mapping Archives - Not Even Past

Violence Against Black People in America: A ClioVis Timeline

The brutal killing of George Floyd by police in Minneapolis this summer marked a key event in the history of violence against Black Americans. But it was just one of many acts of violence that have been committed in American history. In order to put Floyd’s killing into a larger historical context, our Digital History intern, Haley Price, created four ClioVis timelines to help herself and others learn more about such violence. Alina Scott, a graduate student in the History Department at the University of Texas at Austin and Dr. William Jones, a recent Ph.D. from Rice University, also worked on the timelines, adding relevant scholarship to many of the events to assist readers who want to learn more. Below, Haley, Alina, and Will introduce the timeline by telling us how the timelines were compiled, what they learned in making them, and how they think the timelines can serve as a resource for others. While the timelines are not comprehensive, they provide viewers with a sense of the historical forces at play across time and illustrate how the murder of George Floyd in the summer of 2020 fits into a larger pattern of historical violence.

As readers will see, there are four timelines. We originally started making one timeline. But, as the number of events grew, we decided to break the larger timeline into three separate timelines. You now see an “Overview” timeline that includes 153 events. We then divided the overview timeline into three thematic timelines: “Slavery in America,” “Jim Crow to Civil Rights,” and “Police and Civilian Brutality.”

Introduction
By Haley Price

The purpose of these timelines is to visualize the history of Black Americans and to connect the 2020 Black Lives Matter protests to their historical context. Even as a History and Humanities major, this part of US history was still very new to me. I had learned about “Jim Crow Laws,” “The Great Migration, and “The March on Washington” in my entry-level U.S. history classes, but they were often tacked onto the ends of units, a footnote in a whitewashed version of our past. Black history is not given its rightful space in the American history curriculum. It is no wonder many Americans feel unprepared to fully understand the June 2020 protests.

Making this timeline was a way for me to educate myself, but much more importantly, I hope it will be a helpful resource for others to do the same. If you take one look at this timeline and feel overwhelmed, I encourage you to push past that feeling. Pick one event that you recognize and start there. See what caused that event and then look at its impact. Take things slowly, learn a little bit at a time, and then share with a loved one who wants to learn, too.

What I Did:
As I added events and eras to the timeline, I filled in their dates and wrote descriptions, added images, connections to other events, and more. I predominantly used information from websites like history.com, blackpast.org, and recent news articles. These sites fall into the category of popular history, so they are accessible to all kinds of learners. I was encouraged to find so much information through simple web searches because that means that viewers who want to go beyond the timeline will be able to do the same.

To Use ClioVis timelines:

Click on points, connections, and eras to read about specific events and people.
View in presentation mode to navigate the timelines chronologically.
Zoom in and out of periods to see how historical events are connected to each other.
Drag your mouse left and right to navigate the timeline manually.

View “Overview: Context for the 2020 BLM Protests” in full screen here .

I. Slavery in America

View “I. Slavery in America” in full screen here.

What I Did:
By Dr. William Jones

I edited the timeline for content, grammar, and punctuation, focusing on the years before 1860. I also added academic sources that both substantiate the descriptions of the events and point viewers to additional reading. In choosing representative scholarship, I attempted to stick to academic sources that are comprehensive narratives published recently or considered classics. I found that describing the events themselves and finding sources for them was less difficult than deciding what should be included on the timeline. I always felt an internal tug between comprehensiveness, legibility, and simplicity.

A wide geographic perspective is often crucial for understanding the colonial era because all the European colonies in North America were part of larger empires, which included colonies in the Caribbean and South America. Yet I was also afraid of adding too many events to the timeline and making it illegible. For some events, I decided to include geographically broad connections in the descriptions rather than enter them onto the timeline. For instance, the authors of the South Carolina Slave Code of 1691 based that code on Jamaica’s code of 1684, which itself was based on Barbados’s code from 1661; this information (and sources to substantiate it) is only available on the timeline in the description of the South Carolina code. In other instances, I did not mention how historical developments outside the United States influenced a specific event on the timeline, but viewers who consult the readings will find that information. For instance, the nineteenth-century Atlantic slave trade in the Spanish Empire, sugar production in Cuba, and Great Britain’s attempts to police the slave trade on the west African coast are all background elements of the Amistad case, but none of that appears on the timeline. Finally, I felt like I needed to include some events (the Haitian Revolution, in particular) that occurred beyond the geographic boundaries of the United States because they influenced a great deal of the history of slavery and race.

II. Jim Crow to Civil Rights

View “II. Jim Crow to Civil Rights” in full screen here.

What I Did:
By Alina Scott

“My role in the project was to edit the period after 1860 for content and source material to ensure that Black voices and scholarship were included in the dialogue. The Black radical tradition and the movement for Black lives have a rich legacy of cultural, political, and historical contributions so incorporating novels, critiques, and histories by Black authors was not difficult. I also wanted to incorporate sources that are accessible to an audience outside academia by including e-books, podcasts, and documentaries available online.

