Underground Railroad Research Paper
Were quilts, with special patterns, used to assist slaves attempting to escape to freedom by way of the Underground Railroad? Stories tell of quilts, made by slaves using sacks or scrapes of fabric stitched with various geometric patterns, containing codes that assisted slaves using the “Underground Railroad” to escape to freedom. Some historians believe there is no truth to the slave-quilt-code theory, while others provide compelling arguments in support of the use of quilts in the Underground Railroad. The debate is even more interesting when the African heritage of the slaves is included in the debate. Furthermore, Blacks made use of quilts to tell their stories by utilizing codes within the figures of mixed quilt chunks. There existed
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numerous children 's books, which show this type of storytelling (Johnston, 1995). Quilts or else "Show Ways" have also informed of the pathway towards freedom inside its story (Johnston, 1995). According to Tobin and Dobard (1999), quilts were being hung out a window, which grants directions towards fleeing slaves.
According to Darish (1990), the foundation for the use of slave quilt codes has roots in African culture and relates to the many methods of communicating information used by Africans. This is significant when related to the use of designs sewn onto fabric to convey messages and/or information (Darish, 1990). The research supports the fact that slaves maintained much of their cultural traits and often infused their culture with the culture of their slave masters and textiles were an important component of the African culture particularly on the west coast.
The correlation between African textiles and the quilts used to guide slaves during the Underground Railroad is detailed in the literature. The geometric patterns, stitching, dyes, and meaning on both the quilts and textiles have some resemblance to the patterns used in Kuba cloth of the Kuba people in the Congo and the cloths of other groups in Africa however, there is a difference in the meaning (Darish, 1990). The area known to be part of the slave trade was coastal West Africa and some select parts of the sub-Sahara. An examination of the cloths used in Africa and the slave quilt patterns show that there is a commonality. Africans communicated information about significant aspects of their lives and their history through textiles. African traditions were passed from generation to generation by Africans in their homeland and the traditions were continued in this country as slaves tried to maintain their culture for future generations (Svenson, 1986).
The types of cloths believed to be comparable to the slave quilt patterns include: the Adire cloth of the Yoruba people; the Ukara cloth of the Ibo and Fon people of Nigeria; the Adinkra cloth of the Asante people of Ghana; the Bogolanfini cloth of the Bamana people of Mali; and the Kuba cloth of the Kuba people of the Democratic Republic of Congo (Darish, 1990). A study of the different shapes used in the slave quilts such as the North Star or five pointed star, the hourglass and bowtie show how the different shapes tell a story and hold a certain meaning during that period of history (Svenson, 1986). The slave quilts, used to assist runaway slaves trying to reach freedom while the African textiles were symbols used for ceremonies and social status. The history and the traditions that have been passed down from generation to generation over the centuries have evolved and are still significant in the today’s quilting and textiles. Depending on your status in Africa or your heritage in the United States the expressive cultural practices are still alive and vibrant today (Darish, 1990).
To a lot of us, the application of quilts as couriers on the Underground Railroad (UGRR) has known to be a fairy tale. It cannot be confirmed through documented historical details or defensible oral narration. It has been a perception, which seemed to impact the world of the quilting. During the late 1990s, next to the revelation of, Hidden in Plain View, being written by by professors J. Tobin together and R. Dobard, PhD speak about a story concerning this subject matter, derived from the statements from Ozella McDaniel Williams. Williams stated in an interview with Tobin and Dobard (1999) it was undisclosed also it was verbally passed-down speck of black narration, although an accurate fact, wherein quilts were created in specific colors and designs so as to present routes, in a wide-ranging sense, towards the slaves taking off on the Underground Railroad (Tobin, Dobard, 1999). According to Williams the quilts were being hung on the balcony and drying strings of compassionate residences along the symbolic Underground Railroad (Tobin, Dobard, 1999).
