Why Were Quilts Used In The Underground Railroad?

When slaves made their escape, they used their memory of the quilts as a mnemonic device to guide them safely along their journey, according to McDaniel. The historians believe the first quilt the seamstress would display had a wrench pattern.

What were secret signals used in the Underground Railroad?

  • Here in the Ohio River valley, the Underground Railroad used a number of different kinds of signals and tokens, some as simple as beating on a copper pot. Each section of the Ohio River from Cincinnati to Louisville developed its own secret system of communication between the slaves and abolitionists in Kentucky and the U.G.R.R. workers in Indiana.

What purpose did quilts serve?

Quilts were made in those early days in America to serve a purpose, to provide warmth at night and to cover doors and windows to help reduce cold. Quilts were functional, with little time for women to create decorative quilts.

What is the significance of barn quilts?

Barn quilts tell stories about individual farms, historical events or communities while also adding visual interest to the countryside and increasing rural tourism.

Did slaves make quilts?

Slaves made quilts for the plantation family, sometimes under the supervision of the plantation mistress, but WPA interviews attest to the prevalence of quiltmaking in the slave quarters for their own use as well. Some slave seamstresses became highly regarded for their skill.

Why did Dee want the quilts What did she plan to do with them?

Why does Dee want the quilts? Dee wants the quilts so she can hang them up in her home and remember her heritage. At the end of the story, the mother “snatched the quilts out of Mrs. Wangero’s hands and dumped them into Maggie’s lap” (8).

Why is a quilt called a quilt?

The word quilt comes from the Latin culcita meaning a stuffed sack, but it came into the English language from the French word cuilte.

Why are barns red?

Hundreds of years ago, many farmers would seal their barns with linseed oil, which is an orange-colored oil derived from the seeds of the flax plant. Rust was plentiful on farms and because it killed fungi and mosses that might grow on barns, and it was very effective as a sealant. It turned the mixture red in color.

Who invented the barn quilt?

1 Origin of the Modern Quilt Square A woman named of Donna Sue started what are now the oversized, brightly colored barn quilt squares appearing on barns throughout the Midwest and East.

What is the origin of the barn quilt?

The concept of barn quilts began with Donna Sue Groves and her wish to honor her mother, Maxine, and her Appalachian heritage by having a painted quilt hung on her barn in Adams County, Ohio. As is often the case, good ideas fall by the wayside when work and other obligations intervene.

Did quilting originate in Africa?

Leon has found that much of the American patchwork quilt tradition may be derived from African designs. Leon further speculates that some patterns that were to become standard in American patchwork quilts originated in African textiles and carried over into African-American quilts.

Why does Dee want the old family quilts?

When Mama offers Dee different quilts, Dee explains she wants the old quilts because of the hand stitching and the pieces of dresses stitched in that Grandma used to wear. Like her new name, she believes the quilts connect her to her heritage, when actually she knows nothing about either.

What do the handmade quilts symbolize in Everyday Use?

It’s kind of a no-brainer to conclude that the quilts in “Everyday Use” symbolize family heritage. They were handmade by the narrator, her sister, and her mother, and they’re comprised of clothing worn by generations of family members.

What makes the quilts valuable to Dee and what makes the quilts valuable to Maggie?

What makes the quilts valuable to Dee, and what makes them valuable to Maggie? Dee calls the quilts priceless, as she recognizes it as her heritage. for Maggie, the quilts are valuable for everyday use. she appreciates that they are the work of grandma Dee and big Dee, who taught her to quilt.

Underground Railroad Quilt Codes: What We Know, What We Believe, and What Inspires Us

While standing with his camera, watching the waves of Lake Erie in northern Ohio, photographer Dawoud Bey had an unusual sensation. His work on a project to reconstruct the history of the Underground Railroad by filming it from the hypothetical perspective of a fleeing enslaved person travelling across the countryside had been well-publicized at the time of his death. Because of the Underground Railroad’s intrinsic secrecy, the majority of its “stations,” also known as safehouses, remained a mystery for many years after their establishments.

A traveler traveling by boat to reach Canada and the freedom it offered could see the final 50 miles of the journey from the shores of Lake Erie.

when I went there, almost strangely, I felt a really powerful presence, unlike anything that I have ever felt in relation to any other portrait,” Bey told reporter Jeffrey Brown in a 2019 PBS News Hour interview: “.

