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CC0
Bass guitar used by Norwood Fisher in the band Fishbone
- Created by
- Peavey Electronics, American, founded 1965
- Used by
- Fisher, John Norwood, American, born 1965
- Subject of
- Fishbone, American, founded 1979
- Date
- 1980s
- On ViewCulture/Fourth Floor, 4 053
- Exhibition
- Musical Crossroads
- Medium
- hardwood with polyurethane , maple, rock , steel , nickel silver , chrome , polycarbonate and nylon
- Dimensions
- H x W x D (2012.53.1a): 47 3/4 x 14 1/4 x 2 1/4 in. (121.3 x 36.2 x 5.7 cm)
- H x W x D (2012.53.1b): 16 3/4 x 50 1/4 x 4 5/8 in. (42.5 x 127.6 x 11.7 cm)
- Description
- A Peavey T-40 bass guitar (2012.53.1a) and case (2012.53.1b) used by Norwood Fisher, the vocalist and bass guitarist of the American alternative rock band, Fishbone. The guitar has a serial number: [00377681].
- Classification
- Musical Instruments
- Type
- double basses
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, From the Heart of the Family Hood, a Gift to the Ever Expanding Present
- Object number
- 2012.53.1ab
- Restrictions & Rights
- No Known Copyright Restrictions
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CC0
Violin owned by Ginger Smock
- Created by
- Homolka, Ferdinand August, Czech, 1828 - 1890
- Owned by
- Smock, Ginger, American, 1920 - 1995
- Date
- 1849
- On ViewCulture/Fourth Floor, 4 053
- Exhibition
- Musical Crossroads
- Medium
- 2016.161.1.1 (violin): wood, metal, plastic;
- 2016.161.1.2 (bow): wood, horsehair, metal, leather, and mother of pearl;
- 2016.161.1.3 (bow): wood, horsehair, metal, and mother of pearl;
- 2016.161.1.4a-o (case and accesories): plastic, metal canvas, felt, rubber, wax
- Dimensions
- H x W x D (violin): 24 7/16 × 7 15/16 × 3 9/16 in. (62 × 20.2 × 9 cm)
- H x W x D (bow): 29 3/16 × 1 3/16 × 1/2 in. (74.2 × 3 × 1.2 cm)
- H x W x D (bow): 29 3/16 × 1 3/16 × 1/2 in. (74.2 × 3 × 1.2 cm)
- H x W x D (case): 31 11/16 × 10 13/16 × 5 3/16 in. (80.5 × 27.5 × 13.1 cm)
- H x W x D (case cover): 32 1/16 × 11 × 5 3/16 in. (81.5 × 28 × 13.1 cm)
- H x W x D (satin bag): 25 3/16 × 9 7/16 × 1/16 in. (64 × 24 × 0.2 cm)
- H x W (white cloth): 15 15/16 × 15 9/16 in. (40.5 × 39.5 cm)
- H x W x D (black rest): 7 11/16 × 2 3/4 × 1 15/16 in. (19.5 × 7 × 5 cm)
- H x W x D (key): 1 1/4 × 5/8 × 1/16 in. (3.2 × 1.6 × 0.1 cm)
- H x W x D (key): 1 1/4 × 5/8 × 1/16 in. (3.2 × 1.6 × 0.1 cm)
- H x W x D (green rest): 6 7/8 × 3 9/16 × 1 in. (17.5 × 9 × 2.5 cm)
- H x W x D (screw driver): 3 1/8 × 9/16 × 9/16 in. (8 × 1.5 × 1.5 cm)
- H x W x D (spare bridge ): 2 3/4 × 13/16 × 1/16 in. (7 × 2 × 0.1 cm)
- H x W x D (metal hinge): 2 3/4 × 1 3/4 × 1 3/16 in. (7 × 4.5 × 3 cm)
- H x W x D (metal hinge): 2 9/16 × 1 3/4 × 1 3/16 in. (6.5 × 4.5 × 3 cm)
- Diameter (rubber ball): 2 5/8 in. (6.6 cm)
- H x W x D (ball of wax in felt bag): 1 15/16 × 1 15/16 × 1 5/16 in. (5 × 5 × 3.4 cm)
- H x W x D (ball of wax in felt bag): 2 1/2 × 3 1/8 × 13/16 in. (6.3 × 8 × 2 cm)
- Description
- A violin, two bows, case and accessories owned by Ginger Smock.
- 2016.161.1.1: A wood violin made of dark colored wood with metal strings. The violin’s pegs, neck and tailpiece are dark wood while the body of the violin is stained lighter. Above the pegs, the violin has a traditional scroll at its top. A light-colored wood bridge is located at the center of the violin body between the violin’s ribs. A metal bracket is attached to the tailpiece and metal tuners are at the top next to the strings. A plastic chin rest is attached to the bottom of the violin. There is a white label with black text inside the proper left sound hole that reads “Ferinandus Aug. Homolka / Fecit Prague 1849 / F. H.” Handwritten below the printed text is “5263.”
- 2016.161.1.2: A wood violin bow with a pearl inlay. The bow is a long, slightly curved, cylindrical rod. One end of the bow has a curved wooden tip, with a metal edge that attaches the horse hair. The opposite end of the bow has a black wood piece, known as the frog, attached to it with decorative pearl inlay in the shape of a circle on both sides. A leather pad covers the metal grip on the rod in front of the frog. A metal screw cap is at the end of the bow.
- 2016.161.1.3: A wood violin bow with a pearl inlay. The bow is a long, slightly curved, cylindrical rod. One end of the bow has a curved wooden tip, with a metal edge that attaches the horse hair. The opposite end of the bow has a black wood piece, known as the frog, attached to it with a small decorative pearl inlay in the shape of a circle on both sides. These inlays have another circle inlay around it. On the rod of the bow in front of the frog is a metal grip. A metal screw cap is at the end of the bow.
