'Black but Human'Pub Date : 2019-10-10DOI: 10.1093/oso/9780198767978.003.0004
C. Fracchia
{"title":"Props and Costume","authors":"C. Fracchia","doi":"10.1093/oso/9780198767978.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780198767978.003.0004","url":null,"abstract":"I discuss the stereotypical sixteenth-century image of slaves in chains produced by Northern European artists in Spain. This traditional iconography has no resonance in topographic views and landscapes by Spanish artists. I focus on the ways that the View of Seville drawing (1573) by Joris Hoefnagel articulates the institutionalization of the local Spanish and transatlantic slave trades and I construct an account of the material culture of slavery based on archival sources and legal discussions. I also lay out Juan Fragoso’s set of recommendations for assessing the economic value of slaves at auction in his Universal Surgery. I address the ways in which the drawings of chained slaves (1529) by Christopher Weiditz represent the traditional iconography of Afro-Hispanic slave labourers and as symbolizing the black resistance forged in their confraternities against their subjugation. These forms of resistance are confirmed by Pedro de León’s experience at the royal prison of Seville.","PeriodicalId":194816,"journal":{"name":"'Black but Human'","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128488813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
'Black but Human'Pub Date : 2019-10-10DOI: 10.1093/oso/9780198767978.003.0007
C. Fracchia
{"title":"Conclusion","authors":"C. Fracchia","doi":"10.1093/oso/9780198767978.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780198767978.003.0007","url":null,"abstract":"The institution of slavery is a crime against humanity.\u0000 In Hapsburg Spain, slavery was inscribed on the skin of Afro-Hispanic slaves and ex-slaves. Blackness signified slavery but slavery did not entail blackness. This association was also well established during the Bourbon dynasty, when Afro-Hispanic people were still bought and sold as commodities. Slave trading was practiced on Spanish soil at least until the first quarter of the nineteenth century,...","PeriodicalId":194816,"journal":{"name":"'Black but Human'","volume":"924 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123050117","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
'Black but Human'Pub Date : 2019-10-10DOI: 10.1093/oso/9780198767978.003.0002
C. Fracchia
{"title":"What Is Human about Slavery?","authors":"C. Fracchia","doi":"10.1093/oso/9780198767978.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780198767978.003.0002","url":null,"abstract":"This chapter looks at Hispanic theologians to discern whether there is any discussion of the presence of souls in Africans that might parallel similar discussions about the Native Americans of the New World, and to see what conditions restricted Africans in their becoming Christian and what benefits might accrue to them in doing so. It discusses the belief that it was necessary to evangelize and baptize the Africans in Spain and the New World, and explores the visual representations of the Baptism of the African to show that the process of Christianization promoted in Seville follows longstanding traditions of evangelization of non-Europeans. The chapter focuses on the operation of the oldest black confraternity (founded in the fourteenth century in Seville) and shows how it becomes the template for all the black confraternities founded throughout the Spanish empire and how it was considered a ‘black nation’ by Afro-Hispanic slaves.","PeriodicalId":194816,"journal":{"name":"'Black but Human'","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126458084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
'Black but Human'Pub Date : 2019-10-10DOI: 10.1093/oso/9780198767978.003.0006
C. Fracchia
{"title":"The Image of Freedom","authors":"C. Fracchia","doi":"10.1093/oso/9780198767978.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780198767978.003.0006","url":null,"abstract":"I discuss the shift from an hegemonic view of Afro-Hispanic slaves and ex-slaves to the articulation of the emergence of the slave ‘subject’ and the ‘emancipatory subject’ by concentrating on both; the only extant seventeenth-century portrait of an Afro-Hispanic slave subject, Juan de Pareja (1649) by his master, Diego Velázquez, made before Velázquez emancipated Pareja in Rome (1650), and on the articulation of the freed subject in Pareja’s self-portrait, in his painting The Calling of St Matthew (1661). I deal with how Velázquez’s portrait provides the form by which Pareja fashions his Europeanized self-portrait to signify his freedom and I explore the ways its iconography embodies extant discourses on diversity and slavery: Pareja’s attachment both to the collective Christian African past, and to his present with the experience of black communities, where the ‘Black but Human’ topos emerged. I also provide an account of Pareja’s career as an independent artist.","PeriodicalId":194816,"journal":{"name":"'Black but Human'","volume":"102 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127335056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
'Black but Human'Pub Date : 2019-10-10DOI: 10.1093/oso/9780198767978.003.0001
C. Fracchia
{"title":"'Black but Human'","authors":"C. Fracchia","doi":"10.1093/oso/9780198767978.003.0001","DOIUrl":"https://doi.org/10.1093/oso/9780198767978.003.0001","url":null,"abstract":"The African presence in imperial Spain, of between 10-15 per cent of the population, was due to the institutionalization of the transatlantic slave trade that brought between seven- to eight hundred thousand Africans as slaves to Spain and Portugal. If we add those slaves born in these European territories and the three to four hundred thousand Moor, Berber and Turk slaves, there were approximately two million slaves living in the Iberian Peninsula during this period. The Afro-Hispanic proverb ‘Black but Human’ that provides part of the book’s title, serves as a lens through which to explore the ways in which certain visual representations of slavery both embody and reproduce hegemonic visions of subaltern groups, and at the same time provide material for critical and emancipatory practices by Afro-Hispanic slaves and ex-slaves themselves. It thus allows us to generate critical insights into the articulations of slave subjectivity by exploring the links between visual regimes and the early modern Spanish and New World discourses on slavery and human diversity. My book provides a complex new reading of neglected moments of artistic production in Hapsburg Spain establishing their importance as relays of power and resistance. We could claim that the ‘Black but Human’ topos encodes the multilayered processes through which a black emancipatory subject emerges and a ‘black nation’ forges a collective resistance, and the ways in which these moments are articulated visually by a range of artists. Thus, this proverb is the main thread of the six chapters of this book.","PeriodicalId":194816,"journal":{"name":"'Black but Human'","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114796226","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
'Black but Human'Pub Date : 2019-10-10DOI: 10.1093/oso/9780198767978.003.0003
C. Fracchia
{"title":"Visual Culture and Slavery","authors":"C. Fracchia","doi":"10.1093/oso/9780198767978.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780198767978.003.0003","url":null,"abstract":"I discuss the semiotic control imposed on the production of religious depictions after the Council of Trent (1563), achieved by the decree on sacred images and the monitoring of art production by a censor appointed by the Inquisition. I map out the visual discourses that offer representations of blackness, slavery and human diversity and I concentrate on ‘Black Sainthood’ promoted in black confraternities: Baltasar in the Adoration of the Magi, Benedict of Palermo from Sicily, Iphigenia, and Elesbaan from Ethiopia. I reveal the prohibition to members of the oldest black confraternity of participation in public processions and I provide the legal case against them. I consider the eighteenth-century legend of the miraculous blackening of the face of the sculpture of St Francis of Paula in La Habana, in Cuba, as a sign of support to the black brothers after the institution had been taken over by the white nobility.","PeriodicalId":194816,"journal":{"name":"'Black but Human'","volume":"944 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127868793","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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