Here’s where you’ll find me in person.” Using a passage from a Langston Hughes poem as inspiration for the dark and subtle images in this series titled Night Coming Tenderly, Black, the photographer researched as much information as he could on the subject and locations that were suspected of being part of the hidden network.

  1. ” In 2017, the San Francisco Museum of Modern Art acquired Untitled25 (Lake Erie and Sky) from the seriesNight Coming Tenderly, Black, as part of the museum’s Accessions Committee Fund.
  2. The image src is Dawoud Bey, Untitled25, and the height is auto.
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  4. The following is a quote by Dawoud Bey: In Cleveland and Hudson, Ohio, the photographer discovered certain homes that were defined as “stations” and declared as landmarks, such as the tannery founded in 1825 by abolitionist John Brown, who was born in Cleveland.
  5. More than an exact documentation, he was more concerned with reproducing an experience.
  6. That there isn’t a single human being in any of the photographs makes them all the more astounding.

the width=”auto” the height=”auto” the height in pixels=”the height in pixels in pixels in pixels in height in pixels in pixels in height in pixels in height in pixels in height in height in pixels in height in height in pixels in height” In the seriesNight Coming Tenderly, Black,2017, Dawoud Bey created Untitled12 (The Marsh).

  1. But, at the High Art Museum in Atlanta, where Dawoud Bey: An American Project will be on display until March 14, 2021, all of these pieces will be displayed together in a retrospective exhibition.
  2. In the case of Night Coming Tenderly, Black, it might be the unseen that is at work.
  3. “The experience is perceived and experienced via their eyes.” The artist photographed the photographs at eye level or low to the ground in order to portray the impression of travelling across the terrain under the cover of night, as well as the threat of danger.
  4. An intimate look into the depths of the night According to Bey in a 2020 video for the San Francisco Museum of Modern Art, “History is the subject that I am most fascinated with in my work.” What is the best way to recreate and depict African-American history?

“auto width width=”auto” height=”auto” Article Image ID: 81102 data-article-image-id=”undefined” data-full-size image=” data-kind=”article-image” id=”article-image” data-src=” src=” data-full-size image=” data-kind=”article-image” data-full-size image=” In the seriesNight Coming Tenderly, Black, 2017, Dawoud Bey created Untitled14 (Site of John Brown’s Tannery).

“It is hoped that by inviting us to imagine and empathize with the experience of the many individuals who bravely sought their freedom along the Underground Railroad at great peril to their own lives, we will be reminded of the evil roots of racism in this country, the ongoing struggles for justice and equality in the United States, and the many Black Americans who continue to navigate spaces that are hostile or threatening to them,” says Sarah Kennel, the Donald and Marilyn Keou Professor of History at the High.

Landscape elements such as trees, fences, houses, thickets, swamps, borders, and bodies of water are invited to be scrutinized carefully and slowly in these photographs.

The enticing blackness that surrounds us as we travel down the route laid out by these photographs embraces us in a loving hug, one that is full of love and possibilities.” In 2017, the San Francisco Museum of Modern Art acquired Untitled17 (Forest) from the series Night Coming Tenderly, Black, as part of the museum’s Accessions Committee Fund.

The following is a quote by Dawoud Bey:

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Quilts of the Underground Railroad – Wikipedia

Describes a contentious concept that quilts were used to relay information to African slaves about how they may escape to freedom via the Underground Railroad, as described in Quilts of the Underground Railroad. A lot of historians have expressed their disagreement with this claim.

Books that emphasize quilt use

In her book, Stitched from the Soul (1990), Gladys-Marie Fry asserted that quilts were used to communicate safe houses and other information about the Underground Railroad, which was a network of “conductors,” meeting places, and safe houses that ran through the United States and into Canada, facilitating the emancipation of African Americans from slavery and into freedom. Historiologists, on the other hand, are divided on whether quilts and songs were used to spread information about the Underground Railroad.

Ozella McDaniel Williams provided the inspiration for the book, telling Tobin that her family had handed down a narrative for centuries about how quilt designs such as wagon wheels, log homes, and wrenches were used to help slaves travel the Underground Railroad.

It began with a monkey wrench, which signified the need to gather all of the essential goods and equipment, and concluded with a star, which signified the need to travel north.

