“De Regreso Del Infierno” (“Back from Hell”): Bearing the flag at Ft. Wagner; and an ode to Medal of Honor winner Sgt. William H. Carney


Figure 1: This is an awesome 1/6 figurine depicting an African American soldier from the famous 54th Massachusetts Volunteer Infantry, after the Battle of Fort Wagner. The piece is titled “De Regreso Del Inferno” (“Back from Hell”). This is from the Spanish language site Acción Uno Seis: foro español di figuras de acción a escala 1/6 (Action One Six: A Spanish Forum for 1/6 scale action figures). It shows a Union sergeant who holds the tattered, but surviving, United States flag in the wake of the battle.
From the site Acción Uno Seis (translated from Spanish): “The 54th Massachusetts Volunteer Infantry regiment won international fame on July 18, 1863 for leading the assault on Fort Wagner near Charleston, South Carolina. In this battle, Colonel Shaw died along with 116 of his men. 156 others were wounded or captured.
“Although the Union was not able to take the fort, the 54th Massachusetts was widely hailed for his courage, and the event it helped spur enlistment and mobilization of African-Americans to join the Union Army. This was a key factor in the conflict. President Abraham Lincoln said the support of African-American troops had facilitated the final victory.
“In the figure, all is dirty and worn, especially the flag. As the focus of the Confederate fire, it was expected that after the attack the flag would be in bad shape!”
Created by: “egonzinc.” His full name is not indicated, although he is shown as being from Puerto Rico.
=> For more images of this figure (10 in all), please go to the website Acción Uno Seis.

Boys the Old Flag Never Touched The Ground (chorus)
by Henry Mather and George E. Lathrop, 1908

‘Twas the Blue against the Gray, Boys,
And he said to all around,
“I’ve only done my duty boys,
The old Flag never touch’d the ground.
“I’ve only done my duty boys,”
He said to all around,
“I’ve only done my duty boys,
It never touched the ground.

Per WikipediaBoys the Old Flag Never Touched The Ground is a patriotic song that celebrates the heroism of Civil War Medal of Honor recipient Sgt. William H. Carney of the famous 54th Massachusetts Volunteer Infantry during the Battle of Fort Wagner. The song was written by Henry Mather and George E. Lothrop after Carney’s death in 1908.


Cover for the sheet music to the song “Boys the Old Flag Never Touched The Ground,” 1909, with a photo of William H. Carney
Image Source: Wikipedia Commons

In the Civil War era army, no duty was more honorable, or more dangerous, than that of the color, or flag, bearer. As noted here at About.com,

The regimental flags were critical in Civil War battles as they marked the position of the regiment on the battlefield, which could often be a very confused place. In the noise and smoke of battle, regiments could become scattered, and vocal commands, or even bugle calls, could not be heard. So a visual rallying point was essential, and soldiers were trained to follow the flag.

Because the regimental flags had genuine strategic importance in battle, designated teams of soldiers, known as the color guard, carried them. A typical regimental color guard would consist of two color bearers, one carrying the national flag (the U.S. flag or a Confederate flag) and one carrying the regimental flag. Often two other soldiers were assigned to guard the color bearers.

Being a color bearer was considered a mark of great distinction and it required a soldier of extraordinary bravery. The job was to carry the flag where the regimental officers directed, while unarmed and under fire. Most importantly, color bearers had to face the enemy and never break and run in retreat, or the entire regiment might follow. As the regimental flags were so conspicuous in battle, they were often used as a target for rifle and artillery fire. And, of course, the mortality rate of color bearers was high.


Figure 2: Alternate view “De Regreso Del Inferno” (“Back from Hell”).  Continue reading

US Colored Troops as Veterans; Happy Veterans Day, 11/11/2015


Negro members of the Grand Army of the Republic, a Civil War veterans organization, parading, New York City, May 30, 1912
Image Source: Library of Congress; Reproduction Number: LC-USZ62-132913; see more information about the photo here.

