An in-depth, illustrated history of South Carolina's Lowcountry baskets Coiled grass baskets are icons of Gullah culture. From their roots in Africa, through their evolution on Lowcountry rice plantations, to their modern appreciation as art objects sought by collectors and tourists, these vessels are carriers of African American history and the African-inspired culture that took hold along the coast of South Carolina and neighboring states. Row Upon Row, the first comprehensive history of this folk art, remains a classic in the field. The fourth edition brings the narrative into the twenty-first century, with a chapter describing current challenges to the survival of the time-honored tradition. The artform continues to adapt to the changing consumer market, the availability of materials, economic opportunities, and most recently, the widening of the highway near the majority of basket stands. As globalization transforms the world, the coiled basket in all its iterations retains its power as a local symbol of individual identity and cultural distinction. A preface is provided by Jane Przybysz, executive director of the McKissick Museum at the University of South Carolina.
In a powerful and rhythmic picture book, a grandmother tells the tale of Gullahs and their beautiful sweetgrass baskets that keep their African heritage alive. Reprint.
Through the prism of America's most enduring African-inspired art form, the Lowcountry basket, Grass Roots guides readers across 300 years of American and African history. In scholarly essays and beautiful photographs, Grass Roots follows the coiled basket along its transformation on two continents from a simple farm tool once used for processing grain to a work of art and a central symbol of African and African American identity. Featuring images of the stunning work of contemporary basket makers from South Carolina to South Africa, as well as historic photographs that document the artistic heritage of the southern United States, Grass Roots appears at a moment when public recognition of the Gullah/Geechee heritage is encouraging a reexamination of Africa's contribution to American civilization. Working with basket makers from Charleston and Mt. Pleasant, South Carolina, historian Dale Rosengarten has been studying African-American baskets for over 20 years and brings her research up-to-date with interviews of artists and the results of recent historical inquiry. Anthropologist Enid Schildkrout draws on her research in West Africa and museum collections around the world to explore the African antecedents of Lowcountry basketry. Geographer Judith A. Carney discusses the origins of rice in Africa and reveals how enslaved Africans brought to America not only rice seeds but, just as important, the technical know-how that turned southern coastal forests and swamps into incredibly profitable rice plantations. Historian Peter H. Wood discusses the many skills that enslaved Africans contributed to the settlement of the Old South and at the same time used to resist the conditions of their servitude. John Michael Vlach, a leading authority on African American folk art, discusses the history of visual depictions of plantation life. Fath Davis Ruffins, a specialist on the imagery of popular culture, sheds light on the history embedded in old photographs of African Americans in the Charleston area. Cultural historian Jessica B. Harris explores the tradition of rice in American cooking and the enduring African influences in the southern kitchen. Anthropologist and art historian Sandra Klopper sketches the history of coiled basketry in South Africa, illuminating its evolution from utilitarian craft to fine art, parallel to developments in America. Anthropologist J. Lorand Matory traces the changing meanings of Gullah/Geechee identity and discusses its appearance as a significant force on the American cultural scene today. Dale Rosengarten is curator of special collections at the College of Charleston library. Theodore Rosengarten teaches history at the College of Charlestona and University of South Carolina. Enid Schildkrout is chief curator and director of exhibitions and publications at the Museum for African Art, New York.
When African slaves were brought to the American South to work the plantations, they brought with them their culture, traditions, and religion—including what came to be called voodoo. This unique blend of Christianity, herbalism, and folk magic is still practiced in South Carolina's Lowcountry. Though a beginners guide, Lowcountry Voodoo offers a surprising wealth of information about this fascinating part of Lowcountry life. Learn about: the Gullah and their ways how to bring good luck and avoid bad luck spells and curses and how to avoid them how to cook up traditional good-luck meals for New Years Day a real voodoo village you can visit sweetgrass baskets events and tours to acquaint you with Lowcountry culture. In a selection of Lowcountry tales that feature voodoo, meet: a boo hag bride who sheds her skin at night Dr. Buzzard, the most famous root doctor a giant ghost dog a young man whose love potion worked too well George Powell, who outwitted a haint Crook-Neck Dick, who (mostly) outwitted a hangman Doctor Trott, who captured a mermaid.