Tobin noted in a 2007 Time magazine article: “It’s distressing to be attacked while also being denied the opportunity to commemorate this remarkable oral history of one family’s experience.” I have no clue whether or not it is totally valid, but it seems sense given the quantity of research we conducted.” “I believe there has been a tremendous lot of misunderstanding concerning the code,” Dobard stated.

When Jackie and I wrote the book, we set out to suggest that it was a collection of directions.

“In Africa, there is a long-standing history of secret organizations controlling the coding of information.

In order to acquire the deeper meaning of symbols, you must first demonstrate your merit of knowing these higher meanings by not disclosing them to others,” she explained. The foreword of Hidden in Plain View was written by Wahlman.


Giles Wright, a specialist on the Underground Railroad, claims that the book is based on legend that has not been corroborated by any reliable sources. He also stated that there are no quilting codes mentioned in any memoirs, diaries, or Works Progress Administration interviews done in the 1930s with ex-slaves that have been discovered. Quilt historians Kris Driessen, Barbara Brackman, and Kimberly Wulfert do not subscribe to the premise that quilts were used to transmit messages about the Underground Railroad, as claimed by certain historians.

  1. Well-known historians did not feel that the idea was correct and could not see any relationship between Douglass and this viewpoint.
  2. Blight “At some time, the true stories of fugitive slave escape, as well as the far bigger story of those slaves who were never able to flee, must take precedence over fiction as a primary focus of educational endeavors.
  3. Despite this, there are museums, schools, and other organizations who think the narrative is factual.
  4. Using the quilts as an example, he compares the code to the phrase in ” Swing Low, Sweet Chariot,” in which slaves intended fleeing but their owners believed they were going to die.

See also

  • Cecelia Pedescleaux is a quilt scholar and quilter who specializes on the Underground Railroad.


  1. Celeste-Marie Bernier and Hannah Durkin are two of the most talented people in the world (2016). Across the African Diaspora, artists have created artworks that depict slavery. pp. 76–77, published by Oxford University Press. Jacqueline L. Tobin and Raymond G. Dobard (ISBN 978-1-78138-267-7) are the authors (1999). Quilts and the Underground Railroad have a secret history that has been kept hidden in plain sight. Doubleday Publishing Company, New York, N.Y., ISBN 0-385-49137-9
  2. Abc Stacie Stukin is a woman who lives in the United States (2007-04-03). “Unraveling the Myth of Quilts and the Underground Railroad” is a book on quilts and the Underground Railroad. TIME. The original version of this article was published on April 29, 2007. Obtainable on January 23, 2013
  3. Abcdef Noam Cohen is a writer and musician from New York City (January 23, 2007). Douglass Tribute is a work in which Slave Folklore and Fact collide. The New York Times is a newspaper published in New York City. ISSN0362-4331. Donna Lagoy and Laura Seldman (Donna Lagoy and Laura Seldman, eds) (September 5, 2016). Chester, New York, was a stop on the Underground Railroad in the Adirondacks. p. 128. ISBN 978-1-62585-701-9
  4. Reynolds, Glenn (2007). “quilts.” Arcadia Publishing Incorporated. p. 128. ISBN 978-1-62585-701-9
  5. Reynolds, Glenn (2007). “quilts.” According to Junius P. Rodriguez (ed.). The Slave Resistance and Rebellion Encyclopedia is a resource for those interested in the history of slave resistance and rebellion. Pages 407–409 in Greenwood Publishing Group’s book. 978-0-313-33273-9
  6. Abcd
  7. ISBN 978-0-313-33273-9 Andrew Bartholomew is a writer and poet (February 1, 2007). “Prof. Douglass debunks the Douglass myth.” The Yale Daily News is a daily newspaper published by Yale University. Donna Lagoy and Laura Seldman (Donna Lagoy and Laura Seldman, 2017)
  8. Retrieved on March 19, 2017. (September 5, 2016). Chester, New York, was a stop on the Underground Railroad in the Adirondacks. Publisher: Arcadia Publishing Incorporated, p. 127, ISBN: 978-1-62585-701-9
  9. ISBN: 978-1-62585-701-9 Barbara Brackman is a writer and editor who lives in New York City (November 5, 2010). FactsFabrications-Unraveling the History of QuiltsSlavery: 8 Projects – 20 Blocks – First-Person AccountsFactsFabrications-Unraveling the History of QuiltsSlavery: 8 Projects – 20 Blocks – First-Person Accounts C T Publishing Inc., p. 7, ISBN 978-1-60705-386-6
  10. AbFergus M. Bordewich, p. 7, ISBN 978-1-60705-386-6
  11. (February 2, 2007). “History’s Tangled Threads” (History’s Tangled Threads). The New York Times is a newspaper published in New York City. ISSN0362-4331. 30 April 2012
  12. Retrieved 30 April 2012
  13. Diane Cole is a woman who works in the fashion industry (2012). “Were Quilts Used as Underground Railroad Maps? – US News and World Report” (Were Quilts Used as Underground Railroad Maps?) usnews.com. 30th of April, 2012
  14. Retrieved