This is a photograph of black Civil War veterans, and family and friends, marching in a Grand Army of the Republic parade in New York in the early twentieth century. The Grand Army of the Republic (GAR) was an organization of United States (Union) veterans of the Civil War, including men from the Army, Navy, Marines and Revenue Cutter Service. Wikipedia discusses the GAR:

After the end of American Civil War, organizations were formed for veterans to network and maintain connections with each other. Many of the veterans used their shared experiences as a basis for fellowship. Groups of men began joining together, first for camaraderie and later for political power. Emerging as most influential among the various organizations was the Grand Army of the Republic, founded on April 6, 1866, on the principles of “Fraternity, Charity and Loyalty,” in Decatur, Illinois, by Benjamin F. Stephenson.

The GAR initially grew and prospered as a de facto political arm of the Republican Party during the heated political contests of the Reconstruction era. The commemoration of Union veterans, black and white, immediately became entwined with partisan politics. The GAR promoted voting rights for black veterans, as many veterans recognized their demonstrated patriotism. Black veterans, who enthusiastically embraced the message of equality, shunned black veterans’ organizations in preference for racially inclusive groups. But when the Republican Party’s commitment to reform in the South gradually decreased, the GAR’s mission became ill-defined and the organization floundered. The GAR almost disappeared in the early 1870s, and many divisions ceased to exist.

In the 1880s, the organization revived under new leadership that provided a platform for renewed growth, by advocating federal pensions for veterans. As the organization revived, black veterans joined in significant numbers and organized local posts.

image
Grand Army of the Republic, New York Post 160, Cazenovia, New York (near Syracuse), circa 1900
Image Source: blog.syracuse.com; collection of Angelo Scarlato

This is a wonderful photograph of an integrated GAR post. The post, New York post number 160, was located in Cazenovia, New York, which is near Syracuse. The picture was taken around 1900, roughly 35 years after the end of the war. The image of these black and white soldiers, with its staging of a black man holding the American flag in the center of the shot, has a poignancy which reaches over a hundred years of time, and touches me today.

These men might not have known each other during the war, because Union regiments were segregated. Although, during the course of the war, different soldiers from different regiments often fought alongside each other at particular sites. But GAR units like this one might have been the first opportunity for black and white soldiers to meet, greet, and perhaps, become friends.

The Public Broadcasting Service (PBS) show “History Detectives” devoted a program segment to a discussion of the photo, the GAR, and race in the Civil War. A transcript of the segment, which aired in July 2007, is here. Thanks to the blog Syracuse.com for providing the link and the photograph, and additional information.


Image Description: G.A.R. Post (Civil War veterans. Photoprint) 1935; perhaps in the Washington, DC or southern Maryland area; Addison Scurlock, photographer
Image and Description Source: Smithsonian Institution, National Museum of American History, Local Number: 618ps0229581-01pg.tif (AC scan no.), Box 68
Continue reading

Nov 13-15, 2015: 150th Anniversary of the Grand Review of United States Colored Troops (USCT), Harrisburg PA

2015 Grand Review Harrisburg, PA USCT copy

The 150th Anniversary of the Grand Review of United States Colored Troops (USCT) will be commemorated in Harrisburg, PA, on November 13-15, 2015. The original Grand Review, in November 1865, featured a military parade of USCT soldiers who were recognized and celebrated for their role in winning the Civil War. The Grand Review website is here; this is from the site:

The place to be on November 13-15, 2015 is Harrisburg, Pennsylvania for the 150th anniversary of the Grand Review. You can be part of these history-making events that will take place each day with the actual Grand Review precession on November 14. United States Colored Troops (USCT) re-enactors from several states will be part of the Grand Procession taking place and many of the other events connected to it. In fact, the USCT re-enactors are conducting their national annual meeting here in Harrisburg in conjunction with the Grand Review.

