PHOTO ESSAY: The Fidelity of Stillness: Abigail Hadeed

The Fidelity of Stillness:

Abigail Hadeed


By Vladimir Lucien
Monday, May 7th, 2012  

 

A review: based on a talk with, and engagement of Abigail Hadeed and her ‘Tree without Roots’ collection.

 

The breadth of Abigail Hadeed’s oeuvre is extensive, and a full review of her work is a task too gargantuan to attempt in anything less than a full-length feature. From the pictures of those very special years of the Trinidad Theatre Workshop, to carnival, to her more commercial work, the task of appraising it all looks more and more impossible as one peruses her massive output. Yet anyone who is to take the work of this photographer seriously has to see her in more than one light. She is photographer yes, but traceably a frugal cultural researcher.

 

Abigail Hadeed 'Black Star Line Bonds'

 

Let us begin by exorcising the rest of this attempt at a review of its demons. It is obvious on observation there isn’t any attempt to ‘dazzle’ in ‘Tree without roots’. And this is deliberate. Abigail expressly eschews the ‘intellectual’, a position I think, which may just be one of the supreme disorders of our generation. There is the idea in Caribbean that art is supposed to be for ‘the people’ and I am not opposed to this idea, simply because I do not understand yet, what it means. Obviously ‘the people’ refers, (I am still guessing here) to the layman. . One completely understands the needfor sympathy with any disenfranchised group within their society. Not merely sympathy, but the need for any individual to acquaint themselves with the various cultural levels within their society whatever their organizing principle. Yet this compulsion of so much of our art toward any one class, is always dangerous— as dangerous as the monopolies which many of us decry and criticize. Not merely that, but given the fluid nature of interaction within our society (especially Trinidad) , by trying to focus too narrowly on a class, we may be creating formidable barriers that previously were more permeable. What Hadeed is against really, is the obscurity and highfalutin attitudes of academia. But like the best and the worst of us, we misfire our anger at ‘Academia’ and not at its perverts. And this misfiring produces an easy hurdle for the bohemian artist whose first ‘revolutionary’ step is to reject the intellect’s central role in the circle of the creative.

Serious photography many times echoes the academic. Who is more academically audacious than the ethnographer, the man or woman who sits amongst the poor and dispossessed and writes them into literature or art, the interpreter of maladies outside him/herself. It is no wonder then that in speaking with Hadeed, I couldn’t help thinking of Leni Riefenstahl’s work ‘The Last of the Nuba’.  Her work is just as precious and as absolutely necessary and important both to the society that they may save from visual and memorial extinction as well as to their own pilgrimages of self.

One must ask then, what is the allure of Hadeed? And the answer is simply that where the abstruse (or what I would refer to as ‘the intellect in the mirror’) has been swept from the forefront of the creative process, the heart has spilled. And though this inundation doesn’t thoroughly blind us to the short-comings and implications of the path she has taken, it allows us not to miss too much what she has chosen to shunt. There is almost always, even where the photograph itself falls short of the iconic, a redeeming humanity in the works, a soft-texturedness of the vision that directs the lens. And despite her ostensible outsider status amid communities or groups she has sought out to photograph, there does not seem to be the outsider distance that may help in producing iconic pictures. I am speaking of those photographs that, by their astonishing accuracy of depicting human passions, raise suspicions that allow us to perceive a distance that is invariably there.

 

Abigail Hadeed 'Clean Cut'

 

Hadeed works intuitively. Her concerns are clear enough, and her position in relation to these concerns could not be any clearer (something one would not be able to say for most artists around). Her collection ‘Tree without roots’ is, to say the least, a vestige of something we forgot to remember. Hadeed, visited Colon, Panama and Limon, Costa Rica, and before she could pull out her camera, she had to learn what light flashed within these people, what light had deserted them, and in what new light they had moved on and continue to move on in their lives. She mingled and got to know people. She made acquaintance, enraptured by the presence of these dispossessed Caribbean people and their descendants, living in both cities. One of my personal favourites in the collection  is ‘Clean Cut’: which touches both the quotidian, the act of grooming oneself, as well as these persons being cut ‘clean’ from the Caribbean and its people. The poignancy is invoked by the sense of detachment or pensiveness in the mature face of the man in the barber’s chair. He has one of those soul-deep stares in his eyes, his facial structure hard, angular and accustomed, his cheek absorbing the shade being cast from outside the Barber shop. The stillness: the surrender of the head both to the barber, and to the stillness itself, the fading rattling of the mind as the head is held rigidly in place.

The negotiation that takes place in any kind of photography in search of the iconic is a community of coincidences: the recognition of a beautiful face or the angle of an object that startles it with beauty or poignancy, the cooperation of light, the fall of shadow and the photographer surrendering herself to the most infinitesimal movement of the living object, the variations of light. The composition depends on a direct, telescopic concern for its subject especially because ‘Tree without roots’ draws its inspiration from the scent of life, the stench of neglect and the forgotten. It is photographing something beyond an image. The composition probes the community of coincidences for that confluence between Man, his heart and his world; for the soft detonations of something spiritual and electric that happens on the split ends of a second. Not all the pictures are that lucky to clutch that moment, but certainly ‘Clean Cut’ is undoubtedly one of those. And indeed it many times is an issue of luck and a dependency on a synaptic sharpness.

The very reason I feel even a little bit equipped to do a review of Hadeed’s work here is because her work is for people like me: non-practitioners, people who want to engage in conversation with several arts without being thoroughly equipped and ‘jargonized’ in his apprehension. And this is the deficiency I believe Hadeed was articulating in speaking of her dislike for the new language that has risen amongst many of our artists (and more particularly our critics), a language which Poet Kei Miller dubbed ‘Academicese’. The Academicese language indeed has that way of making non-practitioners/informed sympathizers feel entirely unwelcomed.

But this collection is more about story than it is about technical flourish. I am careful with my praise of this position as it is sometimes (ab)used as an excuse for artistic accidie, but I unrestrainedly and humbly offer this praise to ‘Tree without Roots.’ No photograph in this collection is, or shall ever take the route of Eugene Atget’s ‘Avenue de Gobelins’ and I certainly would hate if I were to come across something like that in ‘Tree without Roots’. My argument is not the ‘simplicity-over-complexity’ one, it is merely one that appreciates Abigail’s awareness of some of the neglected purposes of photography and art in general: to give visibility, to be a broker of light.

 

Abigail Hadeed's 'Dive Canal'

 

A picture like ‘Dive Canal’ in the collection provides one with the view of those inner ambiguities found in situations that try our humanity. It reminded one of those little ‘Ubermensh-moments’ we have as boys, with our own crude, bare-back morality, our venturing into loneliness if it teases us with the right light. And because Hadeed engaged a story, not a contrived narrative, but one she took the time to get to know, she was able to produce something properly contextualized and therefore immediately communicable.

 

Abigail Hadeed's 'Laundry Lyrics'

 

‘Laundry Lyrics’ is one of the gems in the collection (though my personal favourite is ‘Clean Cut’). It in a way expresses for me, something that the collection and their photographer is trying to capture in a lot of her work: that no matter how many theories come about, how many things are discovered to be illogical or mediocre, no matter how many artists become frustrated with backward societies, life continues to happen there, people aspire (‘Diving Canal’), children are still children and still believe themselves worthy of attention (‘Pickney Pantomime’), that history may still not leave the insulated untouched (‘UNIA document’)  by its light.

 

Abigail Hadeed's 'Iris Morgan'

 

Photography, for an ultimate novice such as I am, has appeared at some points a fidelity of stillness: that of the photographer or that of the human subject, and some times, both. Hadeed’s work, like her work on traditional mas’, is hinged on a kind of stillness: the things that refuse change because there is something they think should remain visible and resisting obliteration, like rituals that must be repeated year after year in the same way. But as with true rituals, “Man’s yesterday may ne’er be like his morrow.” ‘Tree without roots’ required Hadeed to be still, to sit and watch and learn. Only after this was accomplished did she feel ready to stir. Only after this did she feel equipped to get human lives, light, and her own hands to conspire with each other. Only after her apprenticeship with the dispossessed did she seek that essence. Stillness upon stillness, life upon waning life.

 

Abigail Hadeed's 'Pickney Pantomine'

 

++++++++++++++++++


Vladimir Lucien
Vladimir Lucien

Vladimir Lucien was born in St. Lucia on March 16th 1988. After leaving school, Lucien took up a teaching job which he resigned from after a year to pursue acting in New York. Lucien returned to St. Lucia shortly in 2008, and subsequently took up studies at the UWI in Trinidad where he began writing poetry. In October 2011 he graduated with honors from the University with a degree in Literatures in English and Theatre Arts. Currently he is pursuing a Masters of Philosophy in Cultural Studies at the University of the West Indies, St. Augustine Campus.