  • Brackman, Barbara (1997)Quilts from the Civil War: Nine Projects, Historic Notes, and Diary Entries, ISBN1-57120-033-9
  • Burns, Eleanor
  • Sue Bouchard (1997)Quilts from the Civil War: Nine Projects, Historic Notes, and Diary Entries, ISBN1-57120-033-9 (2003). The Underground Railroad Sampler is a collection of short stories about the Underground Railroad. Isbn 978-1-891776-13-7
  • Cord, Xenia (Quilt in a Day) (March 2006). “The Underground Railroad” is a term that refers to a network of tunnels and passageways that connect cities to the rest of the world. Patchwork is really popular right now.14 (3). Fellner, Leigh (2010) “Betsy Ross redux: The quilt code.”
  • Frazier, Harriet C. (2012) “Betsy Ross redux: The quilt code” (1 July 2004). Runaway and freed Missouri slaves, as well as those who assisted them, were documented between 1763 and 1865. McFarland & Company, Inc., p. 168. ISBN 978-0-7864-1829-9. Rice, Kym S., et al., eds., retrieved on April 30, 2012. (2011). 978-0-313-34944-7 (World of a Slave: A-I). ABC-CLIO, p. 390. ISBN 978-0-313-34944-7 (World of a Slave: A-I). Turner, Patricia A., et al., eds., retrieved 30 April 2012. (2009). The book Crafted Lives: Stories and Studies of African American Quilters by Shelley Zegart is available on Amazon (2008) Shelley Zegart debunks the myth of the African American Quilt Scholarship and the technique behind it. Pages 48–56 in Selvedge, (ISSN 1742-254X) Issue 21 (Jan/Feb 2008), published by the University of California Press.

Were Quilts Used as Underground Railroad Maps?

Fact, fiction, legend, or a mix of all three: that is the question. Possibly, fugitive slaves looked to handcrafted quilts deliberately placed by members of the Underground Railroad for hints about their whereabouts. This continuing issue made headlines earlier this year when it was announced that a memorial to Frederick Douglass in New York City’s Central Park will feature two inscriptions relating to the code. Historians were outraged, and they were outspoken. According to Giles Wright, head of the Afro-American History Program at the New Jersey Historical Commission, there is no evidence for such a code to be in existence.

  1. The tale of the quilt key, on the other hand, remains firmly above ground.
  2. Tobin and Raymond G.
  3. The account, according to historians, came from a single source: Ozella McDaniel Williams, a retired educator and quilt maker from Charleston, South Carolina.
  4. She said that instructions for assisting fleeing slaves on their path to freedom were hidden inside 12 quilt patterns.
  5. In spite of the fact that Williams passed away just a few months before the book was released, Williams’s 73-year-old niece Serena Wilson of Columbus, Ohio, claims that she too learnt about the secret maps from her mother.
  6. Misinterpret.
  7. Bordewich, author of Bound for Canaan: The Underground Railroad and the Battle for the Soul of America, there is no other reference for the code other than that of the Bordewich family.
  8. “There is no reference anywhere by anyone, black or white, of any quilt being used at any time.” In addition, no coded quilts from the time period have survived.
  9. However, according to Brackman, some of the patterns that are alleged to be part of the Underground Railroad code did not exist until after the Civil War, while others did not exist until after the Civil War.
  10. Many of the elements that have been attributed to the story—such as the use of quilts to mark safe homes along the way—”simply aren’t in the book,” she claims.

As Tobin points out, “we’re not talking about hundreds or thousands of people who are utilizing this code.” “The plot has developed in unexpected ways that we did not anticipate.”