On Friday and Saturday Strawberry Square, the urban mall at Third and Market streets, will be transformed into a “chautauqua showcase” where history buffs, educators, visitors, and locals can enjoy the various displays from the USCT regiment re-enactors and living history actors. We encourage you to bring your children to this family event.

The US Colored Troops Living History Association (USCTLHA) will hold its Annual Meeting during the weekend. Go here (USCTLHA Facebook page) for more information.

There was a Grand Review Event in 2010; pictures therefrom are here.

Harrisburg Grand Review 3
Scene from the 2010 Grand Review of the USCT Parade in Harrisburg, PA

Caption This (Nanny and Child)

Dixons carburet of iron stove polish copy
“Dixon’s carburet of iron stove polish,” circa 1885; printers and engravers include Major & Knapp Engraving, Manufacturing & Lithographic Co. (New York) and A. Gast & Co. (New York and St. Louis).
Description: From a “series of illustrated trade cards depicting an African American woman affectionately playing in the kitchen with a young girl, who is partially covered in Dixon’s carburet of iron stove polish. The little girl stands on the kitchen table and grabs the woman’s cheek as a kettle boils on the stove in the background. Joseph Dixon produced his carburet of iron stove polish in 1827.”
Image and Description Source: Library Company of  Philadelphia, African Americana Collection – African American Graphics Collection; see here for Library Company of Philadelphia’s homepage.
(Carburet: car·bu·ret [kär′bə-rāt′, -rĕt′] To combine or mix (a gas, for example) with volatile hydrocarbons, so as to increase available fuel energy.)

OK, what’s your caption for this image?

Soldiers and Spirituals: South Carolina US Colored Troops


Photo Exhibit: The Black South of Dorothea Lange
• These Depression-era images are by the renowned American photographer Dorothea Lange. During the 1930s she and other photographers were part of a Farm Security Administration project that documented the effects of the Great Depression on the American people. These pictures were taken in Arkansas, Georgia, Florida, Mississippi, North Carolina, Tennessee and Texas during the mid to late 1930s.
Image Source: The photographs can be found in the Library of Congress  Prints & Photographs Online Catalog.
• The music is from a traditional spiritual performed by Texas gospel singer Blind Willie Johnson (vocal and guitar) and Willie B. Harris (vocal) in 1927. The song is titled “Keep Your Light Trimmed and Burning.” As noted in the text below, a version of this song (under the title “THIS WORLD ALMOST DONE”) was sung by African American soldiers in Civil War South Carolina, as follows:
“Brudder, keep your lamp trimmin’ and a-burnin’,
Keep your lamp trimmin’ and a-burnin’,
Keep your lamp trimmin’ and a-burnin’,
For dis world most done.”
Audio Source: From Wikipedia.com

———

As both a man of God and a man of letters, Union army colonel Thomas Wentworth Higginson had an ear for spiritual music. He got earfuls of it listening to the black southern soldiers under his command during the Civil War.

As noted by Wikipedia, Higginson (1823 – 1911), born and raised in Massachusetts, “was an American Unitarian minister, author, abolitionist, and soldier. He was active in the American Abolitionism movement during the 1840s and 1850s, identifying himself with disunion and militant abolitionism. He was a member of the Secret Six who supported John Brown. During the Civil War, he served as colonel of the 1st South Carolina Volunteers, the first federally authorized black regiment, from 1862–1864. Following the war, Higginson devoted much of the rest of his life to fighting for the rights of freed slaves, women and other disfranchised peoples.” The 1st South Carolina Volunteers were later reorganized as the 33rd Infantry regiment, United States Colored Troops (USCT).