As noted above, we divided the “Overview” timeline into three sections for the sake of user readability, though the timelines are best read together. A key goal of the project is to show the continuity of antiblackness from the highest levels of government to state leaders and local organizations. The project also shows the continuous resistance and resilience of Black people to systemic oppression.”

III. Police and Civilian Brutality

View “III. Police and Civilian Brutality” in full screen here.

“While revising, I was struck by the way the timeline highlights protest, legislation, and presidential power as key themes. While it includes a large number of important individuals, organizations, and events, the timelines is incomplete. Overall, the timelines do a tremendous job highlighting key dates in Civil Rights activism and legislation even if it was not possible to include all historical actors and events. They make an excellent tool for teaching and learning about the political genealogy of the historic moment we are currently in. The movement for Black Lives is bigger than politics and legislation and we encourage others to make their own timelines. For instance, how might this timeline overlap with another on Black life, joy, and healing practices? Or a timeline centering Black Women and their role as intellectuals, in community building, religious life, and organizing? Or a timeline on Black Internationalism, international BLM movements, or coalition-building in the African Diaspora? There is potential, with a tool like ClioVis, to digitally show the many ways Black people have advocated for our lives and liberated ourselves in a way that is historically accurate, representative, and educational.

We hope you find thatthe timelines a useful building block for teaching and learning history.”

If you would like to know more about using these and other timelines or use ClioVis in your classroom, contact admin@cliovis.org.
Visit ClioVis.org for more information on how to create an account, view tutorials, and other sample projects.

Crafting a Republic for the World in 19th-Century Colombia

By Lina del Castillo

The powerful myth of ‘American exceptionalism’ would have us think that the United States alone offered the world universal ideals of democracy, self-determination, and shared prosperity. However, if we open our eyes beyond canonical nineteenth-century writers such as Alexis de Tocqueville, an alternate story emerges. The long-ignored yet staggering number of works by publicists, historians, geographers, novelists, economists, and jurists from Caracas, Bogotá, Santiago de Chile, Buenos Aires, Mexico, Quito, and Lima begin to reveal the remarkable dimensions of modern republican experiments in Spanish America.Early republican experiments in Spanish America occurred at a time when there were no models to follow. While republicans in Europe battled monarchists and the clerical old regime, while they increasingly imagined their republics as colonial empires of racial inferiors, and while republicans like Thomas Jefferson and James Madison in the United States built their republic on white supremacy and industrialized slavery in cotton plantations, a generation of Spanish American sociologists, economists, anthropologists, and political philosophers became the world’s republican vanguard.

One of their most resilient inventions was rhetorical. Spanish Americans consistently portrayed the period of Spanish rule as obscurantist, tyrannical, and corrupt. This discourse of Latin America’s “colonial legacies” is pervasive today. During the early nineteenth century, Spanish Americans invented distinct “colonial legacies” to legitimize their intellectual and political work in rejecting Spanish rule. They believed science could diagnose, treat, and excise those pernicious colonial legacies. Their radical new form of political modernity required they take a systematic approach to understanding and changing their society, their economic structures, and their political processes. As perceived obstructions changed over time, so did proposed solutions, which in turn contributed to the invention of new philosophies, anthropologies, sociologies, geographies, and sciences.

José María Samper (Cultura Banco de la República).

The case of a little-known Colombian jurist and writer, José María Samper, illustrates this creative process. Samper posed hard questions to both Europeans and U.S. Americans as he wrote about the history of Colombia while traveling through Europe from 1858 to 1862 with his newly wedded wife, Soledad Acosta de Samper. With so many innovative studies by Spanish Americans available, Samper wondered why Europe remained deaf to the socio-political complexity and innovation of Spanish America. He knew the unfortunate answer: the confounding noise produced by the political storms that crashed through Spanish America during the first half of the nineteenth century. Narratives about chaos, violence, and caudillos drowned out any discussion about how these republics were experimenting with democracy, sovereignty, universal male suffrage, republican equity, and self-determination.

Map of Nueva Granada, 1832-1855 (Carta XII del Atlas geográfico e histórico de la República de Colombia, 1890. Wikipedia)

Samper represented a generation who creatively re-imagined republicanism for New Granada (a polity that encompassed roughly today’s Colombia and Panama). He, along with hundreds of other men in the emerging republic, formed the Caldas Institute (Instituto Caldas) in the late 1840s. This scientific society crossed the political spectrum and championed a circulatory ideal for New Granada. The circulation of people, goods, and ideas would undo the supposed Spanish colonial legacy of fragmentation and exploitation of territories that led to stagnation and poverty locally. Rather than foment export-led growth on the backs of enslaved people, a range of government officials from an array of provinces instead focused on identifying and strengthening the internal circulation of goods and services. Provincial chapters quickly formed and worked to identify what industries needed improving, how to ensure proper morality, and where infrastructure needed to be built. Circulation of people, goods, ideas, and credit was further supported by steamship navigation along the Magdalena River flowing through the newly created Puerto Colombia in Barranquilla, a port intended not just for export but also internal circulation among New Granada provinces.