Fact or Fiction: Were Quilts Used As Secret Codes for Slaves on the Underground Railroad?

The symbols that are employed in quilting have a convoluted or unknown background, which makes them very interesting. They are now recognized as the designs that distinguish antique quilts as unusual and one-of-a-kind. However, there are many who have long assumed that the symbols employed in quilts of the South during slavery were really utilized as secret signals for slaves fleeing on the Underground Railroad, and they are correct in their assumption. The majority of specialists now wonder whether this truly occurred.

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courtesy of the Library of Congress

The Underground Railroad

An underground railroad network of abolitionists – both black and white – who assisted enslaved people in their attempts to escape through a network of safe homes and shelters was known as the Underground Railroad (UR). The Underground Railroad was backed by two major religious groups, the Quakers and the African Methodist Episcopal Church, from its inception in the late 1700s and continuing until the passage of the first of the Fugitive Slave Acts in 1793, when it was established. The Underground Railroad, as depicted in an 1893 picture, may have looked somewhat like this.

What if the most unobtrusive method to accomplish this goal was to hang a quilt out on the line?

The Quilt Code

When it comes to slavery, the Underground Railroad was an informal network of anti-slavery activists (both black and white) who assisted slaves in their attempts to escape through a system of safe homes and shelters. The Underground Railroad was backed by two major religious groups, the Quakers and the African Methodist Episcopal Church, from its inception in the late 1700s and continuing until the passage of the first of the Fugitive Slave Acts in 1793. The Underground Railroad, as seen in this 1893 picture, was a means of emancipation from slavery.

Because the Underground Railroad operated until the conclusion of the Civil War, there were decades in opportunity to establish subtle codes and symbols that may have been beneficial.

In no way, shape, or form

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The Underground Railroad was a network of abolitionists – both black and white – who assisted enslaved people in escaping from their captors through a network of safe homes and other refuges. The Underground Railroad was backed by two major religious groups, the Quakers and the African Methodist Episcopal Church, from as early as the late 1700s and continuing after the passage of the first of the Fugitive Slave Acts in 1793. The Underground Railroad as seen in an 1893 picture. Image courtesy of Wikimedia Commons Because the Underground Railroad operated until the conclusion of the Civil War, there were decades in opportunity to establish subtle codes and symbols that may have been useful.

What if the most unobtrusive method to accomplish this goal was to simply put a blanket on the line? Without a doubt, no.

Underground Railroad Quilts Contained Codes That Led To Freedom

Each patch has a set of instructions sewn on it. Others were there to restock supplies, some were there to track bear prints, and some were there to take diversions. A presentation of the Underground Quilts by the Riley Center Quilters was held on Tuesday evening at the Birmingham Public Library Central Branch. Others quilts were enormous, some were little; some were completed, some were not; but all included instructions on how to emancipate oneself from the bonds of servitude. Daphne Simmons, a member of the Riley Center Quilters, explained that quilts were utilized as codes since they were the only method of communication available.

  • “There was a code, an unwritten code.
  • Simmons went into detail about the significance of each patch on her quilt.
  • It was written on the quilt, “This block contains an alternating route of dark and light that denotes direction,” and that specific quilt instructed slaves in which direction they should move: north, south, east, or west.
  • “It’s a tool in the same way that a genuine monkey wrench is,” Simmons explained.
  • This patch represented the period of time during which they would need to gather the tools they would use on their trip north to freedom.
  • The capacity to determine the intents of strangers, according to Simmons, comes from “knowledge and experience.” She spoke into detail about the block with the wagon wheel.
  • As a result of the restricted weight and space available, they had to carry things that were vital for survival.
  • It was pointed out by Simmons that the spiritual “Swing Low, Sweet Chariot” made reference to a wagon wheel.

According to her, it is a “secondary coding pattern.” “The song was generally chanted in conjunction with that block because plantation owners believed that slaves were singing about joining Jesus in Heaven.” They were in fact transmitting a secret message.” She explained that they were supposed to follow the carpenter’s wheel to the northwest.