 

HISTORY: Largest slave rebellion in U.S. history

Part 1:
The largest slave rebellion
in U.S. history
1836 wood engraving printed for Blanchard's narrative of the war. Caption reads: "The above is intended to represent the horrid Massacre of the Whites in Florida, in December 1835, and January, February, March and April 1836, when near Four Hundred (including women and children) fell victim to the barbarity of the Negroes and Indians." See key images for more detailed commentary. Library of Congress, Rare Book and Special Collections Division, LC-USZ62-366.
 
by J.B. Bird
First published June 5, 2005
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Note: When this essay was first published in June 2005, very few online or scholarly reference guides to slave rebellions cited the Black Seminole rebellion as a slave uprising and none cited it as the country's largest. Since then, thanks in part to this essay and website, more references correctly note the size of the Black Seminole slave rebellion, though many still omit it.

Introduction

Look at any standard reference to American slave revolts, and chances are, the Black Seminole rebellion of 1835-1838 does not even make the list. Below are some representative sites that can be readily checked online:[1]

The oversight is not unexpected given that the major scholars of American slavery, on whose writings the reference works rely, have likewise missed or misinterpreted the Black Seminole slave rebellion. According to John Hope Franklin, Eugene Genovese, Stanley Elkins, Kenneth Stampp, Herbert Aptheker, and the many scholars who have relied on these giants in the field, the Black Seminole maroons joined Indians to fight the U.S. Army in 1835, and some of the maroons may have been runaway slaves. But the scholars seem unaware that nearly 400 plantation slaves, and possibly hundreds more, joined the maroons and Indians in an uprising of slaves that had no peer for size and longevity in American history.

A section on Examples of scholarly oversight of the Black Seminole slave rebellion offers citations from the top scholars. For further confirmation of the oversight, one can also enter "slave rebellions" into any good search engine, or in the search function of a general black studies site like Africans in America. Or to be even more thorough, one can keyword search the leading academic journals on African American and U.S. history at Journal Storage online. Under "slave rebellions" or "slave revolts," many interesting articles will appear, but not a single one about the largest slave rebellion in American history.

The omission from mainstream history of both the Black Seminoles and the slave rebellion that they led is a curious phenomenon. The oversight is all the more interesting since the rebellion was not some obscure event that took place in a rural backwater, but rather a series of large-scale, disruptive escapes that occurred in conjunction with the largest Indian war in U.S. history and that resulted in a massive, well-documented destruction of personal property.[2]

spacer Link to interactive map showing major slave rebellions
 

The info in the table below can also be seen in this interactive map of major U.S. slave rebellions.

The reasons for the oversight are examined more thoroughly in the accompanying essay, "The buried history of the rebellion." This essay attempts to lay out the facts, making the case once and for all that the Black Seminole rebellion was the largest in U.S. history. 

Depending on how one classifies the rebellion, in fact, it was not just the largest but may have been three or four times as large as its closest competitor. This renders the omission even more remarkable, if not downright suspicious.

Comparison with other rebellions

Below are the major American slave rebellions listed in chronological order.[3]

 

Year  Rebellion Black Participants White deaths End result for the rebels
1712 New York City conspiracy 30-40 9 21 executed, 6 estimated suicides, 6 pardoned
1739 Stono rebellion 75-80 25 Estimated 50 killed & executed in suppression
1800 Gabriel Prosser's conspiracy 40[4] 0 35 executed, 4 escaped, 1 suicide
1811 Louisiana revolt 180-500 2 66 killed in battle, 16 executed, 17 escaped or dead
1822 Denmark Vesey's conspiracy 49[5] 0 49 condemned: 12 pardoned, 37 hanged
1831 Nat Turner's rebellion 70 57 20 conspirators executed including Turner, 100 or more blacks killed in mass reprisals
1835-38 Black Seminole rebellion, maroon & slave combined 935-1265 400[6] 500 emigrated west with Indians, 90 or more caught & re-enslaved, hundreds more surrendered to slavery, casualties unknown.
1835-38 Black Seminole rebellion, plantation slave only 385-465 N/A 90 or more caught & re-enslaved, hundreds surrendered and returned to slavery, uncertain number emigrated west with Black Seminoles.

At least three of these are often mentioned as the largest or most significant in U.S. history: Nat Turner's rebellion, Denmark Vesey's conspiracy, and the Louisiana slave revolt of 1811.

Nat Turner's rebellion.

Scholars do not mention Turner's rebellion as the largest, but they often cite it as the most significant. Politically and socially, it probably was. For several months in 1831, the uprising and subsequent manhunt for Turner riveted national attention. In the wake of Turner's capture, trial, and execution, legislators across the country enacted tougher laws, severely tightening slave codes and clamping down on the rights of free Negroes. Conversely, the revolt fired the ideals of American abolitionists, helping lead the country down the long road to civil war. 

The number of participants in the uprising was moderate in comparison with the larger rebellions, but the white casualties were high, which attested to the campaign's organization and violence.[7] To learn more about the uprising, you can visit the Web site Death and Liberty, which covers Virginia's three major slave insurrections during the 19th century.

Denmark Vesey's conspiracy

Vesey's conspiracy earned a nod as the largest rebellion in the 1999 book by David Robertson, Denmark Vesey: The Buried History Of America's Largest Slave Rebellion. The title was catchy, but the facts were off. 

The conspiracy organized by Vesey, a 60-year-old free black carpenter in Charleston, South Carolina, was by all accounts both fascinating and politically significant. Aptheker gives an overview of the known facts in American Negro Slave Revolts (267-75), and you can find summaries online at Africans in America or The Atlantic Monthly issue from December 1999.

Vesey envisioned a massive uprising throughout Charleston and the surrounding areas, with rebel slaves receiving aid from St. Domingo. Reviewing the record, one can see why a writer was tempted to describe his rebellion as the largest in American history. 

There's just one problem: Vesey's rebellion never materialized. The conspiracy unraveled when several slaves became informers, exposing the plot before it took place. Vesey and 130 slaves were immediately arrested as conspirators. Of these, 49 were ultimately convicted, with 37 being executed and 12 pardoned.

At the trials, witnesses testified that anywhere from 3,000 to 9,000 slaves were in on the plan. This was high drama, but in reality, scholars today have no idea how many people were involved in the conspiracy. The leaders allegedly recorded all of the names of their co-conspirators, but only a few such lists ever surfaced. Preparations must have been extensive, since the would-be rebels stashed away 250 pike heads and 300 daggers in anticipation of an uprising. No documentary evidence, however, points to the actual number of participants.[8]

Moreover, even if one accepts that thousands of slaves were in on the plot, none of these thousands ever rose in rebellion. Ultimately, only 49 were implicated -- in a conspiracy. On this basis, it is simply not credible to claim that Vesey's plot was the largest slave rebellion in American history. It might have been the largest plan, but even this can not be said with certainty.

Louisiana slave revolt.

This revolt is more often, and more credibly, described as the largest ever on U.S. territory. See, for example, the recent book American Uprising: The Untold Story of America's Largest Slave Revolt, by David Drummond, or the timeline entriy at The Slave Rebellion Website.

The known facts are minimal. On January 8, 1811, Charles Deslondes, a free mulatto from St. Domingo, led a body of slaves in a rebellion west of New Orleans along Louisiana's "German Coast." The slaves fought with cane knives and clubs before securing a few firearms. By January 11, local militia and army regulars had crushed the poorly armed rebels.

Aptheker reports that 82 blacks were killed or executed in the suppression of the revolt, with seventeen others either escaping or being left for dead. As a warning to future troublemakers, executioners placed the severed heads of sixteen black rebels on posts along the road leading to the plantation where the uprising started.[9]

If more facts were known, the Louisiana revolt might rival the Black Seminole rebellion in size, though certainly not in scope. The event was short-lived, and while it sent shockwaves around New Orleans, it never gained national attention. The rebel force must have been considerable, given that authorities sanctioned killing 82 of them. Reports placed the number of rebels at somewhere between 180 and 500. Aptheker estimated four or five hundred on uncertain authority, while Genovese was inclined toward the lower number.[10

Unfortunately the only hard numbers associated with the revolt are the executed, dead, and missing, who totaled 99, far less than the documented participants in the Black Seminole rebellion.

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Classification of the Black Seminole rebellion:
Maroon war or slave rebellion?