In literary circles, Higginson is known as “a prolific writer; his most highly regarded work was a memoir of his war years, Army Life in a Black Regiment… (He was the) co-editor of the first two collections of Emily Dickinson’s poems…” (per the online site for the The Emily Dickinson Museum)

In his book Army Life in a Black Regiment, first published in 1869, Higginson recounted army life among the former South Carolina slaves who made the stunning transformation into Union soldiers. One aspect of black soldier life that touched him greatly was their singing of spirituals. Higgins devotes a whole chapter of his book to those songs, and to describing the spirit in which they were sung. A partial excerpt from the book follows.

Of note is that, the spirituals were revised by the black soldiers to reflect their status as soldiers and participants in war. One song speaks of “One more valiant soldier here”; another says “We’re marching through Virginny fields, old Secesh done come and gone!” In their spirit, the soldiers seem to be saying, we are not just soldiers of the Union, or even soldiers of freedom; we are soldiers in God’s army.

Higginosn and Black Veterans
Left: Army Col Thomas Wentworth Higginson; Right: Unidentified veterans of the 33rd Infantry Regiment, USCT
Image Source: Dr. Bronson’s St. Augustine History

FROM: Thomas Wentworth Higginson’s Army Life in a Black Regiment, chapter 9, “Negro Spirituals”:

The war brought to some of us, besides its direct experiences, many a strange fulfilment of dreams of other days. For instance, the present writer had been a faithful student of the Scottish ballads, and had always envied Sir Walter the delight of tracing them out amid their own heather, and of writing them down piecemeal from the lips of aged crones. It was a strange enjoyment, therefore, to be suddenly brought into the midst of a kindred world of unwritten songs, as simple and indigenous as the Border Minstrelsy, more uniformly plaintive, almost always more quaint, and often as essentially poetic.

This interest was rather increased by the fact that I had for many years heard of this class of songs under the name of “Negro Spirituals,” and had even heard some of them sung by friends from South Carolina. I could now gather on their own soil these strange plants, which I had before seen as in museums alone. True, the individual songs rarely coincided; there was a line here, a chorus there,—just enough to fix the class, but this was unmistakable. It was not strange that they differed, for the range seemed almost endless, and South Carolina, Georgia, and Florida seemed to have nothing but the generic character in common, until all were mingled in the united stock of camp-melodies.

Often in the starlit evening, I have returned from some lonely ride by the swift river, or on the plover-haunted barrens, and, entering the camp, have silently approached some glimmering fire, round which the dusky figures moved in the rhythmical barbaric dance the negroes call a “shout,” chanting, often harshly, but always in the most perfect time, some monotonous refrain.

Writing down in the darkness, as I best could,—perhaps with my hand in the safe covert of my pocket,—the words of the song, I have afterwards carried it to my tent, like some captured bird or insect, and then, after examination, put it by… The music I could only retain by ear, and though the more common strains were repeated often enough to fix their impression, there were others that occurred only once or twice. The words will be here given, as nearly as possible, in the original dialect; and if the spelling seems sometimes inconsistent, or the misspelling insufficient, it is because I could get no nearer.

The favorite song in camp was the following, sung with no accompaniment but the measured clapping of hands and the clatter of many feet. It was sung perhaps twice as often as any other. This was partly due to the fact that it properly consisted of a chorus alone, with which the verses of other songs might be combined at random.

HOLD YOUR LIGHT.
"Hold your light, Brudder Robert,
Hold your light,
Hold your light on Canaan's shore.
"What make ole Satan for follow me so?
Satan ain't got notin' for do wid me.
Hold your light,
Hold your light,
Hold your light on Canaan's shore."

Continue reading

Major Martin Delany to the Freedpeople of SC: “(W)e would not have become free, had we not armed ourselves and fought out our independence.”