- 2016.161.1.4a-o: A tan plastic violin case with a removable canvas cover. The case has metal latches and hinges and has a plastic handle. The middle hinge in the back of the case is engraved with “MADE IN / GERMANY.” The case is lined with red felt. A sticker is adhered to the inside cover of the case where the bows are stored. The sticker is clear with an image of a rainbow and clouds on the left side and rainbow colored block lettering on the right side. Under the rainbow on the left side is “PRAISE / the / LORD.” The right side of the sticker says “JESUS.” A red satin violin cover and a white cloth are in the case. A black cloth chin rest with metal brackets is also in the case. Inside a closable tray in the top of the case are several accessories and tools. These include two keys, a rubber ball, two balls of wax like material wrapped in green felt, a spare bridge, a screw driver, a green chin rest and two parts of a metal hinge.
- Place made
- Prague, Czech Republic, Europe
- Classification
- Musical Instruments
- Type
- violins
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Lydia Samuel Bennett
- Object number
- 2016.161.1.1-.4a-o
- Restrictions & Rights
- No Known Copyright Restrictions
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CC0
Swan shaped ring holder owned by Ginger Smock
- Manufactured by
- Unidentified
- Owned by
- Smock, Ginger, American, 1920 - 1995
- Date
- late 20th century
- Medium
- silver, metal, felt
- Dimensions
- H x W x D: 3 3/4 × 3 1/16 × 3 7/16 in. (9.5 × 7.8 × 8.7 cm)
- Description
- A silver plated ring holder in the shape of a swan owned by Ginger Smock. The swan's head is looking straight up and its neck fully extended. The swan is attached to a silver plated decorative plate with a green felt bottom. The plate has an embossed floral design with a roped edge. The bottom of the holder is covered with green felt.
- Classification
- Furnishings, Housewares, and Décor
- Type
- holders
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Lydia Samuel Bennett
- Object number
- 2016.161.4
- Restrictions & Rights
- No Known Copyright Restrictions
-
CC0
Ring owned by Ginger Smock
- Manufactured by
- Unidentified
- Owned by
- Smock, Ginger, American, 1920 - 1995
- Date
- late 20th century
- Medium
- gold, pearl
- Dimensions
- H x W x D: 3/8 × 13/16 × 3/8 in. (1 × 2 × 0.9 cm)
- Description
- A white gold ring with two pearl settings owned by Ginger Smock. The shank of the ring is smooth. The shoulder, mounting and prongs of the ring are grooved and resemble the branches of a tree. The pearls are set side by side across the bridge of the ring on the ring's shoulders. Engraved on the inside of the ring shank is “14K.”
- Classification
- Adornment
- Type
- finger rings
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Lydia Samuel Bennett
- Object number
- 2016.161.5
- Restrictions & Rights
- No Known Copyright Restrictions
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CC0
Music stand used by Ginger Smock
- Manufactured by
- Belmonte
- Owned by
- Smock, Ginger, American, 1920 - 1995
- Date
- late 20th century
- Medium
- metal, plastic
- Dimensions
- H x W x D (collapsed): 37 3/8 × 20 1/4 × 7 1/2 in. (95 × 51.5 × 19 cm)
- H x W x D (fully extended): 57 11/16 × 20 1/4 × 19 5/16 in. (146.6 × 51.5 × 49 cm)
- Description
- A black, metal music stand owned by Ginger Smock. The stand has a metal tripod base and an adjustable music support with a small shelf. Embossed on the back of the support is the Belmonte company logo. Plastic extensions are screwed to the metal support above the shelf. Embossed on each side of the extension on top is “SNAP-OUTS.” The base and support is connected with an adjustable central pole with locking screws. Written in white paint on the bottom of the base is “GINGER” and “SHIPP.” Written in white paint on the shelf of the support is “SHIPP.”
- Classification
- Tools and Equipment-Audiovisual
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Lydia Samuel Bennett
- Object number
- 2016.161.7
- Restrictions & Rights
- No Known Copyright Restrictions
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CC0
Advertisement for a Maceo Pinkard record
- Printed by
- Unidentified
- Owned by
- Smock, Ginger, American, 1920 - 1995
- Subject of
- Pinkard, Maceo, American, 1897 - 1962
- Battle, Edgar, American, 1907 - 1977
- Broadway Records Co., Inc.
- Schiffman, Frank, American, 1894 - 1974
- Ward, Clara, American, 1924 - 1973
- Fega, Mort, American, 1922 - 2005
- Wheeler, Doc, American, 1910 - 2005
- Barr, Fred, American
- Date
- 1961
- Medium
- ink on paper
- Dimensions
- H x W: 8 11/16 × 6 1/8 in. (22.1 × 15.6 cm)
- Description
- A white flier with blue text advertising the record album “The Famous Standards of Maceo Pinkard.” The Broadway Record Co., Inc logo and address is at the top of the flier. At the center of the flier in bold text is “MONOPHONIC L. P. / ALBUM.” The album song listings are at the bottom of the flier printed in white with a blue background. Handwritten on the back of the flier in blue ink is “Feb 6th, 1961 / Doc Wheeler – 3 / Fred Barr – 3 / Clara Ward – 2 / Frank Schiffman 3 / stage manager 1 / Apollo Theater / 125th St. / Album / 125 / 12 records / Bway / 125 / Mort Fega / W.E.V.D / opens Friday at Apollo Theater / 10th / Feb.”