Scholars who are not familiar with all the facts of the Florida slave uprising may object to comparing the Black Seminole rebellion with the actions listed above, on the grounds that the Black Seminoles waged a maroon war, which is different from an uprising of plantation slaves.

Were maroons the only black participants in the Florida uprising, this would be a valid point. Maroons were quasi-autonomous blacks, or "outliers," who lived on the fringes of slave society. Typically, maroons fought to retain the tenuous liberty that they already enjoyed, not to liberate themselves from oppressive masters.

Such was the case with a majority of the 500-800 Black Seminoles who rose in defiance against the United States in 1835. Though hundreds of these blacks were claimed by white citizens, most had long-standing ties to the Seminole Indians. Nominally, they were recognized as either free, quasi-free in comparison to plantation slaves, or at the very least, as established fugitives from white slavery. As such, the Black Seminoles technically waged a maroon war as opposed to a slave rebellion.

There are some interesting reasons to debate this classification, discussed at the end of this essay. The whole question, however, is irrelevant to the matter at hand. Regardless of whether the Black Seminoles were maroons or slaves, the facts show that they inspired the largest rebellion of slaves in U.S. history.

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Attack of the Seminoles on the Block House

"Attack of the Seminoles on the block house." This hand-colored lithograph from the Gray & James series depicts one of  the Seminoles' prolonged sieges of U.S. forces -- unusual for Indian warfare -- in April of 1836. Library of Congress, Prints and Photographs Division, LC-USZ62-11463.


Plantation slaves in rebellion, 1835-1838

This rebellion took place over 1835-38 and it involved plantation slaves in a classic uprising. The rebellion reached its peak in the first months of 1836, when hundreds of Florida slaves fled their plantations to join the Seminoles. White owners said that their slaves had been "captured" by Indians, but this was merely a gloss on circumstances that horrified the slaveholders. Indians did not capture the slaves. The slaves escaped.[11]

Planning for the mass defections had been underway for over a year. According to Kenneth Wiggins Porter, Black Seminole leaders made frequent visits to Florida's plantations throughout 1835, cementing ties to the field hands. When war erupted, hundreds of blacks fled to the Seminoles in an action that General Thomas Sydney Jesup described as a pre-arranged conspiracy:

"I have ascertained beyond any doubt, not only that a connection exists between a portion of the slave population and the Seminoles, but that there was, before the war commenced, an understanding that a considerable force should join on the first blow being struck."

Field slaves fought prominently in several early engagements. Many defectors painted their faces to signal their new allegiance. Urban and house slaves did their part as well, joining with free blacks from St. Augustine to help the Seminoles obtain critical supplies like powder and lead.[12]

In the general uprising, blacks and Indians specifically targeted the sugar plantations along the St. John's River, west of St. Augustine. At the time these were some of the most developed plantations in all U.S. territory. Their destruction was swift and devastating. By February of 1836, less than two months into the war, the Seminole allies had destroyed 21 plantations. Where slavery and sugar mills once flourished, soldiers found smoking ruins and an industry laid waste.[13]

Before the uprising ran its course, at least 385 field slaves defected to the Seminoles. This number, derived from the escapes reported at the time in official military correspondence, newspaper reports, and claims on the government for damaged property, is conservative and probably low.[14] Two scholars who are among the foremost experts on slavery in the antebellum Florida, Canter Brown and Larry Rivers, speculate that there may have been as many as 750-1000 plantation rebels.[15] My own guess is that the numbers were higher than 385 but still close to this documented total.

The conservative number alone accounts for the largest slave rebellion in U.S. history. Regardless of whether or not the Black Seminoles are counted as participants -- and regardless of academic conventions -- the facts show that they inspired an uprising that easily eclipsed all other American slave rebellions.

Curiously, this overlooked rebellion enjoys yet another distinction -- it was not a complete failure.

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Was the rebellion a success?

The answer to this question hinges on the combined fates of the plantation slaves and the Black Seminoles themselves.

The fate of the plantation slaves

What happened to the 385-plus plantation slaves who joined the Seminoles? Unfortunately, we know of their fate only in general details. According to Porter, after a year or more of life in the swamps, a majority of the defectors surrendered and returned to chattel slavery. As they came in, some spoke of ill treatment at the hands of the Seminoles, though witnesses at the time thought that these complaints were mainly efforts to win back the sympathy of white masters.[16]

Not all of the plantation slaves surrendered. The Army captured at least 93 who were known to be the property of white citizens.[17] These captured slaves were reportedly returned to their owners.[18]

Another small segment of plantation rebels subsumed themselves within the ranks of the Black Seminoles. Field slaves at the outset of the war, these courageous blacks ultimately won their liberty when General Jesup agreed to let them emigrate west with the established "Indian Negroes" (the Black Seminoles) in 1837 and 1838. At least five such field slaves surrendered under Jesup's promise of freedom at the close of 1837.[19] Quite likely dozens more availed themselves of this option, but there are no hard numbers to go by.

Some plantation slaves may also have succeeded in feigning status as established "Indian Negroes." By the close of 1837, the Army was anxious to move the most militant blacks west, regardless of whether they were Indian maroons or the property of white citizens. Lt. Sprague defended this policy on pragmatic grounds:

"The negroes ... have, for their numbers, been the most formidable foe, more bloodthirsty, active, and revengeful, than the Indians .... The negro, returned to his original owner, might have remained a few days, when he again would have fled to the swamps, more vindictive than ever.... Ten resolute negroes, with a knowledge of the country, are sufficient to desolate the frontier, from one extent to the other."[20]

In this frequently quoted passage, Sprague was defending a policy that was controversial among slaveholders. From the start, Florida slaveholders had demanded the return of all blacks who were claimed by white owners. In 1837, the Army's decision to yield on this policy seemed to confirm that a portion of the plantation rebels had succeeded in winning their freedom.

Even after the Army's policy reversal, some blacks remained in the wilderness, fighting alongside Coacoochee and other Seminole Indian chiefs from 1838-42.[21] Quite likely, these final holdouts were plantation rebels, since most of the Black Seminole militants had surrendered with or before John Horse in 1838.

So, what can we conclude about the success of the rebellion?

As far as the plantation slaves were concerned, the Florida rebellion was a failure, since a majority of the rebels returned to chattel slavery. The uprising was not, however, a total disaster -- at least not in comparison with the other major U.S. rebellions, which all ended in violent repression. In Florida, history leaves no record of mass reprisals against the rebels. There were no heads placed on pikes, as occurred in Louisiana, and no mass trials and executions, as took place after the failed conspiracies of Prosser and Vesey. Rather, white Floridians seem to have gratefully accepted the return of their slaves.

In the wake of the uprising, the territorial legislature did pass tougher slave codes and more draconian laws aimed at free blacks. Yet even these laws were deceptive. As Brown reveals in his essay on territorial race relations, Florida's slave laws tended to set strict standards that individual whites largely ignored, choosing instead to negotiate more lenient relations with their bondsmen.[22]

Though most of the 385-plus plantation rebels failed to win freedom, a small minority succeeded. Unfortunately, without further research the number in this category cannot be known -- and will probably never be known with anything close to certainty.

What about the fate of the Black Seminoles?

If the plantation rebels largely failed, the Black Seminoles enjoyed a converse fate. As a community, they won a limited but substantial victory when General Jesup reversed U.S. policy, promising freedom to all black warriors who surrendered over the winter and spring of 1837-38.

Only later, in the Indian Territory, would the limitations of Jesup's promise become apparent, leading to dire problems for many Black Seminoles. In 1838, however, Jesup's promise appeared valid. By his own admission, the general had offered "the most liberal terms." The leaders of the largest slave rebellion in U.S. history appeared to have won a conditional victory.[23]

True, they were not allowed to remain in Florida, which had been the Seminoles' stated objective all along. For the black warriors, however, liberty had always been the true objective, wherever it was offered.

In the end, 500 blacks -- mainly Black Seminoles, with some plantation rebels mixed in -- emigrated west to the Indian Territory. The blacks emigrated under a tangled web of legal and social arrangements. Roughly speaking, half of them went west under Army promises of freedom, and half emigrated under traditional, private arrangements with Seminole Indian masters.[24]

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Contrary perspectives: It was not a rebellion

Among contemporary academics, oversight of the Black Seminole-led slave rebellion has resulted largely from a lack of awareness of the details of the rebellion, as can be seen in the section of examples of scholarly oversight. From Aptheker (1943) to Franklin (1999), the seminal writers on American slave resistance have been aware of the Black Seminole maroon uprising but unclear or entirely unaware of the mass participation of plantation slaves that took place in conjunction with the maroon and Indian conflict.