Tobin and Dobard (1999) conveyed this tale inside their 1998 volume, which was not able to appear until a short period of time after the Williams bereavement. Thus far, the 1998 publication has been about four years behind Tobin was divulged the story personally by Williams, in which, Williams is the sole contributor of information at which Hidden in Plain View account is sourced. Consequently, ever since drawing finale of the past, whether solid or supple, requires assistance from the literature however, there is nothing initiated up till now. There has been a continuing dialogue of this application of quilts, from the time when Tobin and Dobard 's book emerged.
Giles R. Wright critiqued on Hidden in Plain View: The Secret Code Story of Quilts and the Underground Railroad in 2000. Wright felt he was obligated to critique and put it in writing the reason why the book does not offer to those who distinguish very little regarding the Black America’s overall past, plus the UGRR specifically, has an imprecise outlook of this shape of slave objection (Wright, 1992). According Wright (2000) there were numerous factual mistakes, which would not at all be made by similar to a neophyte inside the turf of African-American narration. Wright (2000) declared about three mistakes inside this critique, not quilt connected, however regarding historical facts identified in relation to the UGRR. These are offered to assist his refusal of the authors ' proficiency to write a document on this matter (Wright, 2000).
Wright (2000) comments on the deficiencies of supporting historical indication, where he declares that the manuscript did not present, stating, "The book offers no records for its view, which instead depends on absolute supposition and hearsay in its short of conformity towards historical exactness.” (Wright, 2000)
Although Wright (2000) does not disregard the worth oral histories may present, my perceptive of his controversy is that acknowledged research ought to be granted before affirming what someone assumed privately is enough confirmation to stress on altering our perceptive of the dynamics of message being applied by the UGRR (Wright, 2000). Towards considering decisively in appraising research results, also to give concentration towards claims make known without the encouragements of rigid facts or time-hardened material results being currently recognized as facts (Wright, 2000). If the details are lacking, the examination product are sorted out as erratic, defective, or tentative.
Wright (1992) informed us that the Black narration study discovered most slaves’ moves in a northeasterly course. That denotes roughly 1percent of every one of the slaves escaped towards the North, thus far the argument of the book declares this detailed coding scheme was intended and set into a quilt (Wright, 1992).
The skeptics whom dispute the slave quilt code often appear to have difficulty accepting the fact that slaves had the intellect and ability to devise a plan that was successful and more importantly, that was kept secret. It is interesting that most scholars believe slavery existed but do not believe the level of brutality and torture endured by the slaves. Therefore, one should not be surprised that there are those who do not want to accept the existence of the Slave Quilt Codes. As a final point, nobody has the capability to say who produced the encoded quilt scheme. Who prepared the quilts and then hung them? Was it slaves? The manuscript does not state on the enormous threats for either assembly, which has become a different critical exclusion. References
Tobin, J., Dobard, R., et al. (1999). Hidden in Plain View:A Secret Story of Quilts and the
Underground Railroad. New York, NY: Bantam Doubleday Dell.
Siebert, W. (1967). The Underground Railroad: From Slavery to Freedom. New York, NY:
Arno Press & the NY Times.
Johnston, T., De Paola, T. (1995). The Quilt Story. New York: G.P. Putnam’s Sons, Inc.
Fry, G.M, (2002) Stitching from the Soul: Slave Quilts From the Antebellum South. North
Carolina: Chapel Hill and London.
McDermott, G. (1992) Anansi the Spider. New York: Henry Holt & Company, Inc.
Ringgold, F. (1992) Aunt Harrier’s Underground Railroad in the Sky. New York: Crown
Publisher Inc.
Wright, G. (1988). Afro-Americans in New Jersey: A short history. Trenton,
New Jersey: Historical Commission. Wright, G., Wonkeryor, E. (1992). Steal Away, Steal Away… A guide to the
Underground Railroad in New Jersey. Trenton, New Jersey: Historical Commission.