- Classification
- Memorabilia and Ephemera-Advertisements
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Lydia Samuel Bennett
- Object number
- 2016.161.9
- Restrictions & Rights
- No Known Copyright Restrictions
-
CC0
Sign from Women's March on Washington with “When you hurt me you hurt yourself"
- Created by
- Unidentified
- Subject of
- Beyoncé, American, born 1981
- Women's March, American, founded 2017
- Date
- 2017
- Medium
- markers on paper
- Dimensions
- H x W: 14 1/16 × 21 3/4 in. (35.7 × 55.3 cm)
- Description
- Handwritten poster from the 2017 Women’s March on Washington. The yellow poster has black text which reads [WHEN YOU HURT ME YOU HURT / YOURSELF. WHEN YOU LOVE ME, / YOU LOVE YOURSELF/….. / LOVE GOD HERSELF]. The reverse has a blue background with black marker text, “WHEN YOU HURT ME / YOU HURT YOURSELF.”
- Place used
- Washington, District of Columbia, United States, North and Central America
- Classification
- Memorabilia and Ephemera-Political and Activist Ephemera
- Type
- posters
- Topic
- Activism
- Feminism
- Local and regional
- Politics
- Popular music
- Resistance
- Singers (Musicians)
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2017.85.18
- Restrictions & Rights
- No Known Copyright Restrictions
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CC0
Cordless microphone used by Rakim to record The 18th Letter
- Date
- 1997
- On ViewCulture/Fourth Floor, 4 053
- Exhibition
- Musical Crossroads
- Medium
- metal, foam, plastic, and wire
- Dimensions
- H x W x D: 10 × 2 1/4 × 2 1/4 in. (25.4 × 5.7 × 5.7 cm)
- Description
- A wireless microphone used by Rakim to record the album "The 18th Letter" (1997). The hand-held microphone has a circular silver mesh wire grill covering the foam interior of the microphone. The grill is attached to a black plastic cylindrical handle with text printed in silver type near the attachment reading "SHURE" and "BETA 58A" twice around. The handle is made from two pieces, with a small square digital display screen on the top half of the handle bordered by gray plastic, with "L3 638-698 MHz" printed in white type below it. White type reading "UR2" on two opposing sides is printed at the bottom of the lower half of the handle. A smaller round-edged cylindrical piece of black plastic protudes from the bottom of the handle. The bottom half of the handle (b) screws off to reveal a battery chamber that holds two (2) AA batteries. Opposite the battery chamber is a digital push-button menu with four buttons reading clockwise from top: up-facing arrow, "enter", down-facing arrow, "exit". The button menu is directly below the digital display screen on the exterior of the top half of the handle. Beneath the buttons is a manufacturer's label with serial and model numbers, and a key for the menu buttons.
- Classification
- Tools and Equipment-Audiovisual
- Type
- microphones
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Rakim
- Object number
- 2016.10.1
- Restrictions & Rights
- No Known Copyright Restrictions
-
CC0
MIDI Production Center 3000 Limited Edition used by J Dilla
- Manufactured by
- Akai Professional, founded 1984
- Used by
- J Dilla, American, 1974 - 2006
- Designed by
- Linn, Roger, American
- Date
- 2000
- On ViewCulture/Fourth Floor, 4 053
- Exhibition
- Musical Crossroads
- Medium
- plastic, rubber, metal
- Dimensions
- 4 7/8 × 17 3/8 × 15 3/4 in. (12.4 × 44.1 × 40 cm)
- Description
- An AKAI MPC 3000 Limited Edition integrated rhythm machine, drum sampler, and midi sequencer used by record producer and artist J Dilla. The machine consists of a black plastic box with a small screen in the upper left corner, multiple key pads, and a vertical design of black musical notes along the left, center and right of the box. Grey type at the top of the machine reads, [AKAI/professional/Roger Linn/INTEGRATED RHYTHM MACHINE 16 BIT DRUM SAMPLER/MIDI SEQUENCER]. Gold plaque above the type reads, [Limited Edition/MPC3000/EDITION NO. 0449].
- Place used
- Detroit, Wayne County, Michigan, United States, North and Central America
- Los Angeles, California, United States, North and Central America
- Topic
- Hip hop (Music)
- Musicians
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Maureen Yancy
- Object number
- 2014.139.1
- Restrictions & Rights
- No Known Copyright Restrictions
-
CC0
Minimoog Voyager synthesizer used by J Dilla
- Manufactured by
- Moog Music Inc., American, founded 1953
- Used by
- J Dilla, American, 1974 - 2006
- Date
- 2002-2005
- On ViewCulture/Fourth Floor, 4 053
- Exhibition
- Musical Crossroads
- Medium
- wood, plastic, metal, glass, canvas
- Dimensions
- Back panel flat: 4 1/2 × 30 3/4 × 17 7/8 in. (11.4 × 78.1 × 45.4 cm)
- Back panel raised: 12 3/8 × 30 3/4 × 17 7/8 in. (31.4 × 78.1 × 45.4 cm)
- Description
- A Minimoog Voyager, a monophonic analog synthesizer, owned by record producer and artist J Dilla. The synthesizer features a small keyboard set into a wooden frame beneath a control panel. The control board consists of black knobs, red and blue switches, and two different sized screens. The control board has hinge and stand that allows it to be propped up to better face the user. A brass plaque appears above piano keys on right side, and reads, [minimoog®/voyager™]. On the back of the control panel is a label in the bottom left corner that reads, [MOOG MUSIC, Inc./ASHEVILLE, NC/minimoog® Voyager/SERIAL NO. 263].
