Racism and the American Ideals
Racial divisions in 19th century American culture excluded African-Americans and Native Americans from the American ideals of liberty and inclusion on a fundamental level. The pushing off the land (and slaughtering) of the Native American tribes by the U.S. government was an exercise in Manifest Destiny (O'Sullivan 5), which later came to be expressed in terms of New Expansionism once the borders of the frontier were at their natural limits. And as for African-Americans -- they may have been freed by Lincoln in order to help the North win the war against the South, but inclusion was never really on the table: Jim Crow laws sprang up in the South and racism continued to be expressed in terms of segregation and mob violence. Liberty was for the WASPs (White Anglo-Saxon Protestants), the ruling elite of the political, economical and social establishment. No amount of noble sounding words from Lincoln or petitions from Native American leaders, or words of wisdom from men like Frederick Douglass could assuage the underlying current of racism that the WASP ruling class embodied in its pursuit of the idea of Manifest Destiny (the notion that it was God's will that they rule the New World). This paper will discuss how liberty and inclusion was meant only for these elites and how others had to fight for it in America, where the promise of liberty was meant to be for all but was really just lip service to an 18th century Romantic-Enlightenment era ideal that was not really embraced by the deeply entrenched ruling class of the U.S.
The Emancipation Proclamation, which freed the slaves to leave the South and join the Union army, was a serious blow to the strength of the South, where slavery had been institutionalized for many years. Free black men like Frederick Douglass, who had escaped to freedom prior to the Civil War and who penned an autobiography which became a popular best seller, had campaigned for abolition. He cultivated through his writing an African-American identity that challenged the status quo trumpeted by the WASP establishment. This was one example of how African-Americans had to fight for inclusion and for liberty in the Land of the Free and Home of the Brave. It was not granted to them, even though the Declaration of Independence seemed to recognize that all men were equal and possessed liberty by their natural right. Men like Douglass knew better: they knew that such Declarations were the soul of hypocrisy in America, as they did nothing for the actual issue of slavery, which was only finally abolished because Lincoln saw no other way to turn the tide of the war.
With works by Douglass in hand, activists formed the American Anti-Slavery Society and movements such as these had an impact on American thought, as the disposition towards the continuation of slavery became violent in some cases (Nat Turner's rebellion for instance -- or the campaign led by John Brown). Women and blacks (free and slave) gave voice to the abolitionist movement. Harriet Tubman and Sojourner Truth were two famous women who supported the movement through their writings and activism. Julia Ward Howe was another: she wrote "The Battle Hymn of the Republic" which was set to the tune of the popular ballad "John Brown's Body," written in memoriam of the man who attempted to end slavery by staging a coup. This anthem ended up becoming a rallying voice for the Union troops, as they sang it during marches.
Yet, the WASP establishment refused to really ever accept African-Americans or Native Americans into the fold. Pontiac's "Speech at Detroit" is one example of the reality of the situation, as he chastised his people for embracing the ways of the white man (who was trying to kill them) and turning their backs on their own traditions: "My children, you have forgotten the customs and traditions of your forefathers. Why do you not clothe yourselves in skins, as they did, and use the bow and arrows, and the stone-pointed lances, which they used? You have bought guns, knives, kettles, and blankets, from the white men, until you can no longer do without them; and, what is worse, you have drunk the poison fire-water, which turns you into fools" (Pontiac 21). That Pontiac identified as a Frenchman in this same speech only goes to show to what extent the WASP identity was a British Protestant one. (The French were also fighting the British and their...
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As depicted here, the other female actresses in the film -- played by actual Africans -- are naked above the waist. The white actress is not. Indeed, the lower photograph depicts Gehrts-Schomburgk reclining on a leopard skin rug, while a topless native woman fans her with an elaborate fan made of feathers. The ludicrous excess of the colonialist fantasy could not be more evident here. Yet this actress is the
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