production of each crop in a calculated system of production. Nature, too, was affected: the massive increase in the scale of production and new systems of cultivation increased the land's output. Responding to world economic conditions, the replication of slave-based commodity production became integral to the creation of mass markets for cotton, sugar, and coffee, which remain at the center of contemporary life.

Through eighty-nine color plates and six thematic essays, this collection examines depictions of plantations, plantation views, and related slave imagery in the context of the history of landscape painting in America, while addressing the impact of these images on US race relations.

Slavery was a large-scale process that put its mark on the African landscape in tangible ways—for example, through the capture, transfer, and imprisonment of captives and through the avoidance strategies that vulnerable communities used against slaving. Certainly, the expansion of trade routes, the depopulation of slaved regions, and an increased reliance on defensive architecture and places of concealment can all be linked to slaving and slavery in Africa. But how do we view these landscapes of slavery today? And can archaeology help us? Encompassing studies from Senegal, Ghana, Mauritius, Tanzania, and Kenya, this volume grapples with such essential questions. The authors advocate for the power of archaeology as a tool to disentangle often lengthy and complex landscape histories that both begin before slavery and continue after abolition. They also argue for archaeologists’ central role in reimagining how we might remember and commemorate slavery in places where its history has been forgotten, obscured by European colonialism, or sanitized and simplified for tourist consumption. The chapters in this book were originally published in a special issue of the Journal of African Diaspora Archaeology and Heritage.

Slavery, Geography and Empire in Nineteenth-Century Marine Landscapes of Montreal and Jamaica is among the first Slavery Studies books - and the first in Art History - to juxtapose temperate and tropical slavery. Charmaine A. Nelson explores the central role of geography and its racialized representation as landscape art in imperial conquest. One could easily assume that nineteenth-century Montreal and Jamaica were worlds apart, but through her astute examination of marine landscape art, the author re-connects these two significant British island colonies, sites of colonial ports with profound economic and military value. Through an analysis of prints, illustrated travel books, and maps, the author exposes the fallacy of their disconnection, arguing instead that the separation of these colonies was a retroactive fabrication designed in part to rid Canada of its deeply colonial history as an integral part of Britain's global trading network which enriched the motherland through extensive trade in crops produced by enslaved workers on tropical plantations. The first study to explore James Hakewill's Jamaican landscapes and William Clark's Antiguan genre studies in depth, it also examines the Montreal landscapes of artists including Thomas Davies, Robert Sproule, George Heriot and James Duncan. Breaking new ground, Nelson reveals how gender and race mediated the aesthetic and scientific access of such - mainly white, male - artists. She analyzes this moment of deep political crisis for British slave owners (between the end of the slave trade in 1807 and complete abolition in 1833) who employed visual culture to imagine spaces free of conflict and to alleviate their pervasive anxiety about slave resistance. Nelson explores how vision and cartographic knowledge translated into authority, which allowed colonizers to 'civilize' the terrains of the so-called New World, while belying the oppression of slavery and indigenous displacement.

Countering the widespread misconception that slavery existed only on plantations, and that urban areas were immune from its impacts, Slavery in the City is the first volume to deal exclusively with the impact of North American slavery on urban design and city life during the antebellum period. This groundbreaking collection of essays brings together studies from diverse disciplines, including architectural history, historical archaeology, geography, and American studies. The contributors analyze urban sites and landscapes that are likewise varied, from the back lots of nineteenth-century Charleston townhouses to movements of enslaved workers through the streets of a small Tennessee town. These essays not only highlight the diversity of the slave experience in the antebellum city and town but also clearly articulate the common experience of conflict inherent in relationships based on power, resistance, and adaptation. Slavery in the City makes significant contributions to our understanding of American slavery and offers an essential guide to any study of slavery and the built environment.

From the University of Virginia’s very inception, slavery was deeply woven into its fabric. Enslaved people first helped to construct and then later lived in the Academical Village; they raised and prepared food, washed clothes, cleaned privies, and chopped wood. They maintained the buildings, cleaned classrooms, and served as personal servants to faculty and students. At any given time, there were typically more than one hundred enslaved people residing alongside the students, faculty, and their families. The central paradox at the heart of UVA is also that of the nation: What does it mean to have a public university established to preserve democratic rights that is likewise founded and maintained on the stolen labor of others? In Educated in Tyranny, Maurie McInnis, Louis Nelson, and a group of contributing authors tell the largely unknown story of slavery at the University of Virginia. While UVA has long been celebrated as fulfilling Jefferson’s desire to educate citizens to lead and govern, McInnis and Nelson document the burgeoning political rift over slavery as Jefferson tried to protect southern men from anti-slavery ideas in northern institutions. In uncovering this history, Educated in Tyranny changes how we see the university during its first fifty years and understand its history hereafter.

Back of the Big House: The Architecture of Plantation Slavery

Planter's Prospect: Privilege and Slavery in Plantation Paintings