The first major Gullah Geechee cookbook from “the matriarch of Edisto Island,” who provides delicious recipes and the history of an overlooked American community The history of the Gullah and Geechee people stretches back centuries, when enslaved members of this community were historically isolated from the rest of the South because of their location on the Sea Islands of coastal South Carolina and Georgia. Today, this Lowcountry community represents the most direct living link to the traditional culture, language, and foodways of their West African ancestors. Gullah Geechee Home Cooking, written by Emily Meggett, the matriarch of Edisto Island, is the preeminent Gullah cookbook. At 89 years old, and with more than 50 grandchildren and great-grandchildren, Meggett is a respected elder in the Gullah community of South Carolina. She has lived on the island all her life, and even at her age, still cooks for hundreds of people out of her hallowed home kitchen. Her house is a place of pilgrimage for anyone with an interest in Gullah Geechee food. Meggett’s Gullah food is rich and flavorful, though it is also often lighter and more seasonal than other types of Southern cooking. Heirloom rice, fresh-caught seafood, local game, and vegetables are key to her recipes for regional delicacies like fried oysters, collard greens, and stone-ground grits. This cookbook includes not only delicious and accessible recipes, but also snippets of the Meggett family history on Edisto Island, which stretches back into the 19th century. Rich in both flavor and history, Meggett’s Gullah Geechee Home Cooking is a testament to the syncretism of West African and American cultures that makes her home of Edisto Island so unique.
In prose poetry and alternating voices, Marlene Carvell weaves a heartbreakingly beautiful story based on the real-life experiences of Native American children. Mattie and Sarah are two Mohawk sisters who are sent to an off-reservation school after the death of their mother. Subject to intimidation and corporal punishment, with little hope of contact with their father, the girls are taught menial tasks to prepare them for life as domestics. How Mattie and Sarah protect their culture, memories of their family life, and their love for each other makes for a powerful, unforgettable historical novel.
"An excellent case study of a little-studied and poorly known community experiencing the processes of identity formation and culture change."--Brent R. Weisman, University of South Florida This is the first full-length ethnography of a unique community within the African diaspora. Rosalyn Howard traces the history of the isolated "Red Bays" community of the Bahamas, from their escape from the plantations of the American South through their utilization of social memory in the construction of new identity and community. Some of the many African slaves escaping from southern plantations traveled to Florida and joined the Seminole Indians, intermarried, and came to call themselves Black Seminoles. In 1821, pursued and harassed by European Americans through the First Seminole War, approximately 200 members of this group fled to Andros Island, where they remained essentially isolated for nearly 150 years. Drawing on archival and secondary sources in the United States and the Bahamas as well as interviews with members of the present-day Black Seminole community on Andros Island, Howard reconstructs the story of the Red Bays people. She chronicles their struggles as they adapt to a new environment and forge a new identity in this insular community and analyzes the former slaves' relationship with their Native American companions. Black Seminoles in contemporary Red Bays number approximately 290, the majority of whom are descended directly from the original settlers. As part of her research, Howard lived for a year in this small community, recording its oral history and analyzing the ways in which that history informed the evolving identity of the people. Her treatment dispels the air of mystery surrounding the Black Seminoles of Andros and provides a foundation for further anthropological and historical investigations.
From the colonial period onward, black artisans in southern cities--thousands of free and enslaved carpenters, coopers, dressmakers, blacksmiths, saddlers, shoemakers, bricklayers, shipwrights, cabinetmakers, tailors, and others--played vital roles in their communities. Yet only a very few black craftspeople have gained popular and scholarly attention. Catherine W. Bishir remedies this oversight by offering an in-depth portrayal of urban African American artisans in the small but important port city of New Bern. In so doing, she highlights the community's often unrecognized importance in the history of nineteenth-century black life. Drawing upon myriad sources, Bishir brings to life men and women who employed their trade skills, sense of purpose, and community relationships to work for liberty and self-sufficiency, to establish and protect their families, and to assume leadership in churches and associations and in New Bern's dynamic political life during and after the Civil War. Focusing on their words and actions, Crafting Lives provides a new understanding of urban southern black artisans' unique place in the larger picture of American artisan identity.