Wright, G. (2000). Critique of Hidden in Plain View: A Secret Story of Quilts and the
Underground Railroad. Retrieved from http://www.antiquequiltdating.com/Hidden_in_Plain_View_-_The_Secret_Story_of_Quilts_and_the_Underground_Railroad.html
Levin, H. (2001). New Jersey’s underground Railroad myth buster: Giles Wright is on a mission to fine tune Black history. Retrieved from http://historiccamdencounty.com/ccnews11.shtml Siebert, W. (1967) The Underground Railroad: From Slavery to Freedom. New York, NY
NY: Arno Press & the NY
Times.
numerous children 's books, which show this type of storytelling (Johnston, 1995). Quilts or else "Show Ways" have also informed of the pathway towards freedom inside its story (Johnston, 1995). According to Tobin and Dobard (1999), quilts were being hung out a window, which grants directions towards fleeing slaves.
According to Darish (1990), the foundation for the use of slave quilt codes has roots in African culture and relates to the many methods of communicating information used by Africans. This is significant when related to the use of designs sewn onto fabric to convey messages and/or information (Darish, 1990). The research supports the fact that slaves maintained much of their cultural traits and often infused their culture with the culture of their slave masters and textiles were an important component of the African culture particularly on the west coast.
The correlation between African textiles and the quilts used to guide slaves during the Underground Railroad is detailed in the literature. The geometric patterns, stitching, dyes, and meaning on both the quilts and textiles have some resemblance to the patterns used in Kuba cloth of the Kuba people in the Congo and the cloths of other groups in Africa however, there is a difference in the meaning (Darish, 1990). The area known to be part of the slave trade was coastal West Africa and some select parts of the sub-Sahara. An examination of the cloths used in Africa and the slave quilt patterns show that there is a commonality. Africans communicated information about significant aspects of their lives and their history through textiles. African traditions were passed from generation to generation by Africans in their homeland and the traditions were continued in this country as slaves tried to maintain their culture for future generations (Svenson, 1986).
The types of cloths believed to be comparable to the slave quilt patterns include: the Adire cloth of the Yoruba people; the Ukara cloth of the Ibo and Fon people of Nigeria; the Adinkra cloth of the Asante people of Ghana; the Bogolanfini cloth of the Bamana people of Mali; and the Kuba cloth of the Kuba people of the Democratic Republic of Congo (Darish, 1990). A study of the different shapes used in the slave quilts such as the North Star or five pointed star, the hourglass and bowtie show how the different shapes tell a story and hold a certain meaning during that period of history (Svenson, 1986). The slave quilts, used to assist runaway slaves trying to reach freedom while the African textiles were symbols used for ceremonies and social status. The history and the traditions that have been passed down from generation to generation over the centuries have evolved and are still significant in the today’s quilting and textiles. Depending on your status in Africa or your heritage in the United States the expressive cultural practices are still alive and vibrant today (Darish, 1990).
To a lot of us, the application of quilts as couriers on the Underground Railroad (UGRR) has known to be a fairy tale. It cannot be confirmed through documented historical details or defensible oral narration. It has been a perception, which seemed to impact the world of the quilting. During the late 1990s, next to the revelation of, Hidden in Plain View, being written by by professors J. Tobin together and R. Dobard, PhD speak about a story concerning this subject matter, derived from the statements from Ozella McDaniel Williams. Williams stated in an interview with Tobin and Dobard (1999) it was undisclosed also it was verbally passed-down speck of black narration, although an accurate fact, wherein quilts were created in specific colors and designs so as to present routes, in a wide-ranging sense, towards the slaves taking off on the Underground Railroad (Tobin, Dobard, 1999). According to Williams the quilts were being hung on the balcony and drying strings of compassionate residences along the symbolic Underground Railroad (Tobin, Dobard, 1999).
Tobin and Dobard (1999) conveyed this tale inside their 1998 volume, which was not able to appear until a short period of time after the Williams bereavement. Thus far, the 1998 publication has been about four years behind Tobin was divulged the story personally by Williams, in which, Williams is the sole contributor of information at which Hidden in Plain View account is sourced. Consequently, ever since drawing finale of the past, whether solid or supple, requires assistance from the literature however, there is nothing initiated up till now. There has been a continuing dialogue of this application of quilts, from the time when Tobin and Dobard 's book emerged.