- Place used
- Los Angeles, California, United States, North and Central America
- Classification
- Musical Instruments
- Topic
- Hip hop (Music)
- Musicians
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Maureen Yancy
- Object number
- 2014.139.2a
- Restrictions & Rights
- No Known Copyright Restrictions
-
CC0
Desk from the Dreamland Theater in the Greenwood neighborhood of Tulsa
- Manufactured by
- Unidentified
- Subject of
- Williams Dreamland Theater, American, founded 1906
- Used by
- Williams, John Wesley, 1884 - 1939
- Date
- early 20th century
- On ViewCommunity/Third Floor, 3 051
- Exhibition
- Power of Place
- Medium
- wood, metal, varnish
- Dimensions
- 32 x 33 x 17 1/4 in. (81.3 x 83.8 x 43.8 cm)
- Description
- This desk was used by the Williams family at the Dreamland Theater in the Greendwood district of Tulsa, Oklahoma. Wooden writing desk with four fluted legs. At the front, below the mid-section, on either side are long rectangles of wood with angled triangles extending out from center. The desk has four cubby holes below a shelf on the back of the writing surface. There is a pair of cubbies on either side of the desk’s writing surface as well. The writing surface slides in and out of mid-section with two hand holds for easy access on either side of the top near the front. The front portion of the writing top is slightly curved. The desk has a large rectangular drawer with scalloped lower edges on the front. The front of the drawer has two pairs of carved out scallops near the center. The drawer slides in and out of lower portion of the desk top.
- Place used
- Greenwood, Tulsa, Tulsa County, Oklahoma, United States, North and Central America
- Classification
- Furnishings, Housewares, and Décor
- Type
- writing desks
- Topic
- American South
- American West
- Business
- Race discrimination
- U.S. History, 1919-1933
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Families of Anita Williams Christopher and David Owen Williams
- Object number
- 2013.119
- Restrictions & Rights
- Public Domain
-
CC0
Photograph of the Cotten family
- Photograph by
- Unidentified
- Subject of
- Cotten, Carrie
- Cotten, Mildred
- Cotten, Loula
- Cotten, Myrtle
- Cotten, Tom
- Cotten, Sallie
- Cotten, Susie
- Cotten, Ernest
- Elizabeth Estes, American, 1882 - 1969
- Date
- 1902
- Medium
- ink on photographic paper
- Dimensions
- H x W (Sheet): 8 × 10 in. (20.3 × 25.4 cm)
- Description
- A black and white photograph of the nine members of the Cotten family taken in 1902. The names of the family members have been written on or above their likenesses: Carrie, Mildred, Loula, Elizabeth, Myrtle, Tom, Sallie, Susie, and Ernest. The back of the photograph is blank.
- Place depicted
- Tulsa, Tulsa County, Oklahoma, United States, North and Central America
- Place captured
- Madison County, Tennessee, United States, North and Central America
- Classification
- Memorabilia and Ephemera-Advertisements
- Type
- photographs
- portraits
- Topic
- American South
- American West
- Families
- Photography
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Families of Anita Williams Christopher and David Owen Williams
- Object number
- 2011.60.1
- Restrictions & Rights
- Public domain
-
CC0
Funeral program for John Wesley Williams
- Created by
- Unidentified
- Subject of
- Williams, John Wesley, 1884 - 1939
- Vernon Chapel A.M.E Church, American
- Date
- 1939
- Medium
- ink on paper
- Dimensions
- H x W: 3 1/2 x 5 1/2 in. (8.9 x 14 cm)
- Description
- A memorial program for the funeral service of John Wesley Williams, a businessman in Tulsa, Oklahoma and a survivor of the 1921 Tulsa Race Massacre. The service was held at Vernon Chapel A.M.E. Church, and he was later interned at Crown Hill Cemetery. On the inside of the program, written vertically in the margin, is a list of names.
- Place depicted
- Tulsa, Tulsa County, Oklahoma, United States, North and Central America
- Classification
- Memorabilia and Ephemera
- Type
- programs
- Topic
- Funeral customs and rites
- Religious groups
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Families of Anita Williams Christopher and David Owen Williams
- Object number
- 2011.60.2
- Restrictions & Rights
- No Known Copyright Restrictions
-
CC0
Fedora worn by Michael Jackson during Victory tour
- Created by
- Maddest Hatter, American
- Owned by
- Jackson, Michael, American, 1958 - 2009
- Date
- 1984
- Medium
- felt with silk, leather, and metal
- Dimensions
- H x W: 5 1/8 x 12 x 13 1/8 in. (13 x 30.5 x 33.3 cm)
- Description
- A black fur felt fedora with gold metal buckle worn by Michael Jackson on his 1984 Victory tour. The interior is made of white silk and is stamped with the mark of the Maddest Hatter, a double Griffon flanking a crest with banner that reads "A Crown Upon Your Head." The interior label reads, "Made in USA custom made 7 3-8". The interior black leather hatband is stamped: "By Maddest Hatter" ; "Made Expressly for Michael Jackson" ; "100% Genuine Fur".
- Classification
- Clothing-Costume
- Type
- fedoras
- Topic
- Clothing and dress
- Musicians
- Popular music
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2009.42.2
- Restrictions & Rights
- No Known Copyright Restrictions
-
CC0
GUADELOUPE. - Type n° 7
- Photograph by
- Littée, Edgar, French, 1866 - 1931
- Published by
- Unidentified
- Subject of
- Unidentified Woman or Women
- Date
- 1900-1920
- Medium
- silver and photographic gelatin on photographic paper, with ink on paper
- Dimensions
- H x W: 5 1/2 × 3 1/2 in. (14 × 8.9 cm)
- Title
- French Colonial postcard from Guadeloupe
- Caption
- The title of this French colonial postcard (GUADELOUPE. - Type n° 7) exemplifies the standard naming structure that categorized “exotic” native subjects in the form of ethnic and occupational “types.” Presenting the image subjects in this way conveyed the perception of them as “tame” colonial subjects capable of assimilation into European ways of life. The colonial postcard, popular in the first two decades of the 20th century, came to represent both the technological triumphs of western photography – in printing and mass production – and the political triumphs of European conquest and expansion. These postcards also promoted tourism to the French Caribbean, painting the region as a safe, favorable, and exotic travel destination.