While this lack of awareness accounts for the persistence of the oversight, some academics have, or will, argue that the events in Florida were not, in fact, a slave rebellion. Academic convention is very strong. No doubt some academics, finding it inconceivable that they have not already read about the Florida slave rebellion, will seek out reasons to declare it was not a true slave rebellion, based on a variety of definitions.

 

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Contrary perspective No. 1: It was a wartime alliance

Andrew Frank, an historian at California State University, Los Angeles, made an argument along these lines in his review of Larry Rivers' Slavery in Florida (Gainesville: University Press of Florida, 2000). Rivers, along with Canter Brown, is one of only two scholars to suggest that the Second Seminole War "probably constituted the largest slave uprising in the annals of North American history" (Rivers, 219). In a review published online by H-Net Reviews in May 2002, Frank takes issue with Rivers for being too liberal in defining his terms:

Rivers effectively demonstrates the participation of hundreds of fugitive slaves and black Seminoles, who he states were still maroons, in the war. Rivers chooses not to challenge the conventional definition of slave rebellion, however, in this discussion. Instead, he stresses that the historian's neglect to understand the war as a slave rebellion is compounded by its relatively large number of enslaved participants. This needs further explanation. Any definition of "slave uprising" that includes the Second Seminole War would also include, at the very least, the American Revolution, War of 1812, and American Civil War.

Frank raises an important point: a slave rebellion is defined as an armed uprising of slaves, but is it a rebellion if it takes place within the context of an organized war? The answer to the question is especially thorny in the American Revolution, the War of 1812, and the U.S. Civil War. Some scholars have described elements of the black role in these conflicts as slave rebellion, but given the role played by organized state powers, it is problematic to claim that the participation of all slaves in the conflicts constituted open revolt. During the Second Seminole War, however, the acts of mass slave resistance were far more autonomous and self-determined than the black resistance in the other three conflicts and in fact corresponded almost perfectly to the scholarly definition of the New World slave revolt. A review of the role of slaves in each conflict highlights the distinction.

In the case of the American Revolution and the War of 1812, slaves sought freedom based on promises of safe haven from a foreign government. The British used such promises to lure more than 10,000 slaves from the American colonies during the Revolution. They deployed the tactic again in the War of 1812, attracting several thousand American slaves who sought refuge in the British lines. After both conflicts the British made good on their promises of safe haven. Following the Revolution, many black loyalists were settled in Canada. After the War of 1812, the British settled black refugees in Canada, Trinidad, and other parts of the Caribbean. British support for rebel slaves during the War of 1812 was so steadfast, in fact, that it created a bitter dispute with the U.S. after the war. The Treaty of Ghent included a clause demanding return of American slaves who had defected. The British refused to comply with the provision, and the matter was only resolved in 1824 when Americans agreed to accept financial compensation for their human property.

The war between the states featured a similar dynamic, with the difference that the slaves themselves played the lead role, in far greater numbers, in the defection to the "foreign power" (here the North) that took place. More than 90,000 southern slaves sought safe haven in the northern lines during the U.S. Civil War. Initially, their actions precipitated intense debates among northerners as to how to deal with this living property of the enemy, called "contrabands" of war. While generals like John C. Fremont clamored to arm the rebels and declare them free, President Abraham Lincoln was initially reluctant. Lincoln had publicly stated that the country was waging war to restore the union, not to end slavery, and he hesitated to appropriate the slave property of the South, for fear it would change the nature of the conflict. Ultimately, with the Emancipation Proclamation of 1863, Lincoln bowed to the arguments of his generals and offered freedom to the southern contrabands and all slaves in confederate areas. The reasoning behind this change of policy was based in part on the precedent of the Black Seminoles, as Rebellion documents, who had furnished an example of the federal government's right to liberate rebellious slaves during wartime.

The slave resistance in Florida from 1835-1838 was distinct from the slave defections in these other three wars. First and foremost, no foreign power offered safe haven to the slaves who rebelled in Florida in 1835. There is no record that the small Seminole Nation made such an offer, and the nation—fighting for its very existence and homeland—was not in a position to fulfill any such promises had they been offered. The British in 1776 and 1812 offered full liberty, land, and citizenship rights in promises backed by one of the world's foremost powers; and the British made good on their promises. The example of the Civil War is a bit more complicated, because slaves themselves initiated much of the policy debate by defecting in droves to the North; nonetheless, the safe haven that defecting slaves ultimately found under the auspices of the Union Army was categorically distinct from the self-determination-amid-chaos that rebel slaves pursued in Florida.

The role of the slaves in planning resistance and their motives for resistance were two more distinguishing factors of the Black Seminole slave rebellion. In the Revolution and the War of 1812, the British planned the wars. Their offers of freedom to slaves were strategic tactics to disrupt the enemy. In Florida in 1835, in contrast, U.S. military officials determined that slaves had themselves conspired with the Black Seminole maroons to plan the mass uprising and wholesale destruction of sugar plantations at the outset of the war. The slaves were not motivated by a tactical offer of freedom from a foreign power. Rather, they fought with the idea, according to military leaders, of winning transport to freedom in Cuba. In other words, the Florida slaves of their own accord helped plan the conflict, then helped overthrow their masters and destroy their property while joining a mass uprising with the hope of winning freedom by force of arms. This is distinct from the defections to a major state power that took place during the American Revolution, the War of 1812, and even the U.S. Civil War.

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Contrary perspective No. 2: It was collusion with maroons

In accepting that the Florida uprising was a slave rebellion, some academics might raise another consideration as grounds for exclusion: the fact that the slaves colluded with maroons. Doesn't this collusion exclude the uprising from the realm of a slave rebellion? The slaves may not have had the protection of a foreign power, this line of reasoning would say, but they benefited from the promised protection of their maroon and even Indian co-conspirators, and this protection rendered their actions more akin to a military alliance than a slave revolt.

This argument only works if scholars are ready to throw out the entire New World history—and accepted scholarly definition—of slave rebellions. The leading scholars of New World slave resistance, from Eugene Genovese to Orlando Patterson, have routinely pointed out the central role of maroons in the region's major rebellions. "The most impressive slave revolts in the hemisphere," wrote Genovese, "proceeded in alliance with maroons or took place in periods in which maroon activity was directly undermining the slave regime or inspiring the slaves by example" (From Rebellion to Revolution 33). Maroon-slave alliances were rarely harmonious, however, since the interests of slaves and maroons often conflicted:

The relationship between maroons and slaves was complex and by no means always friendly. The peace treaties between the maroons and white regimes usually provided for black autonomy in return for military support against slave revolts and for the return of new runaways. But the existence of militarily respected maroon colonies destroyed in a single stroke the more extravagant racist pretensions of the whites and provided a beacon to spirited slaves. (Genovese From Rebellion to Revolution 591)

The rebellion in Florida corresponded faithfully to the pattern of maroon-slave alliances that Genovese described in Jamaica, Surinam, and Brazil. As in those countries, in Florida the maroons (Black Seminoles) initially sought a strategic alliance with rebellious slaves. Ultimately, however, the maroons agreed to surrender in exchange for white recognition of their autonomy. In Florida, the U.S. Army acknowledged maroon autonomy by offering promises of freedom to 250 Black Seminoles and giving secure passage to 500 of them, allowing them to travel west under their traditional arrangements with the Seminole Indians. At the same time that the maroons were negotiating safe passage to the west, the majority of Florida's plantation slave rebels were surrendering and being returned to their owners. This coincidence did not exactly equal "military support against slave revolts" on the part of the Black Seminoles, but it showed that the Black Seminoles' communal interests were not synonymous with the freedom of the plantation rebels.

Florida's plantation rebels did, however, fare more successfully than slaves in other joint maroon-slave revolts. In fact they may have been the most successful slave rebels in the New World outside of Haiti. Admittedly, this is not a high standard, given the dismal record of New World slave revolts. Still, it was notable that as the rebellion in Florida wound down, the Black Seminole maroons did not actively round up plantation rebels, as occurred at the end of other maroon wars. In Florida, slaves also were not executed in reprisal for the rebellion, something which happened after all of the other major U.S. slave revolts and conspiracies, from the New York City revolt of 1712 to Nat Turner's rebellion in 1831 and even John Brown's raid in 1859. The comparative leniency after the Black Seminole slave rebellion reflected several factors, including Florida's more tolerant and complex approach to slavery, inherited from the Spanish, and the extended, wartime nature of the revolt. By 1838, slaveholders living on Florida's sparsely populated frontier also desperately needed the labor of their bondsmen, which was surely an inducement to clemency.