Giles R. Wright critiqued on Hidden in Plain View: The Secret Code Story of Quilts and the Underground Railroad in 2000. Wright felt he was obligated to critique and put it in writing the reason why the book does not offer to those who distinguish very little regarding the Black America’s overall past, plus the UGRR specifically, has an imprecise outlook of this shape of slave objection (Wright, 1992). According Wright (2000) there were numerous factual mistakes, which would not at all be made by similar to a neophyte inside the turf of African-American narration. Wright (2000) declared about three mistakes inside this critique, not quilt connected, however regarding historical facts identified in relation to the UGRR. These are offered to assist his refusal of the authors ' proficiency to write a document on this matter (Wright, 2000).
Wright (2000) comments on the deficiencies of supporting historical indication, where he declares that the manuscript did not present, stating, "The book offers no records for its view, which instead depends on absolute supposition and hearsay in its short of conformity towards historical exactness.” (Wright, 2000)
Although Wright (2000) does not disregard the worth oral histories may present, my perceptive of his controversy is that acknowledged research ought to be granted before affirming what someone assumed privately is enough confirmation to stress on altering our perceptive of the dynamics of message being applied by the UGRR (Wright, 2000). Towards considering decisively in appraising research results, also to give concentration towards claims make known without the encouragements of rigid facts or time-hardened material results being currently recognized as facts (Wright, 2000). If the details are lacking, the examination product are sorted out as erratic, defective, or tentative.
Wright (1992) informed us that the Black narration study discovered most slaves’ moves in a northeasterly course. That denotes roughly 1percent of every one of the slaves escaped towards the North, thus far the argument of the book declares this detailed coding scheme was intended and set into a quilt (Wright, 1992).
The skeptics whom dispute the slave quilt code often appear to have difficulty accepting the fact that slaves had the intellect and ability to devise a plan that was successful and more importantly, that was kept secret. It is interesting that most scholars believe slavery existed but do not believe the level of brutality and torture endured by the slaves. Therefore, one should not be surprised that there are those who do not want to accept the existence of the Slave Quilt Codes. As a final point, nobody has the capability to say who produced the encoded quilt scheme. Who prepared the quilts and then hung them? Was it slaves? The manuscript does not state on the enormous threats for either assembly, which has become a different critical exclusion. References
Tobin, J., Dobard, R., et al. (1999). Hidden in Plain View:A Secret Story of Quilts and the
Underground Railroad. New York, NY: Bantam Doubleday Dell.
Siebert, W. (1967). The Underground Railroad: From Slavery to Freedom. New York, NY:
Arno Press & the NY Times.
Johnston, T., De Paola, T. (1995). The Quilt Story. New York: G.P. Putnam’s Sons, Inc.
Fry, G.M, (2002) Stitching from the Soul: Slave Quilts From the Antebellum South. North
Carolina: Chapel Hill and London.
McDermott, G. (1992) Anansi the Spider. New York: Henry Holt & Company, Inc.
Ringgold, F. (1992) Aunt Harrier’s Underground Railroad in the Sky. New York: Crown
Publisher Inc.
Wright, G. (1988). Afro-Americans in New Jersey: A short history. Trenton,
New Jersey: Historical Commission. Wright, G., Wonkeryor, E. (1992). Steal Away, Steal Away… A guide to the
Underground Railroad in New Jersey. Trenton, New Jersey: Historical Commission.
Wright, G. (2000). Critique of Hidden in Plain View: A Secret Story of Quilts and the
Underground Railroad. Retrieved from http://www.antiquequiltdating.com/Hidden_in_Plain_View_-_The_Secret_Story_of_Quilts_and_the_Underground_Railroad.html
Levin, H. (2001). New Jersey’s underground Railroad myth buster: Giles Wright is on a mission to fine tune Black history. Retrieved from http://historiccamdencounty.com/ccnews11.shtml Siebert, W. (1967) The Underground Railroad: From Slavery to Freedom. New York, NY
NY: Arno Press & the NY
Times.