Two slave children dressed in dirty, torn clothing. https://blackthen.com/traditional-clothes-worn-by-slaves-on-plantations-in-the-south/

My name is Greer Phillips and my research project is about the history of women’s fashion in the South. I have also decided to focus on how fashion was used as a form of discrimination against the Black community. In regards to discrimination with fashion, social class has always been held to a high importance within America with clothing and textiles being an important indicator of one’s class. Since the Colonial Era, specific textiles such as silk indicated a high social class and textiles such as calico indicated a low social class. Slaves were often dressed in the cheapest quality textiles and likely only received two pairs of clothes per year. Many slave owners chose to dress their domestic slaves in higher quality clothing than the other slaves since they would be seen by visitors. This is because the slaves were also seen as a representation of the family’s class so their clothing should be similar to what the family would wear. Fashion also changed drastically as women gained more rights and began working outside of the house. When this shift started to occur, women began wearing smaller hoop skirts, shorter dresses, and some even wore pants underneath their clothing.

My name is Colette O’Neill, and I’m a sophomore at the College of Charleston. For my research project, I’m researching the history of education in the Southern United States. The South has gone through many changes with its education system,

black only school. https://eji.org/news/history-racial-injustice-school-segregation-in-alabama/

especially after the Civil War. Antebellum South did not educate their African Americans. They did not feel as though they could be educated, which kept the racial and social classes quite separate. Some slaves, however, were able to be educated, like Frederick Douglass. After the Civil War, the South had to completely reconstruct their public education system to allow for African Americans to begin to be educated. This caused lots of controversy, and the African Americans were still not receiving an equal education compared to their white counterparts, as schools were segregated to “white only schools” and “black only schools”. Not only were there unequal opportunities inside the classrooms, but in the white schools, the curriculum was still teaching racism. The UDC made an article post-Civil War about how schools still need to teach the “correct” history and not make the North look like the “good” side (meaning they need to still make the South and its problematic history look as good as possible to keep the same Southern “values”). Schools did not become integrated

White only school
https://www.msnbc.com/melissa-harris-perry/some-southern-districts-segregation-sc-msna18491

and more equal until much later into the 1900s. There are still problems today with how the education system teaches its students about the South and even the racist tendencies of how the subject material is presented which only adds fuel to the racist stereotype of the Southern United States.

My name is Hayley Nicholls and my final research project will be addressing the issues of segregation and racism throughout history at the College of Charleston. I will specifically be looking into the desegregation of the college, and the admittance of the first African American students at the College of Charleston. I found this topic very interesting and decided to research it, because it surprised me that African Americans have only been attending CofC for about 50 years now. I did not know a lot of this information previously, and it has been very interesting to see how my college was involved in many of these historical issues, and how much the institution has changed over time. Within this project, I will dive into the history of the college and discuss the founding of the college as well as the involvement of slave labor in the construction of the campus. I will then examine CofC’s reluctance to admit African American students, and what happened after they finally made the decision to desegregate the campus. Within my paper I will look into the experiences of many of the first African American

Eddie Gan away, first African American CofC graduate (class of 71’)

students to attend the college, and what type of treatment they received. Utilizing all of my sources and research, I will argue how these events strengthen the stereotypes in the South regarding the attitudes of white individuals and their discrimination towards African Americans. However, I will also address how the college has presently made an effort to refute these stereotypes and make the campus a more diverse and inclusive environment. 

Social class has always been a huge factor in society. People have been judged based on their appearance for centuries, and more times than not, fashion has played a role in what society deems as “proper”. African Americans, historically, have not been able to access better clothing and high class textiles because they have not been able to afford them. This is due to the fact that African Americans were not allowed in schools to be educated so they could afford better clothing. Whether or not you received a higher education has always been a factor in how much money you’d be able to make in your career. The College of Charleston, and many of the other colleges and universities in the South, did not allow African Americans to receive a higher education, which led to them not being able to afford better clothing. This meant that the black community had a much harder time fighting against discrimination and oppression, since they were viewed as inferior lower class citizens in comparison to the white population.

Me at the Old Exchange

When you walk into the Old Exchange, you are greeted with paintings, flags, and artifacts dating back to America’s founding. The building has been greatly preserved and is decorated to make guests feel as if they were transported back in time to the Revolutionary War. Within the Old Exchange is a copy of the Declaration of Independence, a post office booth dating back to 1815, and portraits of Revolutionary War heroes. Unexpectedly, in the basement is what is referred to as the Provost Dungeon. The dungeon, constructed of several million bricks, has served many purposes over the years from storage to a jail.

Historical Timeline of the Old Exchange

Historically, this building is important for many reasons. I have attached a picture of the timeline of the building’s past given to me by the museum. This history is what makes the building so significant since it illustrates how the building housed some of the important parts of America’s foundation. From the reading of the Declaration of Independence on the steps to South Carolina ratifying the United States Constitution, this building held discussion over some of America’s most sacred documents. Many people also find the dungeon and the tour the museum offers very interesting. The tour illustrates how, in 1780 when the British took control of Charleston, they used the basement as a jail for those who did not support the King. Many visitors, including myself, find the dungeon tour an interesting way to learn more about British control during the War. In 1981, the South Carolina State Society of the Daughters of the American Revolution restored the building, to the best of its ability, to the original plans and opened it to the public. Since then, the South has changed greatly since it’s no longer in a state of war and now has a strong foundation.

