Evidence of African, African American influence in food and foodways begins in the seventeenth century in the New York colony’s Dutch and British “Meal Market” that operated from 1655 to 1762 on Wall Street and the East River where enslaved Africans were also sold. Men, women, and children worked as market vendors of prepared foods like hot corn, fresh produce, oysters, fish, livestock, and as dairymen and -women selling cheeses, butter, and milk in local markets. In addition, the African Burial Ground’s archaeology of colonial privies identifies products such as Brazil nuts, coconut, and watermelon that were not native to New York or Europe. Colonizers may have imported some these goods, but the enslaved would have known how to process or raise them (Cheek and Roberts, 2009; Berlin 1996; Burrows and Wallace 1999 At the same time West African women cooking in elite white colonial and ...
Scott Alves Barton
William E. Lightfoot
Piedmont-style guitarist, was born near Collettsville in the African American community of Franklin, an Appalachian hollow not far from the John's River in upper Caldwell County, North Carolina. Her grandfather Alexander Reid and father Boone Reid, both born in Franklin, played the banjo in the old-time clawhammer manner, with Boone going on to become an accomplished musician who also played fiddle, harmonica, and guitar, on which he used a two-finger-style approach. Boone Reid had absorbed many kinds of music of the mid-to-late nineteenth century, including Anglo-American dance tunes, lyric folksongs, ballads, rags, religious music, and published pieces that had drifted into folk tradition—popular Tin Pan Alley songs old minstrel tunes and Victorian parlor music Boone and his wife Sallie who sang instilled their love of music in their eight children a process that led eventually to the formation of a Reid family string band that played after ...
Tiffany M. Gill
Black is beautiful This familiar cry of the Black Power movement was revolutionary in its celebration of the culture style politics and physical attributes of peoples of African descent Symbols of the black is beautiful aesthetic most notably the Afro not only conjured up ideas about black beauty but also highlighted its contentious relationship with black politics and identity This tension between beauty standards and black politics and identity however did not first emerge in the late twentieth century with the Afro or the Black Power movement In fact blacks particularly black women have been struggling to navigate the paradoxical political nature of black identity and beauty since their enslavement in the Americas Despite this strained relationship black women have actively sought to define beauty in their lives and in the process created and sustained one of the most resilient and successful black controlled enterprises in America the black beauty ...
Edward J. Rielly
In modern times, Black English vernacular is alternately referred to as African American vernacular English, Black English, inner-city English, Ebonics, or African American English, although the last term is sometimes used to indicate a broader category comprising closely related dialects. The precise origins of Black English vernacular remain unsettled and controversial.
The theory regarding the beginnings of Black English vernacular that dominated the first half of the twentieth century is sometimes referred to as the Anglicist hypothesis, so named because it identifies the origins of Black English with the origins of other American English dialects, namely British English. According to this theory, from the early seventeenth century on, slaves (the first of whom, technically indentured servants, were brought to Jamestown in 1619 arrived in the southern United States speaking a variety of West African languages including Hausa Ibo and Yoruba Slaves learned English though imperfectly from plantation overseers and ...
A 19th-century African-American dance. It originated among plantation slaves (c.1850 reputedly to parody the promenades that opened the plantation owners formal balls In the 1890s it became commercial entertainment and it was used for social dancing at the turn of the 20th century The music is a ...
The Caribbean region is more often stereotyped and dismissed in Britain than taken seriously as a location for art production, and has only ever reached small audiences, despite some significant exhibitions and critical attention.
There is little consensus on what defines a coherent category of Caribbean art in terms of its geographical boundaries and cultural character and given its growing diaspora The region s Anglophone countries have contributed the most to art exhibitions staged in the United Kingdom the consequence of a shared colonial history and of migration Throughout the post Second World War period many artists from the Caribbean engaged in struggles for acceptance within the history of ...
Alice Ross and Mark H. Zanger
The Caribbean influence on American food has been continual for hundreds of years, initially in coastal areas of similar climate, from Texas to the Carolinas. The early Spanish involvement in the Caribbean brought Caribbean foods to Europe and Africa, from whence they quickly returned to North America. Spanish gold shipments attracted other Europeans to the area and brought about the colonization of eastern North America. Cheap Caribbean sugar, coffee, cocoa, and spices have influenced the palates and tables of all Americans. The peoples of the Caribbean islands have developed multicultural cuisines that have been affecting American cooking at all levels since colonial times.
Influence of the Caribbean on contemporary American food may predate Columbus, because there is some possibility that Caribbean Indians reached Florida and introduced tropical tubers, or chilies. The chain of influence began in 1492 as the varieties of maize beans chilies squash peanuts and cassava collected ...
