Mouser,Bruce L. (Author) and Mouser,Bruce L. (Editor)
Format:
Book, Whole
Publication Date:
2002
Published:
Bloomington, Indiana: Indiana University Press
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
Based on Samuel Gamble’s ship’s log entitled ’A journal of an intended voyage, by God’s permission, from London towards Africa from hence to America in the good ship Sandown" by me Samuel Gamble Commander.Captain Samuel Gamble's log contains the record of a slaving venture to Africa and Jamaica that nearly failed. It is one of the best firsthand narratives of the slave trade to survive. Bruce Mouser's faithfully transcribed and carefully annotated edition of Gamble's log provides a haunting perspective on slave trading at the end of the 18th century. Gamble was captain of the British merchant Sandown. During 1793—1794, the ship embarked on a commercial venture from England to Upper Guinea in West Africa to buy slaves and transport them for sale in Kingston, Jamaica. Gamble describes shipping at the beginning of the Anglo-French war in 1793, naval and nautical procedures for the English-African-West Indian trade, and the slave-trading patterns and institutions on the African coast and at Kingston, Jamaica. He recounts as well a yellow fever epidemic that swept the Atlantic and crippled commerce on both sides of the ocean. Mouser's extensive annotations place Gamble's account in historical context and explain for the reader Gamble's observations on commerce, disease, and African peoples along the Upper Guinea coast; Based on Samuel Gamble’s ship’s log entitled ’A journal of an intended voyage, by God’s permission, from London towards Africa from hence to America in the good ship Sandown" by me Samuel Gamble Commander.
Beneficiaries thus far include: West Yorkshire's Cosmos, assigned L30,000 to stage a year-long exhibition for local ethnic communities; Liverpool's Nigerian Community Development Project, given L90,000 to refurbish its Grade II listed building; Wales's Gateway historic parks and gardens access project, granted L113,000; Brixton's National Museum and Archive of Black History, handed L302,000; and central London's Coram's Fields play area for children, awarded £1m for a complete restoration. [Helen Jackson] says there are many ways in which HLF can benefit the black community and that it is particularly keen to address issues such as social exclusion, depravation and young people's concerns. "We want to ensure lottery funding goes to all groups," she says. "We are aware we have more to do in really promoting equality of access to our funding.
Over half a century later, it would be Marcus Garvey, the goer, against WEB Dubois, the stayer. Although, even Du Bois himself was to get so fed up with American racism that in the `60s at the time of the great new possibilities promised by the Dr King's Civil Rights Movement, he left America to go to Nkrumah's Ghana where he was to die on the eve of Dr King's, `I Have a Dream Speech'. Following Du Bois and Garvey, the Rastafarian movement-which was founded in the 1930's in Jamaica, were to be the next manifestation of goers even though its real impact was not to be felt for another forty years. They were followed by the next great two goers and stayers - Malcolm X (and the Nation of Islam) and Martin Luther King. Luther King's `I Have a Dream' speech was in the tradition of frederick [Frederick Douglass], and was perhaps the most eloquent statement yet of the need to sit tight, fight and make manifest the dream of the brotherhood of man. Dream So [Bernie Grant]'s latest call is in the tradition of many others before him - [Martin Delany], Garvey, the later Du Bois, and Malcolm X. Many of those who denounce Bernie at the movement, would turn around and cite some of those whose tradition Bernie embraces as heroes.
"Back then," says [Glean], "Irie! was probably the first black dance theatre company to actually work to reggae music on stage, and to use traditional Caribbean folk dances as part of a performance piece. And everybody was really excited by it." "Our rehearsal period was like a training session, and so by the time you got to present the work on stage, the poor dancers were still trying to get to grips with the different styles and how they could fuse that with their contemporary training," recalls Glean. "So sometimes the essence of the artistic content could easily get lost." "You have to know about the culture and you have to have some kind of understanding and experience in order to execute the dance forms, because it really it about style," she explains. "And if you're talking about the traditional forms as well, it's about the traditional forms as well, it's about religion, it's about the rituals - you need to know all of that because that's the only way you'll be able to represent it fully and truthfully on stage. Everything is integral."