I believe that the museum does a good job at covering the history of the South since the building was constructed. While much of the history of the building

Mannequins in the Dungeon

has to do with the Revolutionary War, there is nowhere near as much information as with the Civil War, another very important part of Charleston’s history. They do have some signs giving information on how Charleston was taken over, but not many signs, none that I saw, that called attention to what the South was fighting for during the Civil War. The walking tour also glossed over information about slavery. When discussing the construction of the cellar, the tour guide simply stated that the millions of bricks were made at a nearby plantation, seeming to leave out that they were likely made by slaves. The tour guide also, when discussing who the British imprisoned in the cellar, excluded the fact that many of the people the British imprisoned were slaves. This reminds me how in “Charleston: A Historic Walking Tour,” the exclusion of information made the piece appear to be misleading and secretive, even if that was not the intention. While the rest of the museum does a much better job of informing on Charleston’s history of slavery, the walking tour glossed over some information.

Copy of the Constitution at the Old Exchange

While there is not much written information on the Civil War, there is a “Don’t Tread on Me” flag located in the front room, without a plaque of information on it and simply on display, and its Southern origins were also discussed during the walking tour. I feel as these two things portray the South as still having ties to the Confederate cause, something many people also still attribute to the South as well as racism, although that is not a popular belief in the South. The discussion of the origins of this flag over the discussion of slavery in the walking tour illustrated to me that, while it is not the popular opinion, the Confederate cause is still supported in small ways. It also illustrates to me how the South is very proud of its history and has a harder time letting it go and adapting to more modern views than do other parts of the country. While displaying the flag is much more subtle, it still is reminiscent of how white Southerners behaved directly after Emancipation by supporting segregations, denying former slaves the right to vote, and continuing to support the Confederate cause, even after the war had ended, as discussed in “After Slavery: Race, Labor, and Politics in the Post- Emancipation Carolinas.” Overall, the museum does a good job of describing the South’s history since the Revolutionary War.

Greer Phillips

Saltwater Cowboys on Shem Creek has always been my favorite Charleston restaurant and when I was prompted with having to review a southern restaurant, I knew exactly where I wanted to go. To ensure that Saltwater Cowboys was considered southern and that there would be enough information to write about, I looked up their menu online. The menu was filled with fried seafood, hushpuppies, boiling peanuts, red rice, and more traditionally southern foods, some of which were even discussed in our class readings.

When I finally made my way to Saltwater Cowboys, I was met by the same restaurant my family and I have been going to for years. Immediately at the door, I was welcomed by two hostesses. Their kindness and eagerness for conversation 

displayed the first taste of southern hospitality for the night. I opted for the outdoor seating since it was a nice warm day and the restaurant did not appear too busy. Each table was a hightop made of wood and was accompanied by several tall metal chairs.Although today was a rather slow day, these tables often serve as community tables where strangers can share a table beside each other on busy days. This demonstrates southern hospitality since everyone is understanding and excited to sit next to someone they don’t know and share a table; something that may not be taken kindly in other parts of the country. The outdoor portion is similar to that of a back porch; it is made of wood with fencing around it and tables topped with outdoor umbrellas. People are free to walk around onto the dock to admire the view; which is what is most likely to draw first-time guests in. The restaurant sits on Shem Creek so much of the fun of this dining experience comes from watching the large fishing boats, kayakers, and the many dolphins. This restaurant can be described as southern due to its casual, backyard feel and the sense of community encouraged among diners.

When seated, the hostess gave me the menu which was filled with options. Some of the items on the menu were featured in our readings of “Charleston Receipts”, such as lowcountry red rice and coleslaw, similar to “John Dent’s Cole Slaw.” There are also many other southern favorites on the menu that were not featured in the receipts book such as boiled peanuts, fried green tomatoes, cowboy 

baked beans, and pimento cheese. To start, I ordered a sweet tea with lemon to drink, a classic southern staple. While many other parts of the country serve unsweet tea, sweet tea serves as a symbol for southern food, which is why I had to include it in my meal. For my appetizer, I ordered boiled peanuts; a snack I can never pass up when I get the chance. These simple peanuts reminded me of how my family would always eat them while tailgating at Clemson University on Saturday afternoons; which was a tradition many southern schools did but especially Clemson. For my entree, I ordered the fried shrimp with french fries and mac ‘n’ cheese. While the french fries are not officially a southern dish, they are at many southern meals and meals around the country in general. Fried shrimp and mac ‘n’ cheese, however, are southern. The mac ‘n’ cheese was placed into its own bowl, enough to where the bowl was at risk of overflowing. The fried shrimp sat on the tray accompanied with lemon and cocktail sauce. Fried shrimp is especially southern due to its preparation. Fried foods, especially fried chicken have been in the South for decades. African slaves brought the tradition of deep-frying chicken and other foods to the South, something that has become a staple for the region over time (Winter). Throughout and after my meal, my server was very quick to be at my aid, especially when delivering the check in a timely fashion so I was not having to wait.