One fact above all else, however, demonstrates the comparative success of Florida's plantation slave rebels: military records show that at least a small contingent of five to ten plantation slaves were allowed to go west with the Black Seminole maroons. The number of slaves who won freedom by this means may have been much higher, but it is not likely that research will reveal the true number, because during the emigration negotiations, the military made no effort to carefully distinguish maroons from slaves. The military did not want the number of slaves sent west to become known, for fear of upsetting Florida slaveholders. In the spring of 1837, slaveholders helped reignite the war on this very point. The officer corps deeply resented this citizen interference and sought to avoid its repetition.

With this in mind, it is instructive to read an oft-cited passage from John T. Sprague's 1848 history of the war. Writers typically use the passage, in which Sprague described the black warriors as "the most formidable foe, more blood thirsty, active, and revengeful, than the Indians," to demonstrate the key role that the Black Seminoles played during the Second Seminole War. Read at greater length and in proper context, however, the passage reveals another important point: members of the U.S. Army were defensive even in 1848 about having granted freedom to rebellious blacks—freedom not just to maroons, who were already comparatively free, but also to plantation slaves, who had taken up arms against the oppressor. Sprague couched the incendiary fact in suitably euphemistic prose—it was plain to see for those who understood the subject but opaque to those who did not. Sprague was an authority on the war, having served in Florida intermittently from 1835 on under several commanding generals, including his father-in-law, General William Worth. It was Worth who personally reaffirmed the freedom of the Black Seminole maroon leader John Horse and, more notoriously, allowed recent plantation rebels to emigrate west with the Seminoles. The army policy of sending rebellious slaves west was controversial with white and Creek Indian slaveholders.  Worth defended his actions by saying that he did not want the swamps of Florida to become "the resort of runaways" (Worth cited in Porter Negro on the American Frontier 257). 

With this in mind, Sprague's description of the "formidable" black warriors takes on a new dimension. An astute reader can hear that his description was not just an explanation of recent history but was also a spirited defense of his father-in-law's controversial army policy:

The Negroes from the commencement of the Florida War, have, for their numbers, been the most formidable foe, more blood thirsty, active, and revengeful, than the Indians….The lives of citizens and their property, demanded that they should be sent far beyond the country with which they are familiar…. The swamps and hammocks of Florida could, for years, be made safe retreats from bondage, where without labor or expense, they might defy the efforts of armed men…. Ten resolute Negroes, with a knowledge of the country, are sufficient to desolate the frontier, from one extent to the other. To obviate all difficulty, the claimant of the Negro in possession of the Indian, was, upon identifying and proving property, paid a fair equivalent, determined by a board of officers. (Sprague Origin, Progress, and Conclusion of the Florida War 306)

The incendiary revelation was that "claimants of the Negro in possession of the Indian" were paid for their property, provided they could show the validity of their claim. This meant that the government was not just shipping quasi-free maroons to the west but also slaves—that is, black rebels identified as property of white claimants. In defending this policy, Sprague echoed the thoughts of Generals Worth, Thomas Sydney Jesup, Edmund Pendleton Gaines and other leading officers of the war who felt that rebellious slaves had to be shipped west for the good of the country.

This policy contravened the initial goals of President Andrew Jackson and Secretary of War Lewis Cass, who in 1836 ordered that the Florida war be prosecuted until every "living slave belonging to a white man" was returned. Officers in the field, confronting the reality of an intractable conflict, reversed this policy. In the end, the officers concluded that distinguishing maroons from slaves was less important than simply brokering peace with the most militant black elements.

While the total number of plantation rebels shipped west with the Black Seminole maroons will likely never be known, the fact remains that even if the army only allowed five or ten plantation rebels to go west, the concession stands as the sole example in U.S. history of slaves succeeding in a rebellion from chattel slavery. It may be one of the only examples in the history of the New World. Scholars, for example, generally regard the Haitian revolution of 1804 as the only example of a successful rebellion against New World chattel slavery.

That a handful of slaves won their freedom through force of arms was a remarkable accomplishment. Given its implications for the slaves of the south, it comes as no surprise that slaveholders buried it deep. How historians missed the accomplishment is another question.

Regardless of success or failure, a slave rebellion is defined by the circumstances of its inception. At the outset of the uprising in Florida in 1835, the largest body of rebel slaves in U.S. history rose with the motive of winning freedom through self-directed flight from American shores. It would seem petty to say today that their actions were not a slave rebellion simply because news of it comes as a surprise to some scholars.

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Conclusion and final tally

To tally the final numbers of the Black Seminole rebellion, one has to decide how to classify the conflict. One can safely describe it as a maroon war (the only one in American history) that inspired the country's largest slave rebellion. The numbers break down as follows:

 

Maroon rebels (Black Seminoles) 500-800
Plantation slaves in revolt 385-465
Total black rebels 935-1265

This leads to a conservative tally of 385 slaves in rebellion.[25] One can go further, making a case that all of the blacks who resisted the U.S. in Florida were rebellious slaves. Certainly many white residents of Florida characterized the Black Seminoles as such during the 1830s. In 1848, the U.S. Attorney General added his voice to the debate when he ruled that legally the Seminole maroons in Florida had been slaves in revolt.[26] This decision, motivated by southern political interests, was devastating to the Black Seminoles. Within a year it led John Horse and his immediate followers to seek freedom in Mexico.

If the U.S. Attorney General believed that the Black Seminoles were slaves in revolt, then historians can surely at least contemplate according them like status, accepting that the maroons might not just have inspired the largest slave rebellion in American history, they may have participated in it as well. Such a conclusion brings the total number of rebels to 935 or more. It would be somewhat ironic if academics today were to strip the Black Seminoles of their status as rebellious slaves, 150 years after American politicians tried to crucify them with the same distinction.

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Endnotes

See complete list of works cited for more information on individual sources.

[1] Most of these sites are based on the leading academic sources on American slave revolts, Herbert Aptheker's American Negro Slave Revolts (New York: Columbia University Press, 1943) and Eugene Genovese's From Rebellion to Revolution (Baton Rouge: Louisiana State University Press, 1979). Other works are useful, but the vast majority of contemporary references to slave rebellions draw on these two. Lerone Bennett's Before the Mayflower: A History of Black America (New York: Penguin, 1984) is also popular. Return to text.

[2] Kenneth Wiggins Porter's Black Seminoles: History of a Freedom-Seeking People (edited by Thomas Senter and Alcione Amos, Gainesville: University of Florida Press, 1996) offers the definitive description of the black role in the Second Seminole War. For additional details, see Mark Frederick Boyd, “The Seminole War: Its Background and Onset,” Florida Historical Quarterly 30.1 (July 1951): 3-115. Return to text.

[3]Sources on the first six rebellions are Aptheker and Genovese. On the Black Seminole slave rebellion, the estimate of 385 plantation-slave rebels is original to this work. See the tally of plantation slaves in the Black Seminole slave rebellion for the number's derivation and more detail on the sources, or see the complete essay on the rebellion.

Sources from the period used to derive the number of slave participants in the Black Seminole slave rebellion:
  • Cohen, Myer M. Notices of Florida and the Campaigns. 1836. Intro. O.Z. Tyler, Jr. Gainesville: University Press of Florida, 1964: 81, 88, 141, 141ff.
  • Niles' Weekly Register 49.22 (January 30, 1836): 368-370.
  • Florida Herald, January 13, 1836, as cited in Jacob Rhett Motte, Journey into Wilderness: An Army Surgeon’s Account of Life in Camp and Field During the Creek and Seminole Wars, 1836-38. Ed. James F. Sunderman. Gainesville: University of Florida Press, 1953: 277-278ff.
  • Sprague, John T. The Origin, Progress, and Conclusion of the Florida War. New York: D. Appleton, 1848: 106.
  • United States Congress. American State Papers: Military Affairs. 7 vols. Washington: Gales and Seaton, 1832-1860. 6: 21-22, citing Saint Augustine Herald, January 13, 1836.
  • United States Congress. House. "Joseph M. Hernandez. (To accompany Bill H.R. No. 877.) July 6, 1838." 25 Congress, 2 Session, Report 1043: 2.
  • United States Congress. House. 25 Congress, 3 Session, Ex. Doc. 225: 106.
Secondary sources referring to number of participants in the rebellion:
  • Boyd, Mark Frederick. “The Seminole War: Its Background and Onset.” Florida Historical Quarterly 30.1 (July 1951): 63.
  • Brown, Canter. "Race Relations in Territorial Florida, 1821-1845,” Florida Historical Quarterly 73.3 (January 1995): 289, 304 on the same topic.
  • Littlefield, Daniel F. Africans and Seminoles. Westport, CT: Greenwood Press, 1977: 36-37.
  • Rivers, Larry Eugene. Slavery in Florida. Gainesville: University Press of Florida, 2000: 203.