Manuel Peña’s maps.

Caldas Institute members also helped identify the brightest minds from the provinces. Those young men won scholarships to attend New Granada’s military school in Bogotá. Cadets learned new mapping techniques from foreign experts through apprenticeship. As revealed by the fanciful imaginary landscape drawn by sixteen-year-old Manuel Peña, cadets learned to express the implications of local and global circulation for the Republic. Consider how Peña’s map drew together California, London, Lima, and Carabobo, along with existing New Granada cities and towns such as Medellin, Socorro, Vélez, Oiba, and Cajicá. All these places, according to Peña’s cartographic imaginary, also participated in a war for liberation as signaled by crossed swords strewn throughout the territory.

The ideal of free circulation to combat a colonial legacy of fragmentation, exploitation, and economic stagnation helps us better understand why early republicans in New Granada not only moved towards the abolition of slavery by 1851, but also worked tirelessly towards identifying the best routes for canals and roads. The circulation of free people, ideas, and trade required infrastructure that could traverse the Andean mountainous terrain, after all. The Chorographic Commission, first conceptualized by members of the Caldas Institute, was to bring to fruition New Granada’s long-term development projects. The work this scientific expedition carried out from the 1850s through the 1860s was deeply entwined with the development of a republican political ideology based on the abolition of slavery and experimentation with universal male suffrage.

Agustín Codazzi of the Chorographic Commission camping with his collaborators in Yarumito, Soto Province (1850, Biblioteca Nacional de Colombia, Colección Comisión Corográfica. Wikipedia).

While some Caldas Institute members engaged in such remarkable experiments with republican circulation, others experimented with what José María Samper termed the science of constitutionalism. Their work culminated in the constitution of 1853, which was radically democratic even by today’s standards. No electoral college would get in the way of the will of the people. In the wake of slavery’s abolition, presidents were directly elected through universal male suffrage, as were all representatives of Congress, members of the Supreme Court, and provincial governors. The 1853 constitution also permitted the provinces of New Granada to develop their own charters, and a flurry of constitution writing ensued. The most remarkable of these was that of Vélez, which granted universal suffrage to women as well as men. The 1853 constitution proved such a radical re-working of the democratic system that Civil War broke out. The devastation was overwhelming. An alternate constitutional plan emerged, also led by José María Samper, that vested sovereignty in the states rather than individuals. These were the kinds of constitutional experiments Samper and his cohort shared with the world.

Cover page of the Constitution of 1853.

Spanish Americans have too often been simplified as either detached racist elites with little knowledge of local realities looking only to profit from export led growth at any cost, or violent anti-democratic caudillos. De-exoticizing Spanish American thinkers allows us to take their early republican projects – and their discontents– seriously.

Highlighting the nineteenth-century invention of colonial legacies also allows us to begin to question why thinkers, writers, scholars, and educators in the United States, in the wake of independence, did not create the category of colonial legacies for themselves. Why did they not identify legacies of British rule that needed to be rooted out in order to produce a republic of equal citizens, no matter their race? Why, indeed, can we see colonial legacies so easily for Spanish America, but we have such a hard time identifying the persistent colonial legacies that continue to make universal democracy and shared prosperity in the United States so difficult to achieve?

Lina del Castillo, Crafting a Republic for the World: Scientific, Geographic, and Historiographic Inventions of Colombia (2018)

Cynthia Attaquin and a Wampanoag Network of Petitioners

Change.org, Ipetition, petitiononline — today, the digital marketplace has spurred the easy distribution of petitions. While they are significant, modern petitioning campaigns offer a different contribution to public discourse than their nineteenth-century counterparts. For women, people of color, and others who had little access to political movers and shakers, petitioning placed them a signature and postage stamp away from the eyes and ears of legislators. Petitions provided grounds to begin a range of other campaigns and simultaneously created a network of canvassers and petitioners.

In 1842, Cynthia Attaquin and 13 other female residents of the Mashpee, a Wampanoag tribe on Cape Cod, petitioned the Massachusetts State Senate to clarify laws regarding the passage of people of color on railroads. Their petition represented a community of color with very specific motivations and understandings about what can come with organized petitioning efforts.

Cynthia Attaquin’s 1842 Petition (via Massachusetts Antislavery Dataverse)

The text of the petition, likely printed in a widely distributed newspaper, requested the legislature to “pass a law declaring and defining the rights of the people [of Massachusetts] in the use of the means of conveyance furnished by the Railroad Companies… in order that the Officers of said Companies may no longer claim the right to depriving any class of persons the use of any of their cars, on the sole ground of a difference of color…”

For several years in the mid-nineteenth century, Congress established a “gag rule,” immediately tabling all abolition-related petitions. However, the focus of this particular campaign was local, and Attaquin’s was one of sixty sent to the Massachusetts State Legislature in 1842 on the topic of clarifying railroad regulations. In total, 5129 individuals participated in this petitioning campaign (Map 1).

