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                <text>Special thanks to John Morris &amp; Meredith Shelby for their work and contributions to the exhibit.</text>
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                <text>The petition to President Hoover by 55 of 216 identified Black Gold Star Mothers forced the State Department to issue a public statement that guaranteed Black women “equal accommodation, care, and consideration.”  The Black community’s public denouncement of the segregated pilgrimages initiated a slow shift of Black voter support from the Republican to the Democratic Party by the 1936 presidential election.</text>
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                <text>Postcards WWII Sailors</text>
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                <text>African American Real Photo Postcard Collection, MS. 0583, Box 2, Special Collections,&#13;
&#13;
The Johns Hopkins University</text>
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            <name>Description</name>
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                <text>Johns Hopkins Special Collections has &lt;a href="https://www.flickr.com/photos/hopkinsarchives/sets/72157689099621576" target="_blank"&gt;scanned the entire African American Real Postcard collection making it available to everyone.&lt;/a&gt;</text>
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                <text> Vernacular photography refers to photos that focus on everyday life and people and makes the ordinary and familiar matter.&#13;
&#13;
In the case of African American servicemen, vernacular photography visually turned the uniformed soldier into both an everyday-man and first-class citizen.  Photographs of Black men standing strong and dressed in military uniform showed them as loyal and patriotic, but most importantly, as American citizens. &#13;
&#13;
Vernacular photography of uniformed soldiers also mobilized Black families and communities.  Particularly, during WWII, the images provided African Americans with visual symbols that aided in the Double V Campaign, rallying Black people to fight for victories abroad against fascism and at home against U.S. racism.</text>
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              <name>Title</name>
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                  <text>&lt;h3&gt;&lt;strong&gt;Freedom Papers: Black Assertions from the Archives&lt;/strong&gt;&lt;/h3&gt;</text>
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                <text>Gold Star Mothers</text>
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                <text>Black Gold Star mothers asserted their citizenship rights by claiming the same military benefits afforded white mothers and widows.  In their photographs of the pilgrimage, Black women brandished the American flag thereby challenging the iconic image of the all-American war mother and nation as white.</text>
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                <text>In 1930, the federal government sponsored a series of segregated trips to Europe for the surviving mothers and widows of WWI soldiers to visit the graves of their fallen loved ones.  Black women responded to the segregated pilgrimage in varied yet self-defining ways.  Some felt insulted by the Jim Crow arrangement and petitioned President Hoover to desegregate their travel.  In a letter drafted by the NAACP and signed by fifty-five Gold Star mothers, they pledged to refuse the trip rather than submit to segregation.&#13;
&#13;
For Black mothers and widows who decided to take the trip often did so in opposition to Black leaders and the Black press.  Their pilgrimage affirmed their right to grieve and define for themselves how to exercise their freedoms as Black mothers and wives.</text>
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                <text>Gold Star Mothers photo, MS. 0617, Box 1, August 16, 1930, Johnny T. Hill Photograph Album, Special Collections, The Johns Hopkins University</text>
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                  <text>&lt;h3&gt;&lt;strong&gt;Freedom Papers: Black Assertions from the Archives&lt;/strong&gt;&lt;/h3&gt;</text>
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              <name>Relation</name>
              <description>A related resource</description>
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                  <text>9</text>
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    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps.  Recommended best practice is to assign the type "text" to images of textual materials.</description>
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                <text>Cinque Revolt</text>
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            <name>Abstract</name>
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                <text>Image was drawn by engraver, John Warner Barber, who visited the Africans imprisoned in New Haven.  Illustration from A History of the Amistad Captives (New Haven, CT, 1839).  E.L. &amp; J.W. Barber</text>
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            <name>Bibliographic Citation</name>
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                <text>Reprint from Library of Congress Prints and Photographs Division.  LC-USZ62-52577</text>
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