The community-style tables reminded me very much of the readings from “Theodore Peed’s Turtle Party.” Both the Turtle Party and Saltwater Cowboys create a sense of community among diners, even if they are strangers to one another. As my dining experience came to a close, I made my way to the dock to stand and watch the many boats and dolphins in the water. Saltwater Cowboys never fails to cater a delicious and entertaining night, which is why they are a favorite among many tourists and locals alike. Saltwater Cowboys, an excellent example of southern cooking, will always be a place I return to and bring my friends to enjoy.

-Greer Phillips

Sources:

Winter, Richard. “Ultimate Guide to Southern Food: Southern Food History.” Howstuffworks, https://recipes.howstuffworks.com/southern-food2.htm. Accessed 11 Oct 2021

Herman, Bernard L. “Theodore Peed’s Turtle Party.” Southern Cultures, vol. 18 no. 2, 2012, p. 59-73. Project MUSE, doi:10.1353/scu.2012.0015.

The Junior League of Charleston. Charleston Receipts. 1995.

The art pictured below is a jug sculpted by David Drake out of Edgefield, SC. The large Alkaline-glazed Stoneware is a brown-speckled color with the top broken, most likely from the condition it was stored over the years before it was placed in the museum. This 1858 jug is on loan to the Gibbes Museum from the International African American Museum and is displayed alongside some slave badges. By coming to view this jug, viewers can learn about his struggle as a slave.The jug is also very thought-provoking in the idea that David Drake could have possibly been risking his life to write on his pottery which shows viewers the slaves’ desire to find unique forms of retaliation to show their indignation and to fight for their freedom.

David Drake, often referred to as Dave the Potter or Dave the Slave, is famous for the pottery he created throughout his life. Born in America around 1801, Drake spent much of his life enslaved; however, he took up the art of pottery around age seventeen. After the death of his first master, Drake was moved to Landrumsville, SC, the second of what would be five different masters. Drake produced numerous large pots, like the one in the Gibbes museum. Some of his famous pots could hold up to 40 gallons of water, being some of the largest handmade pots in U.S. history. 

The most characteristic element of Drake’s pottery, however, is that he often wrote on the works he created. The jug in the Gibbes Museum was dated 1858 and signed “Dave”. Even though it was illegal for slaves to read and write, Drake wrote on his pottery knowing the risks, likely as his own form of self-rebellion to the discrimination he faced everyday. David Drake is said to have learned how to read and write from his first master Harry Drake. Harry Drake felt it was important for his slaves to read and write so that they could study the Bible more extensively. Although he had a total of five different masters, David Drake carried these skills with him wherever he was sent and displayed them through his art. While he dated and signed the Edgefield jug that is displayed in the Gibbes Museum, he also often wrote couplets on some of his other pieces; one of his most famous couplets being “put every bit all between / surely this jar will hold 14.” For a period of time, he also signed his jars with the initials “L.M” in reference to the initials of his current master of the time.

Starting in 1840, Drake, still making pottery, did not inscribe most of his jars. It is believed that this was a time of uncertainty for Drake where he may have felt that he would be in danger if he exhibited his ability to read and write. At the time in nearby Atlanta, GA, there were plans of a slave uprising to occur in 1841, which is likely part or what prevented Drake from signing most of his jars. 

After the emancipation in 1863, David Drake took the last name of his first master, who taught him to read and write. Drake continued to work in pottery once he was freed, being listed in the census as having the occupation of turner. The last jug credited to Drake was dated 1863, meaning he spent over 30 years making jugs. He is thought to have died sometime in the 1970’s, although the exact date is unknown.

The fact that Dave the Potter signed his art during a time when it would ilegal for him to isvery significant. He challenged the idea that he could be punished for writing on his art since he felt it was necessary to do so. Drake, at one point in his life, likely received criticism for the decision to inscribe his pottery but continued to do so, possibly in retaliation to his masters or others who tried to put limits on him. His jugs are now on display in many museums not only because of how visually appealing they are, but because of his story and his fight against discrimination through his art.

Sources:

Blumberg, Naomi. “Dave the Potter.” Encyclopedia Britannica, 13 Aug. 2014, https://www.britannica.com/biography/Dave-the-Potter. Accessed 23 September 2021.

“Dave the potter – Pottersville, Edgefield County, South Carolina.” SCIWAY, https://www.sciway.net/afam/dave-slave-potter.html. Accessed 23 September 2021.

Noyes, Chandra. “David Drake: Poet, Potter, Slave.” Art and Object, 11 Feb. 2020, https://www.artandobject.com/news/david-drake-poet-potter-slave. Accessed 23 September 2021.

Finkel, Jori. “The Enslaved Artist Whose Pottery Was an Act of Resistance.” The New York Times, 17 June 2021, www.nytimes.com/2021/06/17/arts/design/-enslaved-potter-david-drake-museum.html.  Accessed 23 September 2021.