State representatives responded with Senate Bill No. 9 and 10, which proposed to prohibit discrimination on the basis of color on railroads and remove a clause in the state constitution outlawing “intermarriages of different races and complexities.”^[1]This campaign is a great example of successful, local mobilization efforts by canvassers, however, it was not unusual. According to Colin D. Moore and Daniel Carpenter, “women canvassers garnered 50% or more signatures than men while circulating the same petition requests in the same locales.”^[2] Additionally, as Manisha Sinha and others have argued, people of color were instrumental in advocating for their own social and cultural place in the United States. Native women were no different.

Towns of 1842 petitioning campaign for freedom from discrimination on railroads (by Alina Scott)

While the campaign itself is interesting, what is more compelling are the signers: the petition submitted by the “women of Mashpee” was signed entirely by women of color.^[3] The first signer, likely the canvasser, or the individual who encouraged others to sign, was Cynthia Conant Attaquin, originally from Plymouth. According to 1860 and 1880 census data, Cynthia was married to and lived with Solomon Attaquin, Mashpee’s first postmaster. Their racial classifications fluctuated between “Indian” and “Mullato,” but they were listed as members of the Indian tribe in official reports to the state department responsible for managing the Mashpee. Census data confirms that both Cynthia and Solomon were literate and could speak fluent English, making it even more likely she was the canvasser. Though in their 30s and recently married, both gained social prominence in Mashpee because of their relationship to other high standing elders, particularly, Ezra and Solomon Attaquin, Solomon’s father and grandfather. Familial ties to political and tribal leadership could also explain the involvement of four other Attaquin women in the petition: Betsy J. and Martha (Solomon’s sisters), Desiah (Solomon’s paternal grandmother), and Leah (Solomon’s aunt and wife of Ebenezer Attaquin).

Cousins Hannah Conant (left) and Cynthia Conant Attaquin ca. 1840 (from Earl Mills’ Son of Mashpee)

Additional signers included Achsah R. Jones (also spelled Axah), identified in the census as either Black or Indian, Martha Simmons who was 59 at the signing, Ruth Coombs, Ruth Kurt, Ophelia Ceasar, whose family lived next door to Benjamin Attaquin (Solomon’s brother), Sarah (Wickums) Barney, and finally, Abigail (Wickums) Amos, who married either Joseph or Josiah Amos. In an 1858 map of Barnstable County (below), one can note the proximity of “S. Attaquin,” ” J. Amos,” “Mrs. Jones,” “B. Attaquin,” and others just off what is still Main Street facing the Mashpee Pond. (See map 2).

Map 2: 1858 Map of Mashpee District digitized by the Sandwich Historical Commission

One is left to wonder the motivations of the female actors in this narrative. Seeing as many of them were literate, had they read of the call for petitions in the newspaper or heard tell of an abolitionist circular? Did they see themselves immediately impacted by the cause? And once Cynthia decided to sign her name onto this petition, did she walk down Main Street, stopping at each of her family member’s and friend’s homes convincing them of the potential for positive repercussions? Or did they meet up somewhere, possibly the Indian Meeting House, the parsonage (also on Main Street), or even the Attaquin Hotel? What is certain is the imprint of their participation on the town of Mashpee. Local histories like Earl Mills’s Son of Mashpee: Reflections of Chief Flying Eagle, A Wampanoag recall that the legacies of the Amoses and Attaquins remained stamped on the town even after the campaign.^[4]

Solomon and Cynthia were known to have opened the famous Attaquin Hotel that often doubled as the town’s post office and that hosted government officials and diplomats. They were also heavily involved in a previous petitioning campaign for tribal rights. The recently married Attaquins were active participants in what would be called the Mashpee Revolt, a peaceful protest in response to unfair exploitation of Mashpee land and frustrations with the guardianship. Led by a Methodist preacher and Pequot Indian named William Apess, a 1833-34 petitioning campaign and protest resulted in the reclamation of Mashpee self government. The revolt’s primary petition from the Wampanoag contained a total of 287 signatures of men and women living in Mashpee including Ophelia Caesar, Betsey Attaquin, and Martha Simmons. By 1842, Cynthia and others in Mashpee were well aware of the potential in petitioning, and their effort drew on a well-established network of Native American petitioners.

The pattern of Cynthia Attaquin’s petition affirms what many scholars have pointed to, which is firstly, the importance of social networks and kinship ties to mobilization; secondly, the presence of women and people of color writing their own histories; and finally, the importance of indigenous petitioning efforts. Native peoples continue to petition the government. In 2016 a Change.org petition by a 13 year old member of the North Dakota Sioux Tribe to protect waterways on the Standing Rock reservation gathered over 560,000 signatures and this month a petition for the UT Austin Native American and Indigenous Student Space Collective also circulated. In 1996, Chief Flying Eagle, Earl Mills Sr., of Mashpee summed up the importance of petitions to Native peoples:

Mashpee was different in the past and is still different today from other towns in the Cape. Our presence, the Wampanoags’, and the influence of our culture here, have made the difference. This small community and the United States have gone through similar stages of development. In many ways Mashpee is a microcosm of this country. To understand Mashpee is to understand our society better.^[5]

^[1] State Library of Massachusetts, Senate Bill No. 9 and 10.