Major Martin Delaney
US Army Major Martin R. Delany: Delany was a free born “African American abolitionist, journalist, physician, and writer.” (per Wikipedia.com) Among other activities, he was co-publisher of the North Star newspaper along with Frederick Douglass. During the Civil War, “Delany recruited thousands of men for the Union Army. In February 1865, after meeting with President Abraham Lincoln to persuade the administration to create an all-black Corps led by African American officers, Delaney was commissioned a Major” in the US Colored Troops (per Blackpast.org).
Image Source: US Military History Institute, via The Senator John Heinz History Center

Edward M. Stoeber, a lieutenant in the 104th US Colored Troops, US Army, was shocked. He had just attended a “lecture” in St. Helena Island, SC, given by army Major Martin Robinson Delany to a group of fellow African Americans in July 1865, as the American Civil War was coming to an end. Delany’s audience had been enslaved, but were now unbound. Delany – who was commissioned an army major by Abraham Lincoln after appealing for the creation of black regiments led by black officers – gave the freedmen and women advice for how to move forward, advice which drove the white Lieutenant Stoeber to disgust.

Why was Stoeber so upset? For one, Delany told the freedmen that they had had freed themselves by enlisting and fighting in the Union army. Stoeber disagreed, evidently unable or unwilling to acknowledge African American agency, or perhaps, angry that the martyred Abraham Lincoln was not getting enough credit. “This is a falsehood and a misrepresentation. Our President Abraham Lincoln declared the colored race free, before there was even an idea of arming colored men,” said Stoeber in a letter to his superiors. “This (talk from Delaney) is decidedly calculated to create bad feeling against the Government,” he insisted.

Additionally, Stoeber was concerned that in “acquaint(ing) (the freedmen) with the fact that slavery was absolutely abolished,” Delany had thrown “thunders of damnations and maledictions on all the former slaveowners and people of the South, and almost condemned their souls to hell.” Stoeber might not have been aware that jeremiads against slavery and the South were not uncommon for black abolitionists, perhaps even some white ones.

Stoeber was also alarmed that Delany warned the freedmen to beware of white “ministers, schoolteachers, Emissaries, (and others who would come South to help the freedmen) because they never tell you the truth.” Such talk, said Stoeber, “is only to bring distrust against all, and gives them to understand that they shall believe men of their own race. He openly acts and speaks contrary to the policy of the Government, advising them not to work for any man, but for themselves.” Such talk was dangerous, according to Stoeber: “In my opinion of this discourse he was trying to encourage them to break the peace of society and force their way by insurrection to a position he is ambitious they should attain to.” Delany’s views were informed  by a lifetime of prejudice against himself and other African Americans living in the North; this included his dismissal from Harvard Medical School after just a month of attendance, when white students wrote of their objection to the presence of blacks at the school.

Delany and Stoeber seemed to have irreconcilable views of the past, present, and future. Major Delany, an activist African American from the North, had his own ideas about the role of African Americans in building the South and winning the Civil War, and in charting their own future as free people. For him, self-pride, self-worth, economic self-sufficiency, and a healthy dose of skepticism concerning the intentions of, and advice from, whites were key for black progress. But as far as Lt. Stoeber was concerned, Delany was a “a thorough hater of the white race (who) excites the colored people unnecessarily” and horrified white onlookers. Stoeber was also concerned that Delany gave incorrect information about the Union government’s land and labor policies, information that he feared would create false expectations and eventually result in anger among the freedpeople.

Delany was not the first to speak to what some might call a “black” (others might say “correct”) understanding of the war, emancipation, and permanent freedom, nor would he be the last. Stoeber’s reaction to his comments underscores that the memory and interpretation of the Civil War, as well as the strategies and policies for African American independence, would be contested, even among those who were on the Union side, and lead to outcomes that no one could predict.

