African-Canadian History

The goal of the present study is to provide and overview of slavery in what is today Brant and Haldimand Counties, details of the African / Black families who resided among the Mohawks and others of the Grand River, and an unvarnished assessment of the realities of a very problematic period in Canadian and Indigenous history.

Dyed fabrics have been in existence since thousands of years ago.In the olden days, people of different cultures globally including the Igbo in South Eastern, Nigeria dyed fabrics with natural dyes extracted from animals and plants, till recently when humans started producing artificial dyes to achieve a broader range of colours, a level of fastness and availability. The Igbo dyed some cloth with the juice from some local plants and others, for instance Uli/Uri which they use to decorate the female bodies, however,this practice is almost going into extinction. This study is predicated on the fact that dyed fabrics are primarily worn on the body and the designs on the fabrics achieved through dyeing are not so new to the eyes, they aresomehow monotonous. Therefore, this study is of the view that if ulipainting which consists of some symbolic motifs based on Igbo life and wellbeing could be incorporated on dyed canvas before painting on it, perhaps the monotony could be broken to give birth to something new, thereby preserving and showcasing these Uli motifs in art.Those textile paintings could also be framed and hung up on the walls for interior decoration. The research methodology employed in this study is studio exploration.Photography and observations were also utilized as research instruments to collect some data. This study's objective is to carry out a textile painting by adapting Uli Symbolic Motifs of the Igbo on hand dyed canvas in the studio using acrylic paints as a medium. One among the many findings of this study reveals that painting on tie dyed canvas is achievable and not so popular. It summarily recommends that other explorations in form of synergic approaches to art and design should be given attention by artists and designers to produce something new.

Tracing the historiography of fair use alongside that of African art history, this article demonstrates how the legal doctrine's historical origins and definitions at certain times protect and at other times efface the intellectual property of African artists. Examining the naming conventions of academic art history and the art market, a recent sale of two artworks acquired from a conflict zone, and the policies of a museum, the author argues that fair use functions as a blunt and imperfect instrument for facilitating claims of restitution and repatriation.

The exodus of Nova Scotia black loyalists to Sierra Leone in the fall of 1792 was a watershed event in the history of Black Nova Scotian history. The departure of 1196 emancipated men, women and children, under a promise of a self-governing African state was for many Black Loyalists a dream of real Freedom made manifest, and signaled the beginning of the end of white profit through black labor.  As a product of abolitionist lobbying by Granville Sharpe, Thomas Clarkson, Henry Thornton, and Thomas’ brother John Clarkson, the Sierra Leone Company had both imperialist and aspirational intentions: the abolition of the slave trade in Africa, the development of a stable trade network from Africa to England, and the acculturation of African peoples to European cultural and religious values. This paper argues that John Clarkson saw in black preacher David George, a means towards this last goal, the establishment of an African Christian state.

England knew, during the eighteenth century, a campaign to eliminate slavery, behind it was a group of religious and legal personalities using various means to end this slavery. And this struggle resulted with the emancipation of slaves in England after the issuance of Judge Mansfield's decision in 1772. With the end of the last American Revolution in 1783 against England; the government issued a decree to free all black slaves who were loyal, and participated alongside England in the revolt against the American revolutionaries. The decision of 1772 led other slaves from several regions to influx to England in search of freedom, and their number increased with the arrival of the black loyalists, this created a social crisis, as these slaves became scattered in the streets of England begging for their livelihood. Some of the figures and the British government worked together to resettle them in another area.