^[2] Daniel Carpenter, Colin D. Moore. “When Canvassers Became Activists: Antislavery Petitioning and the Political Mobilization of American Women”. American Political Science Review. Vol. 108, No. 3 (August 2014): 481.

^[3] Digital Archive of Massachusetts Anti-Slavery and Anti-Segregation Petitions, Massachusetts Archives, Boston MA, 2015, “Senate Unpassed Legislation 1842, Docket 11057, SC1/series 231, Petition of Cynthia Attaquin”. http://nrs.harvard.edu/urn-3:FHCL:11858184

^[4] Sr, Earl Mills, and Alicja Mann. Son of Mashpee: Reflections of Chief Flying Eagle, A Wampanoag. 1st edition. North Falmouth, Mass: Word Studio, 1996, 12.

^[5] Sr, Earl Mills, and Alicja Mann. Son of Mashpee: Reflections of Chief Flying Eagle, A Wampanoag. 1st edition. North Falmouth, Mass: Word Studio, 1996, xi.

Also by Alina Scott on Not Even Past:

Missing Signatures: The Archives at First Glance

Mapping & Microbes: The New Archive (No. 22)

by Christopher Rose

Can the microbe speak?

It’s 5:30 pm, and I’ve been staring at my computer screen for over eight hours. There’s a crick in my neck, my breathing is shallow, my blood pressure has elevated, and the entire Giza governorate has just disappeared off of the map the instant that I finished tracing its borders—for the third time. I take a deep breath, utter a few choice unpleasant words under my breath, make sure to save my work, and turn off the computer. Today, the dragon has won.

I am two weeks into what I had originally, and naively, thought would be a one-week project to map the outbreak of epidemic and epizootic diseases in Egypt during the First World War, which comprises a subsection of my dissertation project. It’s not a great time to be working on Egypt, as it’s become nearly impossible to get research clearance from the Egyptian government. Funding has also become a near impossibility: my optimism at being named a finalist for a Fulbright in early 2016 was short lived; the program was suspended due to security concerns before awards were announced.

While online resources are scarce, I did find that the Egyptian government’s official gazetteer has an online index of its entire run since the 1870s. Over the course of several days, I discovered that the gazetteer was a virtual treasure trove of exactly the sort of data I’ve been looking for: reports of disease outbreaks in detailed locations up and down the Nile Valley. Over a week, I compiled a spreadsheet of almost 800 records for the period between late 1914 and mid-1919.

The question, of course, was what to do with this data. I was certain the diseases would tell me something, if I could just figure out how to get them to speak.

Map showing typhus outbreaks in Egypt, September 1, 1914 – May 31, 1919 (created by Chris Rose)

It was Julia Gossard, a UT alumna now teaching at Utah State University, who pointed me in the direction of the Programming Historian, a website dedicated to helping historians use digital tools to process data through modeling, mapping, and other methods. I didn’t have time to learn a programming language, but mapping was an idea I liked. The site has several columns about creating maps, using open source mapping software. While I’m a big fan of open source, especially when it replaces costly technical software, I was a bit uneasy about the lack of support for the platform – in short, I foresaw the ability to get myself into trouble, but not out of it.

A little digging around led me to the unexpected find that UT has an institutional subscription to ARCGIS, which is the (otherwise very expensive) industry standard mapping platform. Using UT’s institutional subscription to Lynda.com, I started training myself to use ARCGIS.

Had I known what I was getting myself into, I probably wouldn’t have dived right in.

Mapping the data required me to tag each record with the latitude and longitude of the reported location. This led me to one of the key stumbling blocks for all scholars of the Middle East who’ve dabbled in the digital humanities—so much data is out there on the web, but much of it is transliterated from the original language. There is no universally recognized Arabic-to-Latin transliteration method, and the potential inconsistencies are well on display in the web’s largest open-source geographic database, Geonames.org. While some of its Egyptian entries contained the original names in Arabic script, most did not, leaving me to guess—frequently incorrectly—how they might have been rendered. Since Geonames is open-source, I added the names both in Arabic and one of the more commonly recognized transliteration systems to Geonames’s database as I went, which will hopefully make someone else’s life a little easier.

People fleeing a cholera outbreak at the port of Boulaq (near Cairo) in 1883 (via Wellcome Collection)

Finally, it was time to start mapping, and herein lay another challenge. ARCGIS has an expansive built in library of open source data, which included, as I had hoped, administrative maps of Egypt. I very quickly realized, however, that the administrative borders of the early 21c did not correlate directly to those of the early 20c. At least one governorate has since been split into three and there were a lot of unfamiliar names on the maps. I discovered that the UT Libraries has a copy of the 1917 Egyptian census, which has a big fold out map of the country. I scanned it, brought it home and compared it to the current maps … and realized that it was probably going to be easier to draw the 1917 map in ARCGIS rather than try to adapt the contemporary maps.