This (partial) text of Delany’s July 1865 speech to former slaves in Beaufort, South Carolina, is based on the recollection of Lt. Stoeber, as written in letter to Brevet Maj. S. M. Taylor, Assistant Adjutant General with the Bureau of Refugees, Freedmen and Abandoned Lands (AKA the Freedmen’s Bureau). There was some fear among (white) government officials that Delaney might be using inappropriate language or giving improper instruction and advice to the freedmen, hence Stoeber’s presence at the speech.
***********

Partial text of letter from Lt Edward M. Stoeber, dated July 24th, 1865, written to the Freedmen’s Bureau, South Carolina, Georgia and Florida (For the full text, including more of the white reaction to the speech, see the source: Columbia University):

Major:

In obedience to your request, I proceeded to St. Helena Island, yesterday morning for the purpose of listening to the public delivery of a lecture by Major Delany 104th Ne[gro] S.C. Troops. I was accompanied by Lieut. A. Whyte Jr. 128th Ne[gro] S.C. Troops, Com[an]d’g Post. The meeting was held near “Brick Church,” the congregation numbering from 500 to 600.

As introduction Maj. Delany made them acquainted with the fact, that slavery is absolutely abolished, throwing thunders of damnations and maledictions on all the former slaveowners and people of the South, and almost condemned their souls to hell.

He says “It was only a War policy of the Government, to declare the slaves of the South free, knowing that the whole power of the South, laid in the possession of the Slaves. But I want you to understand, that we would not have become free, had we not armed ourselves and fought out our independence” (this he repeated twice). Continue reading

Bravery, Not Slavery: Why Some Black Folks Want to Believe in Black Confederate Soldiers

This is a post of interest from the archives:

Jubilo! The Emancipation Century

At Civil War Memory.com, there is an interesting and “complicated” story about Richard Quarles, a Civil War era slave who is identified and honored as a “Confederate soldier.” As the tale is told, Quarles went with his master to join the Confederate army. In the course of engaging the Union army, Quarles’ master was hurt. This prompted Quarles to pick up a weapon, fire back at the enemy, and recover his master from the battlefield. For this, the slave was honored recently by the Sons of Confederate Veterans… and perhaps, way back in the day, by the KKK in its own unique manner (check the video at the link for details).

From the details provided, Quarles was, to use a term in historian James Hollandsworth’s study of black Confederate pensioners, a “black noncombatant.” That is, he was not enlisted as a soldier in the Confederacy, but rather, was part…

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Zumigo and Zamorka: Two 19th Century Afros

ca. 1880 carte de viste portrait of Zumigo Literature copy
Full length portrait of Zumigo, side show performer (lady in very fancy dress and huge Afro, standing next to gigantic basket prop); circa 1880; photographer, Chas. Eisenmann, Bowery, New York; see full image description here.
Image Source: Yale University – Beinecke Digital Collections via Yale University’s Collection of American Literature.

Anton_Azbe_-_Zamorka copy 2
Zamorka (negro woman); circa 1895; Anton Ažbe (Slovenian), artist
Image Source: From the National Gallery of Slovenia website under the reference number NGS0001, via Wikimedia Commons.

Blackface Halloween?

Philadelphia children in blackface
Philadelphia children in blackface; by photographer James Bartlett Rich (1866-1942); ca. 1895.
Image Source: Library Company of Philadelphia
Image Description: (From the Library Company of Philadelphia:) “Group portrait in a house foyer of several children in costume, most in blackface, holding tin horns. The children, possibly attired to perform a minstrel show for home entertainment, include the photographer’s daughter, Hazel, seated on a rocker in a large ruffled hat with a mask-like cloth veil.”
Biographical/ historical note: (From the Library Company of Philadelphia:) James Bartlett Rich was a professional Philadelphia landscape photographer who produced several candid portraits of family and friends.

From Wikipedia:

Blackface is a form of theatrical makeup used by performers to represent a black person. The practice gained popularity during the 19th century and contributed to the proliferation of stereotypes such as the “happy-go-lucky darky on the plantation” or the “dandified coon”. In 1848, blackface minstrel shows were an American national art of the time, translating formal art such as opera into popular terms for a general audience. Early in the 20th century, blackface branched off from the minstrel show and became a form in its own right, until it ended in the United States with the U.S. Civil Rights Movement of the 1960s. Continue reading