Elizabeth Watson was a Boston-born slave in Halifax, Nova Scotia. After a brutal assault at the hands of master-shipwright Elias Marshall, she petitioned the Halifax Inferior Court of Common Pleas. Watson won her freedom on 23 March 1778. Thirty-one days later, she was seized by Halifax butcher William Proud, who claimed Watson was his runaway slave known as Phillis. The ensuing trial is the object of this thesis, which will survey the historiography of slavery in the Maritime provinces, explore the development of slavery in New England and Nova Scotia, and provide an account of Watson v. Proud. Elizabeth Watson's story is a departure from well-known narratives of African American freedom in Canada. Its telling complicates and nuances historical analyses of the black Atlantic world. Her actions raise important questions and convey potential answers. In petitioning the lower court, she revealed a keen understanding of the legal world she inhabited and her rights as a British subject. Watson's story constitutes the earliest extant record of reenslavement in the region. But she was also the first enslaved woman to seek possession of her freedom in a Maritime court of law. Elizabeth Watson oscillated from slavery to freedom and back to slavery in the space of thirty-one days. Tracing the genealogy of her unfreedom from Boston to Halifax brings both worlds into a fuller, more vivid light. was cold. "I will soon cure you," Marshall said. He sent Dursdly, another servant, to fill two buckets with snow and ice water. Marshall emptied these over her body and left Watson there. 3 The next day, he took Watson back into the house. Mrs. Marshall was waiting for her. She seized a fire iron from the hall and split her skull open. Marshall dragged Watson up the stairs and into the cellar once more. He tied her hands and feet to a beam and beat her again for one hour. He left her there and walked downstairs to eat dinner. Once he finished eating he went back to the cellar. This time he beat Watson well into the night. Now her body was no longer bound by skin. She could not lie down, her exposed flesh forced Watson to remain on hands and knees. Marshall was at last obliged to call a doctor. Her life was in peril. When Halifax surgeon Phillips saw Watson, he fainted. 4 He pronounced her dead. Marshall could not accept this. A second doctor managed to stabilize her, though this entailed severing large patches of skin and flesh throughout her body. Once her life was no longer in immediate danger, Marshall refused to feed Watson anything but "peas or what [she] could get out of the Hog's Trough." 5 3 Whether Dursdly was a slave is unknown. 4 There were three surgeons in Halifax by the name of Phillips-George, John, and William. Which of the three men this incident involved is unknown.

Historical demographers know that the census is far from perfectly reliable but, after reading Bruce Curtis' latest book, many more will be mindful of how political it is throughout. "Census making," he writes, "is not in any simple sense the taking of things as they are; in an important sense it is the making of things to be taken" (p. 305). This is not a segue into linguistic-turn mumbo-jumbo but recognition of the fact that census categories do not exist in an immanent form. The census reflects an "imaginary of social relations," that is to say a conceptualization of what constitutes "society." How "population" is understood and put into neat categories and columns involves the exercise of power and enables the further growth of power. Census making "seeks to tie individuals within an administrative grid and then to hold them steady so that they may become objects of knowledge and government" (p. And to what ends? The larger lessons Curtis draws from this exercise could be applied to a great many modern regimes but the laboratory is very definitely Canadian. In the Canadas between the Act of Union and the early days of Confederation, the campaign of "Rep by Pop" invigorated Canada West's interest in census taking in the 1840s and '50s while anxieties for la survivance animated involvement in Canada East. There were typically Canadian farces attached to the process as well, such as enumerators in French districts who received only English forms, or the complex and loaded question of whether such a thing as a "Canadian" existed for the purposes of the census. Certainly Canadians East and West were equally suspicious of attempts to enumerate their respective "provinces" identically: as

Gross, an illustrious figure in American sculpture, created works that resonate with the beauty, complexity, and resilience of the human spirit. From his early wood carvings to his later bronze masterpieces, Gross's sculptures capture moments of human experience with extraordinary skill and emotional depth. This article delves into the various facets of Gross's sculptural work, exploring the techniques, themes, and impact that define his legacy. ### Early Wood Carvings Gross's journey as a sculptor began with wood, a medium that allowed him to develop his signature style. His early wood carvings are distinguished by their intricate details and expressive forms. Gross's ability to transform a block of wood into dynamic, lifelike figures showcases his remarkable craftsmanship. These early works often depict scenes of daily life, reflecting the joy, struggles, and resilience of ordinary people.

Between the years 1840 and 1860, white prejudice played an important role in shaping blacks' experiences in Upper Canada. This thesis explores and analyzes the history of black anti-slavery, whites' attitudes toward blacks and the development of mandatory and free public schooling in Upper Canada during the nineteenth century, in order to demonstrate that race-relations between blacks and whites were worst both after 1850 in general, and over issues of schooling in particular.

From this, then, two possibilities emerge. Canadian nationalism was once one sort of thing and has since splintered into many other things, 'an abundance of nationalisms,' as the editors put it, and the fourteen essays here attempt to reveal the range of that abundance. The alternative view, as Chung's chapter best implies, is that Canadian nationalism was never much more than a confused concept at best, 'Canadas' being always and only of the mind. That this confusion-compounded by no common language, cultural tradition, or cohesive national history-has since metastasized in a proliferation of fragmented identities, regional and other ontological oddities may be of interest. That Canadian historians have played a key role in bringing about both these mutations is an issue that this collection does not come even close to entertaining.

This essay, on constructing historical knowledge about African Canadian women, presents an overview of the current state of Black women's history. By exploring historiography, theory, and method, the author suggests new approaches and interpretations for the writing of this history. RESUME Cet article sur l'elaboration de la connaissance historique des femmes afro-canadiennes, presente un aper<;u de I'etat actuel de I'histoire des femmes noires. En explorant la theorie, 1'historiographie, et la methode, l'auteure suggere de nouvelles approches et de nouvelles interpretations pour ecrire cette histoire.

The life story of Mrs. Daisy Sweeney, an African Canadian native of Montreal, Quebec, helps fill a void in the historical documentation of Montreal Blacks (especially female elders). Of particular significance is her prominence as a music educator and othermother during her life. The current literature on African Canadian IV Dedication This dissertation is dedicated to three individuals who touched me in very different and equally meaningful ways: To the memory of Professor R. Patrick Solomon, founder of the Urban Diversity Program at York University, Toronto, Canada, whose mentoring, commitment to social justice and spiritual guidance awakened and inspired my zest for teaching and learning. To the memory of my father, Hobart DeCoursey Smith, a strong advocate and supporter of advanced education who himself was never afforded the opportunity to continue his own education at this level. Finally, to my mother, Mildred Beatrice Watson Smith and all othermothers, past, present and future; the unsung heroines who guided, nurtured and loved otherchildren regardless of their backgrounds.

Dyed fabrics have been in existence since thousands of years ago.In the olden days, people of different cultures globally including the Igbo in South Eastern, Nigeria dyed fabrics with natural dyes extracted from animals and plants, till recently when humans started producing artificial dyes to achieve a broader range of colours, a level of fastness and availability. The Igbo dyed some cloth with the juice from some local plants and others, for instance Uli/Uri which they use to decorate the female bodies, however,this practice is almost going into extinction. This study is predicated on the fact that dyed fabrics are primarily worn on the body and the designs on the fabrics achieved through dyeing are not so new to the eyes, they aresomehow monotonous. Therefore, this study is of the view that if ulipainting which consists of some symbolic motifs based on Igbo life and wellbeing could be incorporated on dyed canvas before painting on it, perhaps the monotony could be broken to give birth to something new, thereby preserving and showcasing these Uli motifs in art.Those textile paintings could also be framed and hung up on the walls for interior decoration. The research methodology employed in this study is studio exploration.Photography and observations were also utilized as research instruments to collect some data. This study's objective is to carry out a textile painting by adapting Uli Symbolic Motifs of the Igbo on hand dyed canvas in the studio using acrylic paints as a medium. One among the many findings of this study reveals that painting on tie dyed canvas is achievable and not so popular. It summarily recommends that other explorations in form of synergic approaches to art and design should be given attention by artists and designers to produce something new.

The Yoruba of Southwestern Nigeria are endowed with a deeply cultural and religious environment. The people"s culture and worldview are expressed through legends, folklore, time tested proverbs , wise sayings and a keen observation of their environment This is expressed in their various art forms, and no art work is never considered completed or aesthetically pleasing if it is devoid of one form of decorative motif or the other. .However early scholars concentrated on the sculptural art forms and neglected the