The process took nearly two weeks, employing long forgotten Photoshop skills (yay for bezel curves!), tracing a century old map and rendering it onto a satellite image of contemporary Egypt. The resultant map is, as they say, “good enough.” It’s probably got a distortion of around 2 miles, but it’ll never appear in print at that level of detail. Maybe when my monograph becomes a best-seller, I’ll hire someone to re-draw it.

I learned that ARCGIS has some quirks. It has a tendency to freeze up every 60-90 seconds. I quickly learned to save my work every time I did anything, a lesson that came in handy when, for some reason, the entire Giza governorate vanished inexplicably … three times … after I drew it. (The following morning, I discovered that the governorate hadn’t vanished, it was just invisible. I still don’t actually know why).

Finally, the big day came. After the blood, sweat, tears, swearing, and yelling at the cat, the map was finished. I overlay my disease data, and sat back to look at the results.

Children playing in a poor neighborhood of Alexandria under quarantine during an outbreak of typhus, sometime around WWI (via Wellcome Collection)

Have the microbes told me a story? They have. As I set forth on the next phase of my project, I have clusters of locations and specific dates to look for. But the maps have also given me more questions—Is there a correlation between a two-year outbreak of cattle plague and the rampant inflation in the cost of food during the war? Does the death of 139,000 Egyptians due to influenza at war’s end have anything to do with the eruption of a populist uprising just six weeks later? And why is this most deadly epidemic absent from the press and the pages of the official gazetteer?

I also realized the importance of presenting my data in this visual form. No one is going to go through all 800 records on my spreadsheet, but the map provides a clear snapshot of my subject and the questions it raises, and it makes a visual case for the argument I’m laying out in my dissertation. In this form, it will make my modest contribution to this field of study more convincing and accessible.

The New Archive series highlights various uses of digital tools in humanities research. More from the series:

Charlie S. Binkow explores Honest Abe’s Archive
Joseph Parrott highlights the digitalized political posters collected by archivist and artist Lincoln Cushing
Maria José Afanador-Llach discusses her experience at a Digitilization Workshop in Venice
Daniel J. Cohen and Roy Rosenzweig, Digital History: A Guide to Gathering, Preserving, and Presenting the Past on the Web

Mapping the Country of Regions: The Chorographic Commission of Nineteenth-Century Colombia, by Nancy P. Appelbaum (2016)

By Madeleine Olson

What occurs when elite driven narratives about national identity dramatically different differ from the realities people experienced? During the nineteenth century throughout Latin America, when national boundaries were just beginning to become coherent, the upper echelons of society constructed tales about their nations that often vastly differed from lived experiences.

Between 1850 and 1859, the Chorographic Commission traveled the territory of present day Colombia in an attempt to map the land and the people who lived there, using chorography, or detailed representations of a particular region. Sponsored by the government of New Granada (an older name for Colombia), the commission produced a wealth of maps, texts, illustrations, as well as travel journals and diaries, in order to construct the image of a unified nation. Implicit in the commission’s initial mandate was the assumption that it would justify the existing administrative order by making that order appear natural.

The visual culture it produced, however, depicted a nation that was far from cohesive, with regional individuality and diversity. Instead of portraying a unified nation, the commission presented the country as fragmented into different, and often opposing regions, inhabited by racially and culturally distinct races, that reinforced assumptions of Andean and white mestizo superiority. In this new book, Nancy Appelbaum expands our understanding of this central paradox, demonstrating that the commission’s materials reveal some of the ways that Colombian elites grappled with the challenges posed by varied topographies and diverse inhabitants.

The leaders of the Chorographic Commission included both foreign members and others who were born and bred in New Granada. Two of the key figures on the commission, whose writings play an important role throughout the book, were Agustín Codazzi and Manuel Ancízar. Born in Italy’s papal states and a Napoleonic war veteran, Codazzi was in fact first contracted to map the Venezuelan provinces, which had seceded from Gran Colombia, in 1830. The secession precipitated Gran Colombia’s dissolution into Venezuela, Ecuador, and New Granada. Manuel Ancízar, a Colombian lawyer, writer, and journalist, joined Codazzi on the Commission in 1850.

Gran Colombia and modern countries (via Wikimedia Commons).

Using personal correspondence between Codazzi and Ancízar, Appelbaum argues that although the creation of the commission reflected nationalist aspirations of the government, it was fundamentally shaped through its leaders’ own exposure to foreign culture. The geographic writings of Prussian Alexander von Humboldt, as well as Italian Adriano Balbi, strongly influenced Codazzi’s and Ancízar’s initial overviews, as they “draped themselves in the ‘mantle of Humboldtianism’ to emphasize their own scientific legitimacy.” Inspired by Humboldt, Codazzi divided the terrain of New Granada according to the differing altitudes, winds, and vegetables that he encountered. The ideological influence of Humboldt, together with Balbi’s schematic list methodology, helped the Commission create a novel and distinct approach to chorography that was more affordable than the fashionable trigonometric survey.