Return to text.

[4] Number punished for conspiracy. Return to text.

[5] Number punished for conspiracy. Return to text.

[6] Estimate based on casualty numbers. At least 1590 white soldiers died in the conflict. The Black Seminoles and their slave allies constituted approximately 25% of the Seminole alliance, so .25 * 1590 = 398, or an estimate of 400. Return to text.

[7] Aptheker 293-307. Return to text.

[8] Aptheker 272. Return to text.

[9] Aptheker 249-51, Bell 46. Return to text.

[10] Genovese 43. Return to text.

[11] Sprague Origin 106, Boyd "Seminole" 65-66, Rivers 203. Return to text.

[12] Porter, Kenneth Wiggins. The Negro on the American Frontier. New York: Arno Press, 1971: 266-75. Brown "Race" 304. Jesup quoted in John Hope Franklin's Runaway slaves: Rebels on the Plantation (New York: Oxford University Press, 1999): 87-88. Return to text.

[13] See "A Sugar Empire Dissolves" in Boyd "Seminole" 58-69. Return to text.

[14] The number is original to this essay. For information on its derivation, see tally of plantation slaves in the Black Seminole slave rebellion. Return to text.

[15] Brown "Race" 304, Rivers 203. Return to text.

[16] Motte 116, Mahon 205, Porter Negro 252-53, 278-79. Return to text.

[17] American State Papers: Military Affairs 7: 852. Return to text.

[18] Giddings 155. Return to text.

[19] Porter Negro 255. Return to text.

[20] Sprague Origin 309. Return to text.

[21] Eighteen blacks, for instance, were reportedly allied with Coacoochee after 1838. Porter Negro 259. Return to text.

[22] See Brown, "Race Relations in Territorial Florida: 1821-1845," which concludes (307) that where race relations were concerned, Florida law "often overreached community consensus and, if not challenged directly, was ignored or treated indifferently by a broad range of residents -- white and black, slave and free. Day-to-day life in Florida continued to offer far greater possibilities for many of the territory's residents than the letter of the law seemingly permitted." Return to text.

[23] American State Papers: Military Affairs 7: 834, Mahon 200, Genovese 73, and Bruce Edward Twyman, The Black Seminole Legacy and Northern American Politics, 1693-1845 (Washington: Howard University Press, 1999). Return to text.

[24] Littlefield Seminole 15-36 offers the best accounting so far of the complicated and varied circumstances under which the Black Seminoles emigrated west, including appendices of the government lists of Indians and negroes sent west over the period. Return to text.

[25] For complete sources and explanation of how the number of plantation slaves was derived, see the tally of plantation slaves in the Black Seminole slave rebellion in the toolkit on the rebellion. For a list of sources only, see end note 3 above. Return to text.

[26] For more on this dramatic legal decision, see the related segment, American Justice, in part three of the trail narrative . Return to text.

 

VIDEO: Miles Davis Quintet

Miles Davis Quintet

First concert (starting with autumn leaves): Milan 1964
Second concert (starting with agitation): Stockholm 1963

trumpet: miles davis
tenor sax: wayne shorter
piano: herbie hancock
bass: ron carter
drums: tony williams
could be the show at Teatro dell'Arte, Milan, Italy
October 11 1964

AUDIO: Ron Carter: 75 Years Of Superb Bass > A Blog Supreme : NPR

Photo by Beti Niemeyer

 

Legendary bassist Ron Carter turns 75.

May 4, 2012 - Today is the 75th birthday of Ron Carter, one of the most influential and widely recorded bassists in jazz history. With appearances on more than 2,000 records, his career has spanned the past six decades and is still going strong today.

Carter achieved international attention as a member of Miles Davis' legendary "second great quintet" during the mid- to late 1960s. With nimble and accurate technique, his clear lines always kept the pulse steadily moving and synchronized perfectly with everyone on stage. This reliability landed him sideman gigs with countless other musicians: McCoy Tyner, Eric Dolphy, Herbie Hancock and Horace Silver, just to name a few legends.

Carter's soloing ability is not to be ignored, of course, and he has made his mark as a bandleader since the 1970s. Nevertheless, the biggest legacy he leaves today for younger generations of bass players can be summed up in an anecdote that I've heard from him, via D.C.-area bassist Herman Burney: A $100 bill slipped under the strings of an upright bass stays under the upper section of the neck (the instrument's lower pitch range), but falls if placed farther down the neck (in the higher pitch range). It's symbolic — bassists make the bulk of their money by supporting groups, not by taking solos in the higher register.

Five recordings are not enough to fully reflect the entirety of a career spanning more than half a century, but the following selections provide an adequate sample.

 

Ron Carter: Reliability On Bass

Cover for In Person: Recorded Live at the Village Vanguard

Autumn Leaves

  • Artist: Bobby Timmons Trio

Autumn Leaves

  • Artist: Bobby Timmons Trio
  • Album: In Person: Recorded Live at the Village Vanguard

 

Carter made a name for himself in New York City after completing his undergraduate studies upstate, at the Eastman School of Music. He did session work with many musicians, including saxophonist Cannonball Adderley, reedman Eric Dolphy and pianist Bobby Timmons. This rendition of "Autumn Leaves" with Timmons' trio (Albert Heath on drums), from a live recording at the Village Vanguard, showcases early signs of Carter's trademark variations on bass lines: two-note slides, rhythmic themes that add variety to walking lines, even snippets of melody. It's all done while remaining very much in the pocket.

 

Purchase Featured Music

  • "Autumn Leaves"
  • Album: In Person: Recorded Live at the Village Vanguard
  • Artist: Bobby Timmons Trio
  • Label: OJC
  • Released: 1991

 

Cover for Nefertiti

Nefertiti

  • Artist: Miles Davis
  • Album: Nefertiti

 

Miles Davis' mid-1960s quintet brought new insights on improvisation to the context of a small jazz ensemble. One of those ideas is heard in the title track of Nefertiti, in which the horns maintain the melody while the rhythm section improvises underneath. Carter takes part in this improvisation, but throughout this seeming chaos, he spends the same amount of time staying in timekeeping mode as he does stepping out of it. It allows pianist Herbie Hancock and drummer Tony Williams to free up their playing, too.

 

Purchase Featured Music

  • "Nefertiti"
  • Album: Nefertiti
  • Artist: Miles Davis
  • Label: Columbia/Legacy
  • Released: 2007
YouTube

 

Cover for Sugar

Sugar

  • Artist: Stanley Turrentine
  • Album: Sugar

 

It's hard to listen to Stanley Turrentine play saxophone in the title track of Sugar and think anyone could match the soulfulness he plays in the opening melody and his solo. Carter manages to match that soul just from the bass line he plays behind Turrentine's solo. The skips and fills in his lines are incredibly tight; they add attitude to the soul groove and are just flat out "dirty." It says a lot when the bass line can be just as enjoyable (maybe even more enjoyable) to listen to than the actual soloist — and that's while Turrentine is still killing it.

 

Purchase Featured Music

  • "Sugar"
  • Album: Sugar
  • Artist: Stanley Turrentine
  • Label: CTI
  • Released: 1971
YouTube

 

Cover for Etudes

Rufus (Excerpt)

  • Artist: Ron Carter
  • Album: Etudes

Rufus (Excerpt)

  • Artist: Ron Carter
  • Album: Etudes

 

There are two salient aspects to Carter's discography in the mid- to late '70s and '80s: his leadership of bands and his sound. Like other bassists in that time period, Carter's amplified tone cuts through the ensemble clearly, adding a kick to his solo sound. As the composer and bandleader in Etudes, his tunes emphasize group tightness — a special priority for rhythm-section players — in any groove. "Rufus" explores three different grooves in the opening section alone; it also gives a taste of some of Carter's solo skills.

