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The Department of Re-Education is the agency of the BlackState that examines education in the black world and the measures needed to re-educate the black world. Discussions include Africancentered education, the economics of education and development and education as they relate to the black world. For more educational resources on BlackState visit the Featured Columnist Page with the written words of Malcolm, King, Nkrumah, Sojourner, Douglass and More Visit The New Black History Month Page by BlackState.com Black History Month Resources Articles and FeaturesClick Here To Visit The Black History Month Resource Center
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WILLIE LYNCH'S SPEECH ON HIS METHODS FOR CONTROLLING
SLAVES
Gentlemen: I greet you here on the bank of the James River in the year of Our Lord one thousand seven hundred and twelve. First, I shall thank you The Gentlemen of the Colony of Virginia for bringing me here. I am here to help you solve some of your problems with slaves. Your invitation reached me on my modest plantation in the West Indies where I have experimented with some of the newest and still oldest methods for control of slaves. Ancient Rome would envy us if my program is implemented. As our boat sailed south on the James River, named for our illustrious King, whose version of the Bible we cherish, I saw enough to know that your problem is not unique. While Rome used cords of wood as crosses for standing human bodies along its old highways in great numbers, you are here using the tree and the rope on occasion.
I caught the whiff of a dead slave hanging from
a tree a couple miles back. You are not only losing valuable stock by hanging,
you are having uprisings, slaves are running away, your crops are sometimes
left in the field too long for maximum profit, you suffer occasional fires,
your animals are killed, gentlemen, you know what your problems are; I
do not need to elaborate. I am not here to enumerate your problems, I am
here to introduce you to a method of solving them.
CONTINUE
Triumph Unmasked: Why We Celebrate Black History? A tribute to our past, present and future. Here’s to the winner in all of us by Peggy Butler
The history of a noble race, running roughshod over bondage, obstacles
and time eternal. Fearless, proud and infinitely hopeful, that is the
essence of our heritage. In honoring Black America we celebrate the
rebirth of the nation’s most maligned ethnic group.
Back To School Back To The Little White Lies
Let the brainwashing began again. Most American school children are indoctrinated with European thoughts ideas and values. A Eurocentric education is one in which Europe and western thought is the foundation, focus, the center upon which all others revolve. In essence, the history of the world is merely a study of Europeans in the world and their interactions with other peoples. This is what students in American schools are taught. They are taught that European and western thought is superior to all others and furthermore, the rest of mankind has done little to advance human civilization. This narrow thinking and fake scholarship has done an incredible amount of damage to African Americans, who are taught this in school houses everyday. African Americans are unable to see themselves in what they’re being taught and are often bored and uninterested in what is being taught. They see themselves as objects rather than subjects of history. African Americans are taught this, “You have done nothing. You are nothing. You will always be nothing.” This is often the beginning of a deadly cycle, dropping out of school, unemployment, crime, drugs, jail/death. Africans and African Americans have made many significant contributions to the world, and these contributions should not be marginalized, ignore or placed into the shortest month of the year.
The Library of Black State is Coming Soon! For Now View Historical Documents Relating To The Black World ExperienceDocuments such as:April 16, 1862 Fellow-Citizens of the Senate and House of Representatives: The act entitled "An act for the release of certain persons held in service or labor in the District of Columbia" has this day been approved and signed. I have never doubted the constitutional authority of Congress to abolish slavery in this District, and I have ever desired to see the national capital freed from the institution in some satisfactory way. Hence there has never been in my mind any question upon the subject except the one of expediency, arising in view of all the circumstances. If there be matters within and about this act which might have taken a course or shape more satisfactory to my judgment, I do not attempt to specify them. I am gratified that the two principles of compensation and colonization are both recognized and practically applied in the act.
In the matter of compensation, it is provided that claims may be presented within ninety days from the
passage of the act, "but not thereafter;" and there is no saving for minors, femes covert, insane or absent
persons. I presume this is an omission by mere oversight, and I recommend that it be supplied by an
amendatory or supplemental act.
ABRAHAM LINCOLN
African American Art by Richard Powell Excerpted from AFRICANA: THE ENCYCLOPEDIA OF THE AFRICAN AND AFRICAN AMERICAN EXPERIENCE, SECOND EDITION. Edited by Henry Louis Gates Jr. and Kwame Anthony Appiah. (Oxford University Press; April 2005) Painting, sculpture, graphic arts, and crafts developed by people of African descent in the United States and thematically and stylistically informed by African American culture. article continues below The term African American art means different things to different people. For some the term designates a largely racial phenomenon, describing all artistic products—paintings, sculptures, graphic arts, crafts, architecture, etc.—created by North Americans of African descent. For others the preceding definition fails to take into account the cultural, in addition to the racial, implications of the term. For this latter group African American art refers to the artistic and visual products not just of North Americans of African descent but of many peoples whose work has been shaped thematically, stylistically, formally, and theoretically by the confluence of black Atlantic cultures—folkways and traditions formed as a result of the TRANSATLANTIC SLAVE TRADE and further developed during alternating periods of colonialism, emancipation, discrimination, and self-assertion. For our purposes the concept of African American art moves freely between these two definitions, providing readers with both the breadth of such an idea and the possibilities for an object-centered and culturally informed definition. Arts and Crafts during the Colonial, Federalist, and Antebellum Years During America’s infancy (in the period between the 1600s and the early 1800s), what one could describe as African American art indeed embraced a range of forms and definitions. A small drum, several wrought-iron figures, dozens of ceramic face vessels, and a few examples of domestic architecture found among enslaved black communities in the southern United States have been singled out for their similarities with comparable crafts, functional objects, and structures in West and Central Africa. In contrast, black artisans like the New England–based engraver SCIPIO MOORHEAD and the Baltimore portrait painter Joshua Johnson created art that, despite occasional portrayals of black subjects, was conceived in a thoroughly western European fashion. Other workshop- or academically-trained African American artists prior to the American Civil War (1861–1865)—New Yorkers Patrick Reason and William Simpson, Philadelphian Robert Douglass, and the New Orleans– and Paris-based brothers Daniel and Eugene Warburg—also created works of art that were indistinguishable from those of white printmakers, painters, and sculptors. CONTINUE |
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