Despite the enormous worldwide impact of American popular music, and particularly of African-American music, it remains difficult to fix a point of origin for musical genres like hip-hop, rock and roll, rhythm and blues, jazz, ragtime, and their blurry nineteenth-century antecedents. But it is not too great a leap of the imagination to assume from these genres, each a variant of its predecessor, that powerful forms of African-American music were performed in the long prehistory before it was possible to record music. What that music sounded like, alas, is nearly impossible to divine, although we can hear fragments of it in the bewildered accounts of European and American travelers, thunderstruck by the fugitive music they occasionally stumbled across in their wanderings.
Perhaps out of frustration with our lack of real knowledge musical historians have often pointed toward a specific place in nineteenth century America that seems to have acted as ...
washboard musician, raconteur, and hobo, was born William Edgar Givens in the sawmill town of Dupont, Florida. His mother ran a “juke joint,” a tavern where the music and the liquor flowed. Little other information about his parents is available. As a boy, Givens would watch the dancing and listen to the music through a hole in the wall of his sleeping room. It was in this manner that he discovered rhythm. He practiced on buckets and pots around the house and gave little shows for his siblings and the neighborhood children.
At a young age, he was adopted by his preacher grandfather, who changed the boy's name to William Edward Cooke. He left his grandfather's home in 1917 and made his way to south Florida, working odd jobs, including clearing land for roads, among these the great Dixie Highway, U.S. 1. In 1931 he took to the ...
Robert H. Gudmestad and Kathleen Thompson
[This entry contains two subentries dealing with dance from the early eighteenth century through the end of the nineteenth century The first article discusses the transmission of African dance traditions to North America by slaves and the new expressions that arose while the second article discusses the movement of ...
woman whose murder is described in the ballad “Delia,” also known as “Delia('s) Gone” and “One More Rounder Gone,” was born Delia Green in Savannah, Georgia. Nothing is known about her early life except that in 1900 she lived with her mother at 113 Ann Street. Moses “Cooney” (or “Mose”) Houston (pronounced “HOUSE-tun”) was also born in 1886. In 1900 he lived with his mother at 123 Farm Street, five blocks west of Delia's home. Two blocks southeast of her home was 509 Harrison Street, where Delia worked for Emma West. These addresses are all in Yamacraw, a famed African American neighborhood in Savannah.
By Christmas Eve 1900 Cooney and Delia had been seeing each other for about four months. Around 7
Charles W. Jr. Carey
author, was born in Dayton, Ohio, the son of Joshua Dunbar, a plasterer, and Matilda Burton Murphy, a laundry worker. His literary career began at age twelve, when he wrote an Easter poem and recited it in church. He served as editor in chief of his high school's student newspaper and presided over its debating society. While still in school, he contributed poems and sketches to the Dayton Herald and the West Side News, a local paper published by Orville Wright of Kitty Hawk fame, and briefly edited the Tattler, a newspaper for blacks that Wright published and printed. He graduated from high school in 1891 with the hope of becoming a lawyer, but, lacking the funds to pursue a college education, he went instead to work as an elevator operator.
Dunbar wrote and submitted poetry and short stories in his spare time His first ...
folklorist and minister, was born in Society Hill, South Carolina, the son of Laurence Faulkner, a merchant and postmaster, and Hannah Josephine Doby, a midwife. The decade of his birth and earliest development was one of violent repression of blacks across the South, during which the Supreme Court, in Plessy v. Ferguson, propounded its “separate but equal” doctrine. The fact that both parents were enterprising contributed to a sense of security in William despite the brutal reality of night riders and Klansmen roaming the countryside. In addition, religion was a shield against hardship and a source of hope in his life. Raised in a Christian household, by age six he had taken John the Baptist as his hero.
By age nine, with the migration to Society Hill of the former slave and storyteller Simon Brown Faulkner was exposed to the artistic and spiritual qualities of ...
David N. Gellman
Throughout English colonial North America, African American slaves participated in rituals and celebrations that stitched together black communities while preserving a folk life rooted in African traditions. Eighteenth-century festivals often coincided with, and at least superficially mirrored, events staged by European colonists. Blacks sometimes invested their own cultural traditions so thoroughly into white holidays that festivals became known as distinct African American events.
African American festivals are much easier to document and describe in the North where the smaller slave population was dispersed among the European population than in the South where larger numbers of slaves were concentrated on plantations This disparity may reflect both the need and the ability of southern slaves to conceal their collective activities from masters Despite the severe constraints that typified slavery everywhere slaves up and down the coast of the North American mainland managed to find means to express their collective identity in joyous ...