 

Purchase Featured Music

  • "Rufus"
  • Album: Etudes
  • Artist: Ron Carter
  • Label: Discovery Records
  • Released: 1982

 

Cover for The Golden Striker

NY Slick

  • Artist: Ron Carter
  • Album: The Golden Striker

NY Slick

  • Artist: Ron Carter
  • Album: The Golden Striker

 

Most recently, Carter's frontman gigs have mainly featured his Golden Striker Trio, with pianist Mulgrew Miller and guitarist Russell Malone. The drummer-less instrumentation shows his devotion to the rhythm section: Each member of the band takes on more responsibility to maintain the tempo and push the music along. (It stays true to the way he has played his entire career.) In "NY Slick," he's always playing bass notes in the lower register of the instrument, whether "walking" during piano and guitar solos or during his own solo, in which he slows solely for lyrical effect. He quickly jumps back into the original tempo, always aware of where the original downbeat lies.

via npr.org

 

PUB: BBC World's £2000 International Radio Playwriting Competition (worldwide) > Writers Afrika

BBC World's £2000 International

Radio Playwriting Competition

(worldwide)


Deadline: 31 July 2012

The International Radio Playwriting Competition is run by the BBC World Service and the British Council, in partnership with Commonwealth Writers and is now in its 23rd year. It is a competition for anyone resident outside Britain, to write a 53-minute radio drama for up to six characters.

There are two categories: one for writers with English as their first language and one for writers with English as their second language.

The two winners will come to London and see their play made into a full radio production, which will then be broadcast on the BBC World Service. They will also each receive a £2,000 prize and there are certificates for runners-up.

The play must be in English, unpublished and must not have been previously produced in any medium. Whether you're experienced, new, or somewhere in between, we want to hear from you.

INTERNATIONAL PLAYWRITING COMPETITION 2012: TERMS AND CONDITIONS

These are the rules and terms and conditions for entering the click BBC World Service International Playwriting competition. Please ensure that you read and understand them as failure to follow will result in your entry not being considered.

RULES

1. Entry is only open to anyone who is over the age of 18 as at 31 July 2012 who is not normally a resident of the UK. This may include anyone living/working in the UK on a temporary basis (up to 12 months) at the time of entering the competition. Professional and previously published writers are eligible to enter, but this is not a requirement of entry.

2. Entrants must not be BBC, British Council or Commonwealth Foundation employees and their close relatives or any person connected to the competition. Proof of age, identity and eligibility may be requested.

3. Entrants should write a radio play of approximately 53 minutes’ length on any subject of their choice. Adaptations of novels are not eligible.

4. Plays entered must not have been professionally produced in any medium (an informal play-reading is acceptable; a play-reading with a professional director and in front of a non-paying audience is acceptable, but a performance involving payment to actors and/or a paying audience is not).

5. Plays entered in the competition must not, at the time they are submitted, have been offered for publication, performance or broadcast in any other form or medium to any other person or company. Nor can they, at the time of entry or during the course of the competition, have been entered for any other competition. The winning playwrights will be deemed to have entered into an undertaking not to accept offers for their entries from other broadcasters or publishers before April 2013.

6. All scripts submitted must be a minimum of 45 pages of A4 paper (or equivalent) and a maximum of 65 pages (note, a rough guide is a minute per page; please read and time your play before you send it). The play should have a maximum of six central characters (there may be up to 3 small "doubling" characters too, who don’t have more than a few lines each). Your script must be accompanied by a short synopsis which outlines the complete story of the play. This must be no more than 400 words.

7. There are two categories for entry. One is for entrants who speak English as a first language and the other is for entrants with English as a second language. The BBC may require proof of eligibility for the selected category before announcing a winner.

8. The play must be written substantially or entirely in English. Unfortunately, we do not have the facility to offer a translation service. Entries that have been translated must acknowledge this fact by giving a credit to the translator or translators. Entries that have been translated will be entered in the English as a first language category.

9. The competition opens on 1 May 2012 and closes on 31 July 2012.

Entries must be received at your British Council office or at the BBC in London by midnight GMT on 31 July 2012. Entries received after this time will not be considered.

10. Entries must be submitted either:

* by post to the following address: International Playwriting Competition 2012, BBC Radio Drama, Room 6015 BBC Broadcasting House, Portland Place, London W1A 1AA, United Kingdom

* to your click local British Council office

* or by email to the following email address: radioplay@bbc.co.uk

11. All entries must be accompanied by a completed copy of the entry form attached to this leaflet or which can be downloaded at www.bbcworldservice.com/radioplay from 1 May 2012.

12. Entrants can enter individually or as part of a group. If entering as a group, all entrants must meet the entry requirements and be eligible for the same category. No member should have also entered individually. Please note, the prize only includes payment for one airfare per category.

13. In the case of an entry by two or more writers, the BBC will need written or email confirmation from each writer involved that they are prepared to take a share of the prize money and are prepared to receive those funds from a nominee who will be one of the writers, as the prize money will be paid to one individual only. The nominee will be selected by the writers and it will be his or her responsibility to distribute these funds to the other writers and the organisers can take no responsibility for that aspect.

14. Only one entry per person is permitted including any group entries. If you submit more than one entry, only the first entry received will be considered. Please do not submit plays you have entered before.

15. All entries must be the original work of the entrant and must not infringe the rights of any other party. The BBC accepts no liability if entrants ignore these rules and entrants agree to fully indemnify the BBC against any claims by any third party arising from any breach of these rules.

16. Entries must not contain defamatory, obscene or any other unsuitable material, such as that which may cause offence to a wide audience of all ages.

17. Entrants retain the copyright in their entries but grant to the BBC a non-exclusive licence to broadcast their entry across all media, as well as use it on any online platforms. Entrants also grant a licence to Commonwealth Writers to publish extracts of their scripts, along with their name(s), on the Commonwealth Writers website.

18. The prize for the winning entry in each category will consist of £2000 sterling and a trip to London (airfare and accommodation for one person) to see the winning play being recorded for broadcast on the BBC World Service and attend a prize-giving event. The prize is as stated and cannot be deferred or transferred. There will be no cash alternatives.

19. As with any new play, the BBC may require further drafts and revisions of the winning plays. Winners must be willing and able to undertake redrafting and revision work in conjunction with the BBC. This work is likely to take place between November 2012 and January 2013 and the winning entrants will need to keep time free, and remain contactable, to achieve this. This work will be completed with the winning entrant using email or the most suitable method available. We reserve the right to revoke a play's prize winning status if this work is not completed.

20. The BBC will reserve the right to make minor cuts, changes and edits to the winners' final draft scripts.

21. Subject to a satisfactory recording being made, the winning plays will be broadcast on BBC World Service in March 2013. Winners will first be required to enter into a contract with the BBC on the standard terms and conditions applicable for broadcast of BBC Radio Drama. No fee will be payable other than the £2000 sterling offered as prize money for one broadcast cycle and the BBC's standard package of rights under that contract. If repeated on the World Service, a sum of £1000 will be payable for the first repeat cycle and thereafter the BBC will have certain broadcasting and other rights all in accordance with the contract.

LINKS

Script format: How to set out your script in a good format for the actors

British Council: The UK's international cultural relations body

The competition application form will be available from 1 May 2012 here

CONTACT INFORMATION:

For inquiries/ submissions: radioplay@bbc.co.uk

Website: http://www.bbc.co.uk/

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PUB: Call for Submissions - Stanford's Mantis Journal Issue 11: Poetry in an Adopted Language (worldwide) > Writers Afrika

Call for Submissions - Stanford's

Mantis Journal Issue 11:

Poetry in an Adopted Language

(worldwide)


Poetry and poetics from around the globe is featured and translated in the multicultural, Stanford student-run poetry journal Mantis. Founded by graduate students with guidance from faculty mentors in 2000, the journal has consistently maintained an emphasis on new poets and an internationally diverse content. The journal emerged from a collective desire to facilitate conversation among the array of writers engaged in the practice of poetry and poetics, or literary criticism of poetry. Submissions of poetry, literature reviews and translations come from a variety of writers including Stanford students, practicing professors and professional poets from around the globe.

Submissions for Mantis's 11th edition are now open to anyone within or beyond the Stanford community. For further information contact the current editors: Virginia Ramos, editor in chief; Mark Bajus, translations editor; Derek Mong, poetry editor; and Chiyuma Elliott, reviews editor. The theme of Mantis 11 will be "Poetry in an Adopted Language" and it will feature a new section of criticism on poetry performance.

SUBMISSION INFORMATION

POETRY

We're interested in publishing sizeable sections by each poet, usually from a single project. This way our readers can get an idea of the project through a sustained reading experience. Long poems or sequences welcomed. (8-12 pages). Please send your work as a .doc with a brief note introducing yourself to mantispoetry AT gmail DOT com

TRANSLATIONS

We're most interested in publishing translations that will expose our readers to compelling and unfamiliar work. We tend to choose translations by contemporary poets. When we publish work by poets of the past, it's usually because we find it underappreciated or neglected in English. As with our poetry offerings, we're especially interested in series of poems from a single project or period. Please send your translations (with the original) and a brief note introducing yourself and the poet you're translating to mantistranslations AT gmail DOT com.