The detailed accounts produced by Codazzi and Ancízar on the commission’s initial expeditions to the highland region of Antioquia and the Pacific lowland, comprised not only field reports, but also included detailed watercolors created by the commission’s first illustrators in order to depict the populations they encountered. Through comparing the perceptions noted in the field reports with the pictorial representations, the tension comes out between the inclination to show these regions as homogenous when the commission clearly experienced great heterogeneity of the people and customs.

William Price, Typical Inhabitants of the Province of Medellín (via World Digital Library).

This visual culture reflected a literary and artistic current in nineteenth-century Latin America called costumbrismo, or using descriptive prose and dialogue to verbally paint a local scene, emphasizing the customs and particularities of that locale. Within these works, tipos “types” that organized the population into component parts defined by race, occupation, and place, were created to provide both a visual and discursive way to manage the heterogeneity that the commission encountered. In William Price’s Tipos de Medellin, the commission’s artists displayed idealized images of people one would encounter when visiting these places. These images of the racial types that the commission produced updated the eighteenth-century genre of casta paintings for the republican era.

As the commission moved into the tropical lowlands and the eastern plains, Appelbaum further elaborates how the illustrations were largely aimed at an external audience in order to attract immigrants and economic investment to the region. The commission’s efforts were not meant to simply represent the landscape, they were also to transform it in the service of economic advancement. Codazzi believed that these areas, rich in agriculture and livestock, could support many more people than their sparse, midcentury population. Elites defined the tropics, for instance, as being filled with disease, poverty, and backwardness, making it a desirable region for colonization and improved methods of production. The commission took on an ethnographic dimension, as studying the population became an integral part in determining the economic capabilities of the land. Reports, maps, and paintings that Codazzi, Ancízar, and others, produced provided abundant information aimed to facilitate the conquest of the regions they mapped and studied.

Manuel María Paz, Provincia del Chocó: Aspecto esterior de las casas de Nóvita (via World Digital Library).

Applebaum goes on to discuss the methods that mid-nineteenth-century intellectuals living in the highlands around Bogotá employed to rationalize their claim over the local populations. By emphasizing the glorious origins and civilization of the Andean region around Bogotá, at the expense of lower “savage” climates, intellectuals reinforced Bogotá’s claim over this topographically disparate territory. Codazzi projected national history into the ancient past by weaving geology, archeology, and history together and referencing the past as “history” rather than prehistory. They placed themselves, not the local indigenous populations, who ultimately were the Commission’s guides, at the top of the intellectual scale to read the cataclysmic past.

Carmelo Fernández, Piedra grabada de Gámesa. Provincia de Tundama (via World Digital Library).

After Codazzi died in 1859, elites left behind tried to make sense of his project and battled each other over meanings and representations of the nation. Although members of the commission had high hopes for the mass reproduction and circulation of the materials they produced, that did not occur. Chorography and the work of the Chorographic Commission died with Codazzi, supplanted later in the nineteenth century by newer forms of mapping which are still common today, such as topography.

Although the work that the Chorographic Commission created between 1850 and 1859 was not as widely received as hoped, the spatialized and racialized regional hierarchy inherent in its visual materials would be reproduced and refined within Colombian scholarly and popular discourse. By no means the originator of this fragmented discourse, the Commission’s cartographic project formed the basis for most maps of Colombia into the early twentieth century.

Gracefully written, integrating over thirty images and maps, Mapping the Country of Regions offers a fascinating window into both the visual culture produced during the nineteenth century in Colombia, and the ways that territories, boundaries, and state-lines are constructed. Appelbaum’s contextualization of her source base that she makes explicit within her analysis heightens her claims about the use of geographic, ethnographic, and visual methods to secure territory. This theme of racialization of geographic hierarchy is not solely limited to Colombia, as ideas about how race and region have historically informed each other throughout Latin America. The blending of analysis with visual representation enables this book to be of use for those interested in not only Latin American nation-state building, but this methodology of combining visual and textual analysis would be of value for anyone incorporating visual culture into their own work.

Nancy P. Appelbaum, Mapping the Country of Regions: The Chorographic Commission of Nineteenth-Century Colombia (Chapel Hill: The University of North Carolina Press, 2016).

Also by Madeleine Olson on Not Even Past:
A Texas Historian’s Perspective on Mexican State Anticlericalism.

You may also like:
Antonio de Ulloa’s Relación Histórica del Viage a la America Meridional, by Haley Schroer.
Casta Paintings, by Susan Deans-Smith.

Mapping Indigenous Los Angeles: A Public History Project

By Caroline Murray

Los Angeles is a city famous for its Hollywood celebrities and traffic, but a new project reveals an often overlooked part of the city’s past and present: its indigenous population, cited as one of the largest among American cities. Mapping Indigenous LA (MILA) brings to life the histories and current dilemmas of LA’s indigenous people in the twenty-first century, instead of leaving them behind in the past.