Hilary Mac Austin
African American folklore is particularly rich in verbal art, as reflected in its folktales, legends, myths, jokes, and verbal contests. Unfortunately it is impossible to know precisely which tales and jokes were told by the earliest Africans in North America or how these tales and jokes changed through the seventeenth, eighteenth, and nineteenth centuries. White travelers are the earliest sources on the folklife of enslaved Africans, but in the United States these sources contain little actual lore. Far more common are references to the acuity of slave wit, or general descriptions of an only partially comprehended slave festival. In the nineteenth century, slave narratives and autobiographies contained important references, and in some cases specific tales. However, the formal collection of African American folktales did not truly begin until after Emancipation, most notably in the late-nineteenth-century Uncle Remus series by Joel Chandler Harris. Indeed, most of the stories in Roger ...
Blacks long struggled against efforts to keep them powerless, and African American folk culture— from before Emancipation (1863) through the Jim Crow and civil rights eras—provided blacks, across the United States and particularly in the South, with a mechanism for confronting white society's power structure and discriminatory legal system. For example, traditional African American ballads and tales inspired blacks both by portraying human heroes, such as John Henry or Shine, who challenged or resisted white authority and by portraying antiheroes, such as the slave John in the “John and the Master” story cycle, who outsmarted white authority. Through modeling themselves on those folk characters, blacks developed a sense of expectation that they might eventually triumph and overcome their marginalized roles.
Historically because of racism and xenophobia white society tended to portray African American folk culture as deficient White scholars acknowledged the British and Anglo American contributions to African ...
Caryn E. Neumann
The Gullahs were African Americans who settled in slave communities along the Atlantic coastal plain and on the chain of Sea Islands; in Georgia these people were known as Geechees. Geographical isolation and strong community life permitted the Gullahs to preserve their African cultural heritage through their skills, language, arts, gestures, and foods.
The homeland of the Gullahs is a coastal strip about 250 miles long and 40 miles wide running through South Carolina and Georgia Low flat islands along the coast are separated from the mainland by saltwater streams This geographic isolation was combined with a steady influx of Africans and a relatively small population of whites to create a culture that was heavily African Even after the official ban on the importation of slaves blacks continued to be smuggled into the coastal areas thereby providing fresh reinforcements of African culture and customs With a higher ratio of Africans ...
J. James Iovannone
collector, historian, author, and social personality, was born in Maryland, the son of Levi Thomas and Louisa Morris Gumby. In 1901 Gumby and his sister were sent to live with their grandparents, and it was there, at age sixteen, that Gumby began his scrapbook collection, making his first book—a practice that he would continue throughout the rest of his life—out of wallpaper, paste, and clippings of the September 1901 assassination of President McKinley. In 1902 Gumby entered Dover State College (later Delaware State University) in Delaware and began to study law. Before completing his studies Gumby withdrew from school and moved to New York City around 1906, where he would live until his death nearly sixty years later.
Gumby was immediately dazzled by life in the big city and sought to integrate himself into the urban community During his early years in New ...
visionary and folk artist, was born in Elloree, South Carolina, to an itinerant minister father, also named James, who abandoned the family when Hampton was young, and a mother whose name is unknown. Indeed, as is the case with many visionary or outsider artists, little is known about Hampton himself. He left the rural South around 1931 to join his older brother, Lee, in Washington, D.C., where fully half of the newly arrived black residents also came from South Carolina. Hampton worked as a short-order cook until he was drafted into the army in 1943 as a noncombatant. He served in with the 385th Aviation Squadron in Texas, Hawaii, and in Saipan and Guam, and upon his discharge in 1945 he returned to Washington. In 1946 he found employment with the General Services Administration as a night janitor He lived in the Shaw neighborhood named after a ...
Christine G. McKay
cartoonist, was born Oliver Wendell Harrington in New York City, the son of Herbert Harrington, a porter, and Euzenie Turat. His father came to New York from North Carolina in the early 1900s when many African Americans were seeking greater opportunities in the North. His mother had immigrated to America, arriving from Austria-Hungary in 1907, to join her half sister. Ollie Harrington grew up in a multiethnic neighborhood in the South Bronx and attended public schools. He recalled a home life burdened by the stresses of his parents' interracial marriage and the financial struggles of raising five children. From an early age, he drew cartoons to ease those tensions.
In 1927 Harrington enrolled at Textile High School in Manhattan He was voted best artist in his class and started a club whose members studied popular newspaper cartoonists Exposure to the work of Art Young Denys ...