Slavery has existed in nearly every society in the world in some form or another. Until British Atlantic societies developed the chattel model, no form of enslavement gave such complete and utter dominion to enslavers on such a scale. Consequently, no society had organized its entire social, political, religious, and economic systems around the exploitation of a more or less permanently enslaved underclass.

The movement seeks to amend Iraq’s constitution to ban discrimination against black people, and have the state improve their representation in parliament.  Most Iraqi-Africans continue to hold menial jobs, serving as cleaners or musicians and dancers. They are denied a chance to serve and advance in the army and police, as well as local bureaucracies.They continue to seek social awareness about their plight, asking for access to the national media to address their grievances.

To many locals, especially Black Richmond residents, the sculptures have always been colossal reminders of the South’s history of enslavement and the violence wrought on Black lives. The governor and city leaders now seemingly agree, saying that monuments glorifying the region’s white supremacist history should not be displayed on public land. Nevertheless, Richmond’s Lee statue still has its defenders.

President Barack Obama designated Fort Monroe a national monument in 2011. Known as Freedom’s Fortress, Fort Monroe was finished in the 1830s. During the Civil War, Fort Monroe served as a shelter for runaway slaves, who were declared contraband of war. This is the site of the 1619 African Arrival, when the first Africans were forcibly brought to North America on an English privateer ship. 

Director Steve McQueen’s hauntingly graphic depiction of slavery even made some people declare they were sitting this one out because they couldn’t bear to watch. The film has seeped into America culture. The long-term effects may never be fully measured, but the recent announcement that both the movie and the memoir on which it is based will be used in high school curricula ensures that people will be discussing it for years to come.

Abraham Lincoln freed the slaves, right? Well, the truth is a bit more complicated than that; actually, the truth is very complicated, leading even usually sober commentators such as the venerable historian Lerone Bennett Jr. to cry “foul,” and to do so quite bitterly, suggesting that black people have been sold a bill of goods when it comes to “The Great Emancipator.” 

The words of the Gettysburg Address are so familiar to us today that it is hard to appreciate how radical they were at the time. Our country was neither “conceived in liberty” nor dedicated to “the proposition that all men are created equal.” A third or more of the signers of the Declaration of Independence had been slave owners. Nor was the Civil War being fought over the issue of human equality—at least not at first. Lincoln himself had hedged on this point. At the outset of the hostilities, he insisted that his chief aim was to preserve the union. 

But when did filmmaking shift from point A to point B: from the spectacle of trick representation to the immersive art of narrative storytelling? The metaphor of “birth” -- the birth of cinema as a narrative art -- has often been located at a dubious conjunction with D.W. Griffith’s infamous adaptation of the The Clansman and The Leopard’s Spots (novels by Thomas Dixon), eponymously titled The Birth of a Nation (1915). 

Florenz Ziegfeld featured tap in his revues, including 50 tap dancers in the first Ziegfeld Follies in 1907. Aside from featuring big names like Fred Astaire, he also hired choreographers and dance directors to ensure the form was receiving particular attention. Tap became more popular as a result. Ned Wayburn was a hugely influential dance director. Aside from inspiring Fred Astaire to switch from ballet to tap, he also coined the term ‘tap dance.’