MILA combats the perception that these communities have disappeared over decades of assimilation and urban growth and exist only in a colonial context. The project disrupts the traditional, chronological narrative of history with its growing number of story maps, each featuring a place or issue of significance for LA’s indigenous groups. The maps contain videos, documents, book recommendations, and other archives that record native histories to give new meaning to locations in LA.

Map of Indian Resources (via MILA).

As MILA digs deeper, beyond the traditional idea of a map, it also works to expand the meaning of indigeneity by including stories not only from the native Tongva, but also other American Indians, Pacific Islanders, and citizens of Latin American indigenous diasporas who migrated to LA. You can explore the native village and springs of Kuruvungna, read about Latin American indigenous festivals, and listen to Tongva Elders reflect on their people’s displacement. You can view modern locations of Indian healthcare and education resources in LA, which many indigenous people struggle to find. MILA doesn’t allow its maps to provide only one definition or narrative; instead, they offer intricate, multifaceted histories that reflect the diversity of LA’s indigenous communities.

tongva_sacred_springs_-_serra_springs_-_kuruvungna_springs

Historic landmark sign marking the location of Serra Springs, called Kuruvungna by the native Gabrieleno Tongva people. The springs were a natural fresh water source for the Tongva people (via Wikimedia Commons).

The American Indian Education story map perhaps best demonstrates all of MILA’s goals. Multiple perspectives color the stories and share different sides of indigenous communities’ complex relationship with American education systems. The pain inflicted by Indian schools, the worry over the loss of native languages, and the hope new cultural programs are bringing to LA can all be felt while exploring the map.

Tongva House (via author).

The maps not only create awareness among non-indigenous people; they almost more importantly provide a digital network for indigenous groups to learn from and relate to each other in ways they might not have before. MILA wishes to add more maps and encourages people to create their own to foster connection between different communities. While the subjects and perspectives in the maps vary, they all communicate a common message from indigenous groups in LA: We are here, and we will be heard.

You may also like:
Cameron McCoy recommends L.A. City Limits: African American Los Angeles from the Great Depression to the Present by Josh Sides (2003).
Erika Bsumek explores several titles related to Navajo Arts and the History of the U.S. West.
Nakia Paker reviews Black Slaves, Indian Masters: Slavery, Emancipation, and Citizenship in the Native American South, by Barbara Krauthamer (2013).

Visualizing Emancipation(s): Mapping The End of Slavery in America

by Henry Wiencek

THE NEW ARCHIVE (No.2)

Computer and online technologies are enabling historians to do history in a variety of new ways. Archives and libraries all over the world are digitizing their collections, making their documents available to anyone with a computer. Mapping and other kinds of visualization are allowing historians to create new kinds of documents and ask new questions about history. Each week, our Assistant Editors, UT History PhD student, Henry Wiencek and Undergraduate Editorial Intern, Charley Binkow, will introduce our readers to the world’s most interesting new digital documents and projects in THE NEW ARCHIVE.

How did slavery end in America? It’s a deceptively simple question—but it holds a very complicated answer. “Visualizing Emancipation” is a new digital project from the University of Richmond that maps the messy, regionally dispersed and violent process of ending slavery in America.

Using a map of the United States, the site visually charts the precise time and place of “emancipation events” that appeared in newspaper accounts, books, personal papers or official records between 1861 and 1865. Click on any of the red dots scattered across the map and you get a small snapshot of emancipation as a historical process: blacks in Culpeper, Virginia assisting Union troops on July 19, 1862; confederate troops forcibly conscripting blacks in Yazoo City, MS on September 27, 1863; an enslaved man named Wm. P. Rucker escaping in Pittsylvania County, VA on October 27, 1863. And alongside the red dots of “emancipation events,” blue dots illustrate the changing positions of Union troops, a clever overlay of social and military history. Move the time frame backwards or forwards and an entirely new set of “events” appears, coordinated spatially with the movements of troops.

This exciting new project aims to be an online resource to educators looking for a unique means of teaching the end of slavery. The site also hosts an impressive archive of more traditional primary documents users can easily access for lesson plans and further reading.

“Visualizing Emancipation” changes the story of emancipation from one singular turning point—Lincoln’s proclamation—to thousands. Its scattered and chaotic map connects small, often seemingly futile, acts of local resistance into a compelling visual depiction of the multiple and diverse acts that marked the end of slavery in America. Moreover, the defeats for rebelling slaves or Union troops that appear here make another crucial point: emancipation was never inevitable—it had to be earned through the blood and sweat of individual soldiers, slaves, freedmen, and countless others. “Visualizing Emancipation” artfully illustrates that and allows us to see their stories in new ways.

And don’t miss Charley Binkow’s piece on a new digital archive dedicated to Ireland’s Easter Rising

Photo Credits:

Recently freed slave children, possibly photographed by Matthew Brady, circa 1870 (Image courtesy of AP Photo)

Screen shot of “Visualizing Emancipation”

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