REVIEWS

We're looking for reviews of books of poetry or especially poetry in translation published in the last few years. We also welcome reviews of significant volumes of collected poems or interesting anthologies. You can contact us to propose a review you already have in mind or to request a list of available titles of which we've recieved review copies. If you'd like to propose a review or request a list of our available titles, please contact us at mantisreviews AT gmail DOT com.

FEATURES/ESSAYS/INTERVIEWS, ETC.

Each issue of Mantis also has one or more features on a particular poet, theme, or question of poetics. You can check out past issues to give you an idea of what we have in mind. We're always looking for guest editors who are interested in proposing and coordinating a feature. We also sometimes send out calls for work when a feature is underway. You can contact us using the contact form to propose a feature or check back here for calls for work.

If you're interested in proposing a new feature, please use our contact form. As features develop, we may solicit, send out calls for work, or post more specific instructions for submission here.

CONTACT INFORMATION:

For inquiries/ submissions: mantispoetry@gmail.com or mantistranslations@gmail.com

Website: https://www.stanford.edu/group/mantis

 

 

PUB: Call for Submissions by Women of Color: Kalyani Literary Magazine's First Issue "Victim" > Writers Afrika

Call for Submissions

by Women of Color:

Kalyani Literary Magazine's

First Issue "Victim"


Deadline: 31 July 2012

Kalyani Magazine is a biannual literary magazine encouraging women of colour to express their views, their experiences, their feelings. Each issue explores a theme that matters to women using diverse writing styles to evoke diverse ideas. We especially want to carve out a space for non-professional writers. We are currently accepting submissions for the first issue, “Victim”.

Who is eligible:

  • Women – anyone who self-identifies as a woman the majority of the time

  • Of Colour – anyone who self-identifies as a person of colour (e.g. Asian heritage, Hispanic, African)

Types of pieces:
  • A variety of literary styles that all speak to one theme in diverse ways (“Victim” is this issue’s)

  • Poetry, prose, lyrical prose, scripts, essays, experimental, flash fiction, investigative reporting, fiction, non-fiction, memoir, cross-genre

  • No photographs or pictures

Submission guidelines:
  • Up to 1500 words

  • You must have full publishing rights for your piece – you will continue to have full rights after it is published

  • Limit 1 submission per person or multiple poems to a maximum of 1500 words

How to submit:
  • E-mail your submission to info at kalyanimagazine dot com as a Word Document – double-spaced. Do not include your name anywhere in this document

  • In the e-mail please include: your full name, the name that you would like to be published under, the way in which you identify yourself as a “woman of colour”, and a short sentence describing how your submission relates to the theme

  • We will try our best to respond to all submissions but may not be able to depending on the volume of submission

Issue #1:

Submissions are accepted until July 31, 2012. They will be reviewed on a rolling basis.

CONTACT INFORMATION:

For inquiries/ submissions: info@kalyanimagazine.com

Website: http://kalyanimagazine.com

 

 

 

 

 

 

VIDEO: Scandal: Crash and Burn - Episode 5 > Hulu

SCANDAL:
Crash and Burn
Episode 5

__________________________

S&A "Scandal"

Talk-Back Session #2

(2 More Episodes

Until Season Ends

& Still Lots Of Questions)

BY TAMBAY
 | MAY 4, 2012

Alright, as promised, session 2 of the weekly S&A Scandal Talkback, now that episode 5 has aired (last night), and I'm sure most of you have seen it. I watched it this morning.

If you haven't seen that episode yet, then you may NOT want to any of this.

So... Amanda Tanner's dead. She was kidnapped in episode 4 as we all know, but I certainly didn't expect that she'd be killed; so that was a bit of a surprise to me. 

Oh, and by the way, she was also pregnant with what we thought was Prez Fitz's child, but it appears that it's actually NOT his child as is revealed in the end.

And he receives a blackmail letter (which Cyrus tells him about), but no one knows who the sender is.

So the question is: who's the third party in all this that we don't yet know about? Whose face have we yet to see? The mysterious caller at the other end of Amanda Tanner's phone line? The person responsible for her kidnapping and, now, death? Who's "Charlie" the dude Huck tortures for answers on Amanda Tanner's body's whereabouts?

Questions... questions... questions... who's got answers?

I think Prez Fitz's wife has dropped the occasional hint that leads me to believe she's not as innocent as she might seem; and she continues to do just that in episode 5; recall the scene in which she tells Fitz something like "there's no one in this building [the White House] who won't go to extremes for you." And then the camera lingers on her face a few extra seconds, as she cracks a smile that looks like it's hiding all kinds of pain. I think she knows about Fitz's affairs (including his relationship with Olivia Pope, and probably Amanda Tanner). Is she in anyway the mastermind behind some of these occurences?

This episode also introduced us to Vice President Sally Langston. Why now, with 2 episodes left? Fitz needs her support on the passage of the Dream Act (she holds the deciding vote) as we learned in episode 5 last night. What other role might she play in any of the show's developments? 

And how about the ending, with Fitz showing up at Olivia's apartment. What could possibly happen next? I hope she doesn't go you know where, and preferably makes sure he does not get into that apartment. 

As noted in a post yesterday... in next week's episode, we'll learn about how Olivia's relationship with the Prez was started, how her team was assembled, and the contentious primary race between Fitz and Sally Langston, who's now vice president, in an episode that will contain mostly flashbacks. 

So I expect that next episode, next week, will likely fill in some holes for us before the season finale the following week, which I'm sure will be explosive, ending with a shocker of some kind. What that shocker will be, I don't know. But I'm sure it'll leave us anxious for the next season.

That season finale episode's synopsis reads: 

When Quinn finds herself in a fix that's both tragic and compromising, Olivia and the team rush to help. Meanwhile, Cyrus turns reluctantly to Olivia when Billy Chambers makes an announcement that shakes Fitz's presidency to its core.

What could this tragic and compromising fix be that Quinn finds herself in? In her last scene in episode 5, she's at Gideon's doorstep, weeping, and he embraces her. I'm guessing the predicament she finds herself in will be a continuation of that night, and may involve Gideon. 

And what could this core-shattering announcement from Billy Chambers be? Maybe he breaks his silence and reveals all he suspects of the Prez's affair with Olivia? Or could it be something else that's connected to the aforementioned mysterious hand?

Finally, let's hope that some time between now and the end of the season, ABC will renew the series for a second season.

I should note that The Hollywood Reporter says last night's episode saw a "small bump" in ratings, calling it "the most consistent midseason drama for ABC," averaging 2.1 rating with adults 18-49, and 7.4 million viewers.

>via: http://blogs.indiewire.com/shadowandact/never-let-a-crisis-go-to-waste

LITERATURE + VIDEO: Black Czech writer Zmeškal won EU Prize for Literature in 2011 > AFRO-EUROPE

Black Czech writer

Zmeškal won EU Prize

for Literature in 2011

Czech writer Tomáš Zmeškal, who was born as the son of a Congolese father and a Czech mother in Prague, won the European Union Prize for Literature in 2011 for his debut novel “Love Letter in Cuneiform Script” (Milostný Dopis Klínovým Písmem) set in post-war Czechoslovakia through the collapse of communism.
He was one of 12 winners of the prize, which recognizes the best new or emerging authors in the European Union.

Zmeškal’s novel "Životopis černobílého jehněte"  ("The Biography of the Black and White Lamb") of 2009, written long before his debut was published, is the first novel in Czech language dealing with the experience of Africans in the communist countries in Eastern Europe. It is the childhood and youth story of twins, who do not know their ethnically mixed parents and grow in their grandmother’s house. In spite of her attempts to protect them, they suffer from the racism and hostility that surrounds them. Which is all the more absurd since the society, in which they live, officially encourages internationalist attitudes and an understanding among nations.

Tomáš Zmeškal’s novel "Milostný dopis klínovým písmem" was on the shortlist for the Magnesia Litera Award 2009, and received the distinguished Josef Škvorecký Prize. The writer, translator and English teacher lives in Prague.

 

 

 

 

POLICE BRUTALITY: UNDER SIEGE: The Policing of Women and Girls > Vimeo

UNDER SIEGE:

The Policing of

Women and Girls

This is the promo for the film UNDER SIEGE: The Policing of Women and Girls. The film is a collaboration between the non profit organization BlackWomen's Blueprint and AjayiFILMS. The project is in the pre-production stages and we are seeking funding to complete the film.

For information about BlackWomen's Blueprint go to blackwomensblueprint.com/

For information about AjayiFILMS and AGiveMeThatProduction go to agivemethatproduction.blogspot.com