At Senegal’s House of Slaves, Barack Obama’s presidential visit renewed debate about authenticity, belonging, and the myth of return—not only for the president, but also for the slave fort itself. At the African Burial Ground National Monument in New York, up to ten thousand slave decedents lie buried beneath the area around Wall Street, which some of them helped to build and maintain. Their likely descendants, whose activism produced the monument located at that burial site, now occupy its margins. The Bench by the Road slave memorial at Sullivan’s Isle near Charleston reflects the region’s centrality in slavery’s legacy, a legacy made explicit when the murder of nine black parishioners by a white supremacist led to the removal of the Confederate flag from the state’s capitol grounds. Helena Woodard considers whether the historical slave sites that have been commemorated in the global community represent significant progress for the black community or are simply an unforgiving mirror of the present. In Slave Sites on Display: Reflecting Slavery’s Legacy through Contemporary “Flash” Moments, Woodard examines how select modern-day slave sites can be understood as contemporary “flash” moments: specific circumstances and/or seminal events that bind the past to the present. Woodard exposes the complex connections between these slave sites and the impact of race and slavery today. Though they differ from one another, all of these sites are displayed as slave memorials or monuments and function as high-profile tourist attractions. They interpret a story about the history of Atlantic slavery relative to the lived experiences of the diaspora slave descendants that organize and visit the sites.

Interpreting Slavery at Museums and Historic Sites aims to move the field forward in its collective conversation about the interpretation of slavery—acknowledging the criticism of the past and acting in the present to develop an inclusive interpretation of slavery. Presenting the history of slavery in a comprehensive and conscientious manner is difficult and requires diligence and compassion—for the history itself, for those telling the story, and for those hearing the stories—but it’s a necessary part of our collective narrative about our past, present, and future. This book features best practices for: Interpreting slavery across the country and for many people. The history of slavery, while traditionally interpreted primarily on southern plantations, is increasingly recognized as relevant at historic sites across the nation. It is also more than just an African-American/European-American story—it is relevant to the history of citizens of Latino, Caribbean, African and indigenous descent, as well. It is also pertinent to those descended from immigrants who arrived after slavery, whose stories are deeply intertwined with the legacy of slavery and its aftermath. Developing support within an institution for the interpretation of slavery. Many institutions are reticent to approach such a potentially volatile subject, so this book examines how proponents at several sites, including Monticello and Mount Vernon, were able to make a strong case to their constituents. Training interpreters in not only a depth of knowledge of the subject but also the confidence to speak on this controversial issue in public and the compassion to handle such a sensitive historical issue. The book will be accessible and of interest for professionals at all levels in the public history field, as well as students at the undergraduate and graduate levels in museum studies and public history programs.

In Sites of Slavery Salamishah Tillet examines how contemporary African American artists and intellectuals—including Annette Gordon-Reed, Barbara Chase-Riboud, Bill T. Jones, Carrie Mae Weems, and Kara Walker—turn to the subject of slavery in order to understand and challenge the ongoing exclusion of African Americans from the founding narratives of the United States.

The “enlightening” (The Guardian) true story of the last ship to carry enslaved people to America, the remarkable town its survivors’ founded after emancipation, and the complicated legacy their descendants carry with them to this day—by the journalist who discovered the ship’s remains. Fifty years after the Atlantic slave trade was outlawed, the Clotilda became the last ship in history to bring enslaved Africans to the United States. The ship was scuttled and burned on arrival to hide the wealthy perpetrators to escape prosecution. Despite numerous efforts to find the sunken wreck, Clotilda remained hidden for the next 160 years. But in 2019, journalist Ben Raines made international news when he successfully concluded his obsessive quest through the swamps of Alabama to uncover one of our nation’s most important historical artifacts. Traveling from Alabama to the ancient African kingdom of Dahomey in modern-day Benin, Raines recounts the ship’s perilous journey, the story of its rediscovery, and its complex legacy. Against all odds, Africatown, the Alabama community founded by the captives of the Clotilda, prospered in the Jim Crow South. Zora Neale Hurston visited in 1927 to interview Cudjo Lewis, telling the story of his enslavement in the New York Times bestseller Barracoon. And yet the haunting memory of bondage has been passed on through generations. Clotilda is a ghost haunting three communities—the descendants of those transported into slavery, the descendants of their fellow Africans who sold them, and the descendants of their fellow American enslavers. This connection binds these groups together to this day. At the turn of the century, descendants of the captain who financed the Clotilda’s journey lived nearby—where, as significant players in the local real estate market, they disenfranchised and impoverished residents of Africatown. From these parallel stories emerges a profound depiction of America as it struggles to grapple with the traumatic past of slavery and the ways in which racial oppression continues to this day. And yet, at its heart, The Last Slave Ship remains optimistic—an epic tale of one community’s triumphs over great adversity and a celebration of the power of human curiosity to uncover the truth about our past and heal its wounds.