- The woman in this image wears a traditional, five-piece French Caribbean formal ensemble called a douillette, which is derived from the grand robe worn by early French settlers. Prior to Emancipation, dress codes required enslaved women to wear a chemise jupe, an informal bodice and skirt ensemble. Douillettes would have been worn by mulattas and free black women. Following Emancipation, black women resisted these old dress codes by donning elaborate douillettes that were previously forbidden. The douillette dress is made of colored or shiny fabric and is worn over a petticoat and accessorized with a satin foulard shawl over the shoulders. As depicted in the image, women protected their douillettes by placing the skirt of their dress over their arm. This practice is believed to be fashioned after the West African custom of lifting the skirt and flinging it over one arm. This method allowed for a partial view of the petticoat.
- The ensemble is finished with an ornately tied madras head scarf. Originally produced in the Chennai region of southeast India, madras cloth became popular amongst Creole women in the 18th century and replaced the white cotton head kerchief which was associated with the dress codes of enslavement. In the early twentieth century, Guadeloupian and Martiniquan women reclaimed this head adornment as their own and many wore madras head scarves with their douillette and chemise jupes. The square or rectangular piece of madras cloth was worn over the forehead and folded to display varying numbers of peaks. The head scarf can be tied in a ceremonial fashion or can be worn to show the availability of the woman in courtship, depending on the number of peaks tied into it. One peak represents that the woman is single, two that she is married, three that she is widowed or divorced, and four that she is available to any who tries.
- It was fashionable to accessorize these outfits with gold jewelry. The woman in this image wears a traditional collier-choux around her neck and chenille earrings. The collier-choux is a multi-layered necklace made up of a succession of two striated gold grains welded together. Her chenille earrings are made of three gold threads twisted into a single body.
- Description
- A photographic postcard of an unidentified Guadeloupean woman in a traditional douillette dress ensemble including a madras head scarf. She is featured standing, facing slightly towards the right of the image, looking towards the camera and smiling faintly. She is wearing a long, light colored, floral print grand robe that ties around her waist. A dark colored foulard kerchief is placed over her shoulders. She stands with the skirt of her robe gathered over her right wrist, obscuring her hand. She also wears traditional gold jewelry with her ensemble including the multi-layered collier-choux necklace and chenille earrings. She wears a knotted, striped madras head scarf. [GUADELOUPE. - Type n° 7] is printed in black on the top of the postcard above the woman. On the left side of the postcard, printed sideways, [Edit. Phos. Pointe-à-Pitre (Guadeloupe)]. The back of the postcard is unused and has [CARTE POSTALE] printed in black at the top and in smaller letters printed underneath [La Correspondance au recto n'est pas acceptée par tous les Pays Etrangers. (Se renseigner à la Poste.)]. Below, are blank spaces for [CORRESPONDANCE] and [ADRESSE]. Four dark blank lines are below the Adresse. The first line begins with [M____]. Handwritten in graphite on the bottom left corner is [QAN].
- Place captured
- Pointe-à-Pitre, Guadeloupe, Caribbean, Latin America, North and Central America
- Cultural Place
- France, Europe
- West Africa, Africa
- Chennai, Tamil Nadu, India, Asia
- Classification
- Media Arts-Photography
- Memorabilia and Ephemera
- Type
- postcards
- Topic
- African diaspora
- Clothing and dress
- Colonialism
- Fashion
- Freedom
- French colonialism
- Gender
- Identity
- Photography
- Travel
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.150.1
- Restrictions & Rights
- Public domain
-
CC0
MARTINIQUE - Type et Costume Créole
- Published by
- Leboullanger, French
- Photograph by
- Cochet
- Subject of
- Unidentified Woman or Women
- Date
- ca. 1910
- Medium
- silver and photographic gelatin on photographic paper, with ink on paper
- Dimensions
- H x W: 5 7/16 × 3 1/2 in. (13.8 × 8.9 cm)
- Title
- French Colonial postcard from Martinique
- Caption
- The title of this French colonial postcard (GUADELOUPE. - Type n° 7) exemplifies the standard naming structure that categorized “exotic” native subjects in the form of ethnic and occupational “types.” Presenting the image subjects in this way conveyed the perception of them as “tame” colonial subjects capable of assimilation into European ways of life. The colonial postcard, popular in the first two decades of the 20th century, came to represent both the technological triumphs of western photography – in printing and mass production – and the political triumphs of European conquest and expansion. These postcards also promoted tourism to the French Caribbean, painting the region as a safe, favorable, and exotic travel destination.
- The woman in this image wears a traditional, five-piece French Caribbean formal ensemble called a douillette, which is derived from the grand robe worn by early French settlers. Prior to Emancipation, dress codes required enslaved women to wear a chemise jupe, an informal bodice and skirt ensemble. Douillettes would have been worn by mulattas and free black women. Following Emancipation, black women resisted these old dress codes by donning elaborate douillettes that were previously forbidden. The douillette dress is made of colored or shiny fabric and is worn over a petticoat and accessorized with a satin foulard shawl over the shoulders. It was common for the dress and foulard shawl to match as they do in this image.
- The ensemble is finished with an ornately tied madras head scarf. Originally produced in the Chennai region of southeast India, madras cloth became popular amongst Creole women in the 18th century and replaced the white cotton head kerchief which was associated with the dress codes of enslavement. In the early twentieth century, Guadeloupian and Martiniquan women reclaimed this head adornment as their own and many wore madras head scarves with their douillette and chemise jupes, The square or rectangular piece of madras cloth was worn over the forehead and folded to display varying numbers of peaks. The head scarf can be tied in a ceremonial fashion or can be worn to show the availability of the woman in courtship, depending on the number of peaks tied into it. One peak represents that the woman is single, two that she is married, three that she is widowed or divorced, and four that she is available to any who tries.
- Description
- A photographic postcard of an unidentified woman from Martinique in traditional Creole dress. Only her torso is shown in silhouette. Her body is facing to the right of the image with her head turned to the left. She wears a traditional douillette clothing ensemble composed of a striped and floral-patterned foulard shawl draped over her shoulders with a matching floral-patterned blouse or dress underneath. She is wearing a large pendant on a necklace and small gold earrings along with a madras headscarf. [MARTINIQUE] is printed in black on the top of the postcard above the woman. On the bottom of the postcard are two lines of print. [Type et Costume Créole / Leboullanger, Fort-de-France - Photogr. Cochet]. The back of the postcard is unused and has [CARTE POSTALE] printed in black at the top. Below, are blank spaces for [CORRESPONDANCE] and [ADRESSE] with four dark blank lines below. The first line begins with [M____].
- Place captured
- Fort-de-France, Martinique, Caribbean, Latin America, North and Central America
- Cultural Place
- Madras, Chennai, Tamil Nadu, India, Asia
- France, Europe
- Classification
- Media Arts-Photography
- Memorabilia and Ephemera
- Topic
- African diaspora
- Clothing and dress
- Colonialism
- Fashion
- Freedom
- French colonialism
- Gender
- Identity
- Photography
- Travel
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.150.2
- Restrictions & Rights
- Public domain
-
CC0
I. - Marchande de bananes aux Antilles
- Published by
- Chauvet
- Designed by
- Compagnie antilles, French, 1900 - 1910
- Photograph by
- Unidentified
- Subject of
- Unidentified Woman or Women
- Date
- ca. 1910
- Medium
- silver and photographic gelatin on photographic paper with ink on paper (fiber product)
- Dimensions
- H x W: 5 1/2 × 3 1/2 in. (14 × 8.9 cm)
- Title
- French Colonial postcard from Martinique
- Caption
- The colonial postcard, popular in the first two decades of the 20th century, came to represent both the technological triumphs of western photography – in printing and mass production – and the political triumphs of European conquest and expansion. These postcards also promoted tourism to the French Caribbean, painting the region as a safe, favorable, and exotic travel destination.
- Historically, plantain trees grew in the French Caribbean, offering shade to coffee, cacao, and vanilla crops. As the 18th century progressed and French colonizers increasingly relied on the labor of enslaved persons, they planted additional bananas, turning the crop into a major food source for the islands’ enslaved populations. In the late 19th century, French colonizers introduced the dessert banana to the French Caribbean, hoping that the region would become a major international supplier of the exotic and sought-after fruit. Photography and postcards depicting the French Caribbean’s copious banana supply emphasized the region’s burgeoning market, however a lack of transportation infrastructure in the French Caribbean impeded the crop’s largescale distribution. Bananas continued to be grown locally and sold by vendors such as the woman pictured.
- The woman in this image wears a traditional, five-piece French Caribbean formal ensemble called a douillette, which is derived from the grand robe worn by early French settlers. Prior to Emancipation, dress codes required enslaved women to wear a chemise jupe, an informal bodice and skirt ensemble. Douillettes would have been worn by mulattas and free black women. Following Emancipation, black women resisted these old dress codes by donning elaborate douillettes that were previously forbidden. The douillette dress is made of colored or shiny fabric and is worn over a petticoat and accessorized with a satin foulard shawl over the shoulders.
- The ensemble is finished with a madras head scarf, albeit covered with a bunch of bananas. Originally produced in the Chennai region of southeast India, madras cloth became popular amongst Creole women in the 18th century and replaced the white cotton head kerchief which was associated with the dress codes of enslavement. In the early twentieth century, Guadeloupian and Martiniquan women reclaimed this head adornment as their own and many wore madras head scarves with their douillette and chemise jupes. The square or rectangular piece of madras cloth was worn over the forehead and folded to display varying numbers of peaks. The head scarf can be tied in a ceremonial fashion or can be worn to show the availability of the woman in courtship, depending on the number of peaks tied into it. One peak represents that the woman is single, two that she is married, three that she is widowed or divorced, and four that she is available to any who tries.
- Description
- A photographic postcard of an unidentified banana vendor from the French Caribbean in a traditional Creole douillette ensemble holding a bunch of bananas. She wears a light colored floral grand robe with a foulard shawl around her shoulders and tucked into her waist. Her skirt has extra fabric tied in a knot at the front. She is featured standing, with her left hand on her hip and her right hand holding a bunch of bananas. She is wearing a madras headscarf and has another bunch of bananas on her head. The background is a painted forest and bridge scene. The image has a white border surrounding. [Compagnie des Antilles. - Priopriétaire de la Marque Rhum Chauvet] is printed in black on the top of the postcard above the woman. On the bottom of the postcard, [I. - Marchande de bananes aux Antilles] is printed. The back of the postcard is unused and has [CARTE POSTALE] printed in black at the top and in smaller letters printed underneath [La Correspondance au recto n'est pas acceptée par tous les Pays Etrangers. (Se renseigner à la Poste.)]. Below, are blank spaces for [CORRESPONDANCE] and [ADRESSE]. Four dark blank lines are below the Adresse. The first line begins with [M____].
