Quotes from Anti-Slavery Activist Angelina Grimké

Angelina Grimkà © and her older sister Sarah Moore Grimkà © were born to a slaveholding family in Americas South. They became Quakers, and then became antislavery and womens rights speakers and activists - in fact, they were the only white Southern women known to be part of the abolitionist movement. Grimkà ©s family was prominent in Charleston, South Carolina, society, and were major slaveholders. Angelina was the youngest of fourteen siblings and was always closest with her older sister, Sarah, who was thirteen years older than her. As a teenager, she began her first anti-slavery activities by teaching her familys slaves about religion. Her faith became a major part of the foundation of her abolitionist views, believing that slavery was an un-Christian and immoral institution, although other Christians of her time had found Bible verses and interpretations that they could claim supported slavery. Because of the way that her fellow Presbyterian endorsed slavery, Grimkà ©s abolitionist beliefs were not welcomed, and she was expelled from the church in 1829. She became a Quaker instead, and realizing that she would never be able to change the beliefs of Southern slaveowners, she and Sarah moved to Philadelphia. Even the Quakers slow reform proved too gradual for Angelina, and she became involved in the radical abolition movement. Among her most famous published letters was An Appeal to the Christian Women of the South, published in 1836 to try to persuade Southern women of the evils of slavery. She and her sister Sarah both became abolitionist speakers throughout New England, sparking new discussions (and controversies) about womens rights as well as abolition. In February 1838, Angelina addressed the Massachusetts State Legislature, defending the abolition movement and womens rights to petition and becoming the first American woman to address a legislative assembly. Her lectures drew some criticism, as she pointed out that passive complicity, not just active slave-owning, propped up the institution of slavery, but she was generally respected for her eloquence and persuasiveness. Even after Grimkà ©s health declined in later years, she still corresponded with activist friends and continued her activities on a smaller, more personal scale. Selected Angelina Grimkà © Quotations I recognize no rights but human rights -- I know nothing of mens rights and womens rights; for in Christ Jesus there is neither male nor female. It is my solemn conviction that, until this principal of equality is recognized and embodied in practice, the church can do nothing effectual for the permanent reformation of the world.Women ought to feel a particular sympathy in the colored mans wrong, for, like him, she has been accused of mental inferiority, and denied the privileges of a liberal education....thou art blind to the danger of marrying a woman who feels and acts out the principle of equal rights...Hitherto, instead of being a help meet to man, in the highest, noblest sense of the term, as a companion, a co-worker, an equal; she has been a mere appendage of his being, an instrument of his convenience and pleasure, the pretty toy with which he whiled away his leisure moments, or the pet animal whom he humored into playfulness and submission.Abolitionists never sought place or power. All they asked was freedom; all they wanted was that the white man should take his foot off the negros neck.Slavery always has, and always will, produce insurrections wherever it exists, because it is a violation of the natural order of things.My friends, it is a fact that the South has incorporated slavery into her religion; that is the most fearful thing in this rebellion. They are fighting, verily believing that they are doing God service.I know you do not make the laws, but I also know that you are the wives and mothers, the sisters and daughters, of those who do.If a law commands me to sin I will break it; if it calls me to suffer, I will let it take its course unresistingly. Selected Sources Grimkà ©, Angelina (1836). An Appeal to Christian Women of the South. http://utc.iath.virginia.edu/abolitn/abesaegat.html Grimkà ©, Angelina (1837). Letter to Catharine Beecher.  Quoted in American Political Thought: New York: W.W. Norton, 2009. Grimkà ©, Sarah Moore (1838).  Letters on the Equality of the Sexes, and the Condition of Woman: Addressed to Mary S. Parker. Archive.org. Weld, Theodore Dwight, Grimkà ©, Angelina, Sarah Grimkà © (1839). American Slavery As It Is: Testimony of a Thousand Witnesses. https://docsouth.unc.edu/neh/weld/weld.html

