By Elizabeth Kowalesi Wallace, Elizabeth Kowaleski-Wallace,
How does a modern society repair to its public reminiscence a momentous occasion like its personal participation in transatlantic slavery? What are the stakes of once again restoring the slave alternate to public reminiscence? What could be realized from this heritage? Elizabeth Kowaleski Wallace explores those questions in her learn of depictions and remembrances of British involvement within the slave alternate. Skillfully incorporating a number fabric, Wallace discusses and analyzes how museum indicates, novels, tv exhibits, video clips, and a play created and produced in Britain from 1990 to 2000 grappled with the topic of slavery. subject matters mentioned contain a jogging journey within the former slave-trading port of Bristol; novels via Caryl Phillips and Barry Unsworth; a tv edition of Jane Austen's Mansfield Park; and a revival of Aphra Behn's Oroonoko for the Royal Shakespeare corporation. In every one case, Wallace finds how those works and performances light up and imprecise the background of the slave exchange and its legacy. whereas Wallace specializes in Britain, her paintings additionally speaks to questions of the way the USA and different international locations consider inglorious chapters from their earlier. (10/1/2006)
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Additional resources for The British Slave Trade And Public Memory
Most important, after poststructuralism, ethnography no longer perceives identity as discrete, singular, integral, or stable. ”15 Conquergood surveys the usefulness of a performanceinflected vocabulary for ethnography, as seen in the work of Victor Turner. As Conquergood explains, the appearance of this vocabulary marks another shift in ethnographic practice: The performance paradigm privileges particular, participatory, dynamic, intimate, precarious, embodied experience grounded in historical process, contingency, and ideology.
Commemorating the Transatlantic Slave Trade in Liverpool and Bristol Among other scholars who have addressed these questions, Marcus Wood is most notable for his two invaluable books: Blind Memory: Visual Representations of Slavery in England and America, – and Slavery, Empathy, and Pornography. Wood’s main assertions that “the experiences of millions of individuals who were the victims of slavery is not collectable; it is unrecoverable as a set of relics” and that “there can be no archeology of the memory that corresponds to an emotional identification with a lost reality”9 have been echoed in the work of French scholar Christine Chivallon.
But here the plurality of objects, culled from very different African locations and time periods, contributes to an atmosphere of ahistoricity, as objects from disparate African homelands and time periods are displayed together. A ceremonial sword and stool from Ghana appear alongside masks from the Ivory Coast, and a man’s embroidered gown from the twentieth century is displayed in the vicinity of a West African iron anklet that might be from the eighteenth century. 37 Very few of these objects are precisely dated, unlike most of the objects elsewhere in the exhibit.