- Place captured
- Martinique, Caribbean, Latin America, North and Central America
- Cultural Place
- France, Europe
- Madras, Chennai, Tamil Nadu, India, Asia
- Classification
- Media Arts-Photography
- Memorabilia and Ephemera
- Type
- postcards
- Topic
- African diaspora
- Agriculture
- Business
- Clothing and dress
- Colonialism
- Fashion
- Foodways
- Freedom
- French colonialism
- Gender
- Identity
- Labor
- Photography
- Travel
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.151.11
- Restrictions & Rights
- Public domain
-
CC0
Photograph of unidentified woman wearing French Antillean dress
- Photograph by
- Unidentified
- Subject of
- Unidentified Woman or Women
- Date
- 1860-1880
- Medium
- silver and photographic gelatin on photographic paper
- Dimensions
- H x W: 4 1/8 × 2 1/2 in. (10.5 × 6.4 cm)
- Caption
- The colonial postcard, popular in the first two decades of the 20th century, came to represent both the technological triumphs of western photography – in printing and mass production – and the political triumphs of European conquest and expansion. These postcards also promoted tourism to the French Caribbean, painting the region as a safe, favorable, and exotic travel destination.
- The woman in this image wears a traditional chemise jupe, an informal bodice and skirt ensemble. Prior to Emancipation, enslaved women in the French Caribbean were subject to le code noir, which required them to wear a chemise jupe made up of a white blouse, two skirts, and silver jewelry. The first skirt was colorful whereas the second one was made from cotton and muslin. Following Emancipation, black women resisted these dress codes by donning elaborate five-piece formal douillettes that were previously forbidden.
- The ensemble is finished with an ornately tied madras head scarf with attached pins. Originally produced in the Chennai region of southeast India, madras cloth became popular amongst Creole women in the 18th century and replaced the white cotton head kerchief which was associated with the dress codes of enslavement. In the early twentieth century, Guadeloupian and Martiniquan women reclaimed this head adornment as their own and many wore madras head scarves with their douillette and chemise jupes. The square or rectangular piece of madras cloth was worn over the forehead and folded to display varying numbers of peaks. The head scarf can be tied in a ceremonial fashion or can be worn to show the availability of the woman in courtship, depending on the number of peaks tied into it. One peak represents that the woman is single, two that she is married, three that she is widowed or divorced, and four that she is available to any who tries.
- It was fashionable to accessorize these outfits with gold jewelry. The woman in this image wears a traditional collier-choux around her neck. The collier-choux is a multi-layered necklace made up of a succession of two striated gold grains welded together.
- Description
- Photograph of a woman wearing a traditional Creole chemise jupe ensemble leaning on a column in a studio. She is facing directly forward and has one arm placed on the column and the other holding her hip under her skirt. She is wearing a white blouse with a patterned foulard scarf tucked into her full-length, dark, floral-patterned skirt or jupe. She is wearing a madras head scarf with large ornamentation. She also wears traditional jewelry such as the gold collier-choux necklace and large earrings. The photograph has a white border surrounding the image. The back is blank but has handwritten text in the upper left quadrant [531582].
- Place captured
- Caribbean, Latin America, North and Central America
- Cultural Place
- France, Europe
- Madras, Chennai, Tamil Nadu, India, Asia
- Classification
- Media Arts-Photography
- Memorabilia and Ephemera
- Type
- photographs
- portraits
- Topic
- African diaspora
- Clothing and dress
- Colonialism
- Fashion
- Freedom
- French colonialism
- Gender
- Identity
- Photography
- Travel
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.151.3
- Restrictions & Rights
- Public Domain
-
CC0
MARTINIQUE - Type et Costume Créole
- Published by
- Leboullanger, French
- Photograph by
- Bauer, Louis, French
- Subject of
- Unidentified Woman or Women
- Date
- ca. 1920
- Medium
- silver and photographic gelatin on photographic paper, with ink on paper
- Dimensions
- H x W: 5 1/2 × 3 1/2 in. (14 × 8.9 cm)
- Title
- French Colonial postcard from Martinique
- Caption
- The title of this French colonial postcard “MARTINIQUE - Type et Costume Créole” exemplifies the standard naming structure that categorized “exotic” native subjects in the form of ethnic and occupational “types.” Presenting the image subjects in this way conveyed the perception of them as “tame” colonial subjects capable of assimilation into European ways of life. The colonial postcard, popular in the first two decades of the 20th century, came to represent both the technological triumphs of western photography – in printing and mass production – and the political triumphs of European conquest and expansion. These postcards also promoted tourism to the French Caribbean, painting the region as a safe, favorable, and exotic travel destination.
- The woman in this image wears a traditional, five-piece French Caribbean formal ensemble called a douillette, which is derived from the grand robe worn by early French settlers. Prior to Emancipation, dress codes required enslaved women to wear a chemise jupe, an informal bodice and skirt ensemble. Douillettes would have been worn by mulattas and free black women. Following Emancipation, previously enslaved black women resisted these old dress codes by donning elaborate douillettes that were previously forbidden. The douillette dress is made of colored or shiny fabric and is worn over a petticoat and accessorized with a satin foulard shawl over the shoulders.
- The ensemble is finished with an ornately tied madras head scarf. Originally produced in the Chennai region of southeast India, madras cloth became popular amongst Creole women in the 18th century and replaced the white cotton head kerchief which was associated with the dress codes of enslavement. In the early twentieth century, Guadeloupian and Martiniquan women reclaimed this head adornment as their own and many wore madras head scarves with their douillette and chemise jupes. The square or rectangular piece of madras cloth was worn over the forehead and folded to display varying numbers of peaks. The head scarf can be tied in a ceremonial fashion or can be worn to show the availability of the woman in courtship, depending on the number of peaks tied into it. One peak represents that the woman is single, two that she is married, three that she is widowed or divorced, and four that she is available to any who tries.
- As seen in this image, it was fashionable to accessorize these outfits with gold jewelry.
- Description
- A photographic postcard of an unidentified woman from Martinique in the traditional Creole douillette ensemble. She is featured standing, facing towards the left of the image, with her right hand on her front holding up her dress. Her other hand is resting on an object covered with fabric in front of her. The background is a painted canvas of a forest. She is wearing a long, paisley-patterned dress with a floral foulard scarf and a madras head scarf. The photograph has a white border and underneath the image, printed in black, [Cliché Fabre - Leboullanger, éditeur, à Fort-de-France / MARTINIQUE - Type et Costume Créole]. A circular stamp in black ink on the right bottom corner of the image says, [BAUER [indecipherable] / ET / CIE / DIJON]. The back of the postcard is unused and has [CARTE POSTALE] printed in black at the top. Below, are blank spaces for [CORRESPONDANCE] and [ADRESSE]. Handwritten in graphite on the top right is [132 / Dm / 16C].
- Place captured
- Fort-de-France, Martinique, Caribbean, Latin America, North and Central America
- Cultural Place
- France, Europe
- Madras, Chennai, Tamil Nadu, India, Asia
- Classification
- Media Arts-Photography
- Memorabilia and Ephemera
- Type
- postcards
- Topic
- African diaspora
- Clothing and dress
- Colonialism
- Fashion
- Freedom
- French colonialism
- Gender
- Identity
- Photography
- Travel
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.151.4
- Restrictions & Rights
- Public domain
-
CC0
Woman in national dress. St. Lucia. W. I.
- Created by
- Minivielle & Chastanet, St. Lucia, founded 1864
- Photograph by
- Unidentified
- Subject of
- Unidentified Woman or Women
- Date
- ca. 1905
- Medium
- ink on paper
- Dimensions
- H x W: 5 5/8 × 3 1/2 in. (14.3 × 8.9 cm)
- Title
- French Colonial postcard from St. Lucia
- Caption
- The colonial postcard, popular in the first two decades of the 20th century, came to represent both the technological triumphs of western photography – in printing and mass production – and the political triumphs of European conquest and expansion. These postcards also promoted tourism to the Caribbean, painting the region as a safe, favorable, and exotic travel destination.
- At the time of this postcard’s creation, St. Lucia was a British colony, however the woman’s ensemble displays elements of French Creole fashions characteristic of St. Lucia’s history of colonization by the French. It is also characteristic of contemporary national dress. She wears a traditional chemise jupe, an informal bodice and skirt ensemble. Prior to Emancipation, enslaved women in the French Caribbean were subject to le code noir, which required them to wear a chemise jupe made up of a white blouse, two skirts, and silver jewelry. The first skirt was colorful whereas the second one was made from cotton and muslin. Following Emancipation, black women resisted these dress codes by donning elaborate five-piece formal douillettes that were previously forbidden.
- The ensemble is finished with an ornately tied madras head scarf with attached pins. Originally produced in the Chennai region of southeast India, madras cloth became popular amongst Creole women in the 18th century and replaced the white cotton head kerchief which was associated with the dress codes of enslavement. In the early twentieth century, Guadeloupian and Martiniquan women reclaimed this head adornment as their own and many wore madras head scarves with their douillette and chemise jupes. The square or rectangular piece of madras cloth was worn over the forehead and folded to display varying numbers of peaks. The head scarf can be tied in a ceremonial fashion or can be worn to show the availability of the woman in courtship, depending on the number of peaks tied into it. One peak represents that the woman is single, two that she is married, three that she is widowed or divorced, and four that she is available to any who tries.
- It was fashionable to accessorize these outfits with gold jewelry. The woman in this image wears a traditional collier-choux around her neck. The collier-choux is a multi-layered necklace made up of a succession of two striated gold grains welded together.
- Description
- A picture postcard of an unidentified woman from Saint Lucia in traditional a Creole chemise jupe ensemble. She is featured seated on a bench resting her right arm on the back. She is wearing a white blouse with a dark foulard scarf tucked into her long floral-patterned skirt, or jupe. She wears a multi-layered collier-choux necklace and large earrings with a madras head scarf that has multiple pins attached. The image has a blank space below where [Women in national dress, St. Lucia. W. I.] is printed in red ink. There are four lines of handwriting in Swedish in black ink below.
- The back of the postcard is covered in print and writing reading [Tack för brefvet [sic, brevet] jag fick i Maj. / Allt folket här på oss ära de svarta. / Många hälsningar till [indecipherable] alla fråm din bror Otto.]. This translates to [Thank you for the letter I received in May / All the people around us respect/honor the Blacks. / Best regards to [...] all from your brother, Otto.] Printed in red ink, original to the postcard, is [ST. LUCIA (STE. LUCIE) / Post [English Monarchy Crest] CARD / THE ADDRESS ONLY TO BE WRITTEN ON THIS SIDE.] Handwritten in black ink, [Miss Pchéa Påhlsson / Villa Wäshanlid / Helsingborg [underlined] / Sweden [underlined] / Europe [underlined]].
- Place captured
- Saint Lucia, Caribbean, North and Central America
- Cultural Place
- France, Europe
- England, Europe
- Madras, Chennai, Tamil Nadu, India, Asia
- Classification
- Media Arts-Photography
- Memorabilia and Ephemera
- Topic
- African diaspora
- Clothing and dress
- Colonialism
- Correspondence
- Fashion
- Freedom
- French colonialism
- Gender
- Identity
- Photography
- Race relations
- Travel
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.151.6
- Restrictions & Rights
- Public domain