A fully updated and revised edition of the book USA Today called "jim-dandy pop history," by the bestselling, American Book Award–winning author "The most definitive and expansive work on the Lost Cause and the movement to whitewash history." —Mitch Landrieu, former mayor of New Orleans From the author of the national bestseller Lies My Teacher Told Me, a completely updated—and more timely than ever—version of the myth-busting history book that focuses on the inaccuracies, myths, and lies on monuments, statues, national landmarks, and historical sites all across America. In Lies Across America, James W. Loewen continues his mission, begun in the award-winning Lies My Teacher Told Me, of overturning the myths and misinformation that too often pass for American history. This is a one-of-a-kind examination of historic sites all over the country where history is literally written on the landscape, including historical markers, monuments, historic houses, forts, and ships. New changes and updates include: • a town in Louisiana that was the site of a major but now-forgotten enslaved persons' uprising • a totally revised tour of the memory and intentional forgetting of slavery and the Civil War in Richmond, Virginia • the hideout of a gang in Delaware that made money by kidnapping free blacks and selling them into slavery Entertaining and enlightening, Lies Across America also has a serious role to play in contemporary debates about white supremacy and Confederate memorials.

The Slave Bible was published in 1807. It was commissioned on behalf of the Society for the Conversion of Negro Slaves in England. The Bible was to be used by missionaries and slave owners to teach slaves about the Christian faith and to evangelize slaves. The Bible was used to teach some slaves to read, but the goal first and foremost was to tend to the spiritual needs of the slaves in the way the missionaries and slave owners saw fit.

A richly illustrated, accessibly written book with a variety of perspectives on slavery, emancipation, and black life in Savannah from the city's founding to the early twentieth century. Written by leading historians of Savannah, Georgia, and the South, it includes a mix of thematic essays focusing on individual people, events, and places.

Senegal's cultural heritage sites are in many cases remnants of the French empire. This book examines how an independent nation decolonises its colonial heritage, and how slave barracks, colonial museums, and monuments to empire are re-interpreted to imagine a postcolonial future.

At the close of the twentieth century, black artists began to figure prominently in the mainstream American art world for the first time. Thanks to the social advances of the civil rights movement and the rise of multiculturalism, African American artists in the late 1980s and early ’90s enjoyed unprecedented access to established institutions of publicity and display. Yet in this moment of ostensible freedom, black cultural practitioners found themselves turning to the history of slavery. Bound to Appear focuses on four of these artists—Renée Green, Glenn Ligon, Lorna Simpson, and Fred Wilson—who have dominated and shaped the field of American art over the past two decades through large-scale installations that radically departed from prior conventions for representing the enslaved. Huey Copeland shows that their projects draw on strategies associated with minimalism, conceptualism, and institutional critique to position the slave as a vexed figure—both subject and object, property and person. They also engage the visual logic of race in modernity and the challenges negotiated by black subjects in the present. As such, Copeland argues, their work reframes strategies of representation and rethinks how blackness might be imagined and felt long after the end of the “peculiar institution.” The first book to examine in depth these artists’ engagements with slavery, Bound to Appear will leave an indelible mark on modern and contemporary art.

A Pulitzer Prize-winning history of the mistreatment of black Americans. In this 'precise and eloquent work' - as described in its Pulitzer Prize citation - Douglas A. Blackmon brings to light one of the most shameful chapters in American history - an 'Age of Neoslavery' that thrived in the aftermath of the Civil War through the dawn of World War II. Using a vast record of original documents and personal narratives, Blackmon unearths the lost stories of slaves and their descendants who journeyed into freedom after the Emancipation Proclamation and then back into the shadow of involuntary servitude thereafter. By turns moving, sobering and shocking, this unprecedented account reveals these stories, the companies that profited the most from neoslavery, and the insidious legacy of racism that reverberates today.