The Work Of Manchester Born And Black Artist Chris Ofili

In the second chapter of this dissertation it will focus on the work of Manchester born and black artist Chris Ofili. Most known for his experimentation with elephant dung, Ofili communicates a humorous and rather stereotypical reaction to how an African man ‘should’ be painting, â€Å"You don’t exist, unless you start to build yourself up, and start to work† (Ofili 2010). There was much comment about Ofili becoming the first black contemporary artist whose name and work was known to a wider British public. Ofili, compared to Yinka Shoniabre, has never abandoned the idea that notions of race and identity are important factors within his artwork, Ofili quite simply understands that playing along side his stereotypes has offered his career for where he is today. ‘†¦Portraiture and black subjectivity represent important philosophical vectors in Ofili’s powerful figurative art, as if this conjunction between figuration and representation were not already visibly defined in the 181 watercolours.’ (Okwui Enwezor : Chris Ofili : Tate : 72) When one thinks back to Ofili’s early days in the art world he once strived to be how Yinka Shonibare communicates his art, not define him as a black artist. Ofili began his journey in Brick Lane market in London where he had crafted small figurines made from elephant dung, named ‘Shithead’. The crafted balls of dung attached with real teeth and strands of the artists dreadlocks which where held together with cooper wire. (Figure 3) Alongside someShow MoreRelated The Chris Ofili Controversy Essay example2472 Words   |  10 PagesThe Chris Ofili Controversy Most people may not know who Chris Ofili is, but chances are that many of them know one of his works, his painting â€Å"The Holy Virgin Mary†, displayed at the Brooklyn Museum of Art’s â€Å"Sensation† exhibition in 1999. The painting was extremely controversial because of Mary’s exposed breast being made of elephant dung and because of the porno cutouts surrounding Mary. Mayor Rudolph Giuliani and others, saying that such works were not appropriate for public display

Robbie the Reindeer †Evaluation of the scene in the woods Free Essays

We have been looking at the animation ‘Robbie the Reindeer’. This is an evaluation of the scene when Robbie and Blitzern are fighting in the hover car in the woods. The scene starts off with Robbie on a rocket chasing after the evil Blitzern who is getting away on a hover car. We will write a custom essay sample on Robbie the Reindeer – Evaluation of the scene in the woods or any similar topic only for you Order Now The animators show movement with the trees rushing by. The camera angle change from low shots of Robbie on the rocket to fast panning shots of Robbie flying past on the rocket. There are SFX of the wind rushing by and the rocket and the cars engines. The music is getting louder and louder to build tension. The music is quite fast and has a definite beat so that we can feel the tension. The strong beat could represent the tension before an army goes into battle or even the racing heartbeat of Robbie and Blitzern. Another good thing that I noticed was that the Reindeers ears even flapped in the wind. The fight starts and there is a struggle. Blitzern has Robbie down and says, ‘ Now is when you die’. Just as he says this we see Donner, Robbie’s girlfriend’ in the background. She has been shot out of a cannon and is fast approaching. It is a low shot and Donner looks like she is about to come and crash into the camera. Just as she is about to hit the camera the angle changes to a side view and we see her crash into the Car. She then pulls herself up and stands tall. She starts having a go at Robbie for not being a good boyfriend and all the usual things. While she is saying this Robbie is trying to explain whilst being strangled by Blitzern. Blitzern finally stops fighting Robbie and Says to Donner, ‘How do you expect us to have a fight with you going on like that!?’ He then tries to sort out Donner and Robbie’s problems. The music has stopped by this time and all we can hear it the engine on the car and the wind rushing by. Robbie and Donner sort out their differences and Robbie asks Donner to marry him. As this is happening the music fades back in but in a more romantic mood. Just as Donner is about to accept Blitzern cuts in and says ‘ Oh, how sweet, But Now is when I KILL YOU!’ as he says this, the music gets louder and more dramatic. It is ironic that he says this as he has just helped them get engaged! It is a low camera angle looking up on Blitzern to make him look big and powerful. Then the camera changes to look on Donner. She is standing up with her hands on her hips in an intimidating fashion. The angle is again low looking up to her. She says ‘No one, but No one hurts my Fiancà ¯Ã‚ ¿Ã‚ ½!’ The camera zooms into her face and we can see that she is very angry. The music has changed again and is still dramatic and tension building but not as loud because it is more feminine. She punches Blitzern and he is wrapped around a tree branch and shoots off up into the sky. The music is now in a triumphant style because Robbie and Donner have won. Blitzern then falls to the ground and bounces in to the jail, which is already, crammed full of his rabbit helpers. Then we see that the Park has been turned into a Viking Disco Park. We see a DJ on the decks playing Robbie Williams’ Rock DJ tune. This is linked to Robbie the reindeer’s name and also the music is very contemporary and happy. How to cite Robbie the Reindeer – Evaluation of the scene in the woods, Papers