  • In order to avoid being eaten by a bear, “you would follow their paws and their trail.
  • According to her, “following those bear paws, they’ll also be guided to food and water.” “Animals will lead you in the right direction.” Basket A basket indicated that the runaways would resupply their provisions at a secure location.
  • A major crossroads occurred in the city of Cleveland, Ohio, as Simmons explained.
  • I’m traveling to see someone in another city and rely on Google Maps to get there.
  • Running away to a shoofly for clothes is something that may happen.
  • “There would be sailors on hand to assist you in across the river and entering Canada, where the North Star (the next block away) would shine brightly with your independence,” says the author.
  • “There were some northern states that empathized with slaves, and there were some northern states who were opposed to it,” she explained.
  • Lesson in Learning Many people, including Miriam Omura, who was in attendance, found this seminar to be a valuable learning experience.
  • She gained a better understanding of the symbols that were utilized on the Underground Railroad.
  • “It was nice to learn about even more of the ones I was unaware of,” says the author.
  • “It makes me want to create one,” Gross expressed interest in doing so.

“I’m still new at quilting; I’ve only been doing it for about nine months. I’ve only made one so far, and I’m now working on my second. In this experience, I learnt something that I don’t believe I would have learned otherwise,” Gross added.

Underground Railroad Quilts

Instructions were stitched on each patch. A few were there to restock supplies, some were there to track bear prints, and still others were there to take diversions. A presentation of the Underground Quilts by the Riley Center Quilters was held on Tuesday night at the Birmingham Public Library Central Branch. Others quilts were enormous, some were little; some were completed, some were not; but all included instructions on how to emancipate one’s self from the bonds of servitude. Members of the Riley Center Quilters, including Daphne Simmons, explained that quilts were used as codes since it was the only form of communication available.

  1. In the past, there was a secret code, an unwritten code.
  2. During her quilt demonstration, Simmons explained what each patch represented.
  3. This meant that runaways would have to obtain supplies for their voyage as a result of the second obstacle, which was a monkey wrench.
  4. Their physical needs included shelter, methods for defending oneself, and equipment for knowing their whereabouts.
  5. The capacity to determine the intents of strangers is something Simmons claims to have.
  6. According to her, “wagons with secret compartments were one of the principal modes of transportation for escaping runaways.” As though they were loading a wagon, it sent the message that they should prepare for their voyage.
  7. they couldn’t bring everything, but they needed just enough to ensure their own existence.

According to her, the carpenter’s wheel, the next block, was essential in spiritual training since it provided guidance “through Jesus.” According to her, it is a secondary coding pattern.

Their route would be northwest, she said, in accordance with the carpenter’s wheel.

Paw of the Bear The bear’s paw was the next obstacle, which required a trek into the woods to overcome it.

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You must also be cautious and keep an eye out for bears.

“They’ll be guided to food and water by those bear paws,” she explained.

It was these places where they might spend the night that she described as “safehouses.” “People were safe havens where they might stay till they resumed on their quest.” CrossroadsThe presence of a crossroads indicated the presence of a city where they may seek protection or shelter.

Four or five overland pathways connected Cleveland, as well as multiple water routes crossing Lake Erie into Canada and the United States of America.” It’s amazing to me that these individuals did not have a map in their hands when they set out on their journey.

“We’ve gone a long way since we first started together.” “Log Cabin” with a black block on the door signified a safehouse where people may seek safety and sanctuary, according to her.

In order to fit in with the garments given by the next patch, “they would assist you in dressing to blend in,” Simmons explained.

It is possible that there would be sailors there to assist you in crossing the river and entering Canada, where the North Star (the following block) will shine brightly with your independence.

‘There were some northern states that empathized with slaves, but there were also other northern states who were opposed to it,’ she explained.

People were penalized and forced to turn fugitive slaves back in under the terms of the legislation, which was put into the constitution.

‘Because I’m a weaver and a textile artist, I was more interested in understanding more about the quilts and their project,’ she explained.

“I was aware of a few of them, but I had no idea how many there were,” she added.

According to Gross, “I’m compelled to build one.” My quilting experience is still in its early stages; I’ve only been doing it for approximately nine months. Currently working on my second, which is my first. As Gross put it, “I learnt something I don’t believe I would have discovered otherwise.”

Underground Railroad Quilts & Quilting for Abolitionist Fairs

A war does not begin with the firing of the first shot. A year’s worth of events build up to it, and another year’s worth of rehabilitation follows. In other words, when we think of the Civil War era, we are thinking about several years of sewing. The narrative of Civil War quilting is a blend of historical fact and urