Since the early Middle Ages the sign of the swastika was well established among all Slavic lands. Known as swarzyca,[ citation needed ] it was primarily associated with one of the Slavic gods named Svarog. With time the association with Slavic gods faded, but the swastika was preserved both as a personal symbol of various personalities, such as the Boreyko Coat of Armsand in folk culture, for example, in the region of Podhalewhere the swastika was used as a talisman well into the 20th century.
Rooted in Africa, Raised in America: The Africans brought to the New World to toil their lives away as slaves were generally cultivators. They also possessed a wide range of skills that they had used for generations to wrest a living from the land and among these millions of unwilling immigrants were many skilled artisans.
They included builders who erected houses for their families and other structures that sheltered their annual harvests. When confronting the challenges of living in the dense tropical forests of their homelands, they turned to their local blacksmiths who forged the necessary iron tools that allowed them to clear and maintain their garden plots.
Basket makers provided them with various containers that allowed crops to be harvested and stored until needed. Potters turned local clays, found most often along the banks of numerous rivers and streams, into useful cooking and storage vessels.
Other domestic implements, items like serving bowls and drinking cups, could be fashioned from gourds of varying sizes and baskets were made from reeds, palm leaves, and a wide variety other vegetal materials. Over the course of several millennia African populations developed the means to live successfully within a challenging environment of extreme heat, prolonged rain, and dense forest cover.
Labeled by Europeans as savages, these people possessed a wide array of tangible skills that would ultimately prove to be precious immigrant gifts that they would contribute to the making of the Americas.
The well-documented horrors of captivity in the foul holds of slave ships drive from our minds any images except those of horrible misery and suffering.
Yet objects of considerable creativity, on occasion, also made the same voyage from Africa to the Americas. There is today in the British Museum a drum carved from a section of a tree Early american quilt essay that was collected in Virginia some time between and There can be little doubt that this musical instrument was used in some plantation context almost half a century before the American Revolution.
The presence of such an unquestionably African object in the Americas Early american quilt essay that the captives who were taken far from their homeland were still able to retain selected aspects of their native identities.
It was more often the case that elements of their culture—language, religion, and foodways to name a few—would over time become blended or creolized expressions as Africans evolved into African-Americans.
Banjo being played at slave quarter with a drum accompaniment. In plantation societies the playing of drums was generally outlawed due to the fear by slave owners that such instruments could be used to send messages related to rebellion and escape. Such prohibitions did not however apply to other African musical instruments such as the banjo.
In fact, the appealing sound of the banjo would, by the dawning of the nineteenth century, ignite a national fascination for its compelling combination of melody and percussion. Functionally the banjo joined the lute to the drum, an act that fused melody with a strong rhythmic punctuation.
This combination of tune and percussion in a single instrument proved to be so appealing that banjo tunes that were first heard in plantation contexts are played today.
African Potter and Colonoware samples. Archaeologists, who have probed the grounds on old plantation sites dating back to the seventeenth century, regularly turn up fragments of unglazed earthenware pottery. Seeming to be very crude when compared to the stoneware vessels commonly in use in Euro-American households, these items were initially presumed to have been made by Native Americans of the colonial period who perished shortly after the arrival of the first European settlers.
Initially labeled as Colono-ware, it is now clear that many of these pieces were fashioned by Africans. Consequently these rough earthenware vessels should be recognized as Afro-Colono pieces if not, in some cases, simply as examples of African pottery. Consequently, the routines carried out in their domestic quarters could—and did—reconnect them to some of the practices of their African homelands as they fashioned their own clay vessels and used them to cook their meals according their own preferences.
Given that Africans were the largest population group in South Carolina during the colonial era, it should not be too surprising that black Carolinians would continue to use their African languages when conversing among themselves.
But even when they had developed a creolized variant called Gullah, this new language still retained many African elements. To some white observers these buildings were too small and thus seemed uncomfortably crowded.
This is because when English rules of measure were employed, room sizes were generally in range of square feet 16 feet x 16 feet. In West African buildings rooms are considerably smaller being, on average, closer to square feet 10 feet x 10 feet.
The Afro-Carolinian average room size, based on a sample of excavated foundations, was square feet approximately 11 feet x 11 feet. These proportions suggest that slaves continued to employ a sense of proportion that recalled the traditional house types found all along the Guinea Coast region from Sierra Leone to Cameroon.
Whenever African-Americans were able to exert a degree of control over their working or living conditions, there usually emerged interesting tangible signs of their concerns Jar by David Drake a.
As early as the s in Edgefield District of western South Carolina, for example, slave labor was used extensively in the manufacture of stoneware pottery. The most noteworthy black potter in the area was David Drake, an extraordinarily skilled man who is credited with producing the largest vessels ever made during the antebellum period—huge crocks with holding capacities of almost fifty gallons.
But because Drake was so skilled and could clearly make the sorts of large storage jars required by the bigger plantations, the criminal penalties for his literacy were apparently overlooked.
Face jugs attributed to a slave potter in Edgefield, South Carolina, about While the potteries of the Edgefield District were established to satisfy planters needs for utilitarian wares, by the middle decades of the nineteenth century some African-American potters were making small vessels that were sculpted into the form of human heads.
Generally about five inches tall although one example measures less than an inch-and-a-halftheir purpose has never been discovered and thus remains open to speculation.
It is, however, worth noting that these small face pots strongly resemble wooden sculptures known in the Congo region of central Africa which also have shiny white material inserted in them to mark eyes and teeth in exactly the same manner as the Edgefield vessels.Ryan Anderson comes to American Heritage School having taught life sciences and served as an administrator for Tuacahn High School in St.
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In the year since President Trump’s inauguration, Washington Post photographers set out to explore what unites Americans, through portraiture and audio interviews. Quilts and quilt making are a reflection of the life and times of the women who made quilts.
Although the technique of quilting existed throughout history (quilted items have been discovered in Egyptian tombs, for example, and French knights used quilted jackets under their armor), quilts as we think of them didn't start showing up on the American scene until just prior to American Gear Pioneers to the Present.
THE FIVE HISTORY OF GEAR BOOKS AND ONE BOOK OF STORIES: Books are presented in 8x10 format with choice of hardbound or softbound and all lavishly illustrated with high-quality color images.
Books can also be ordered directly from me as $15 PDF downloads. Toby Young. The Fall of the Meritocracy. The left loathes the concept of IQ -- especially the claim that it helps to determine socio-economic status, rather than vice versa-- because of a near-religious attachment to the idea that man is a piece of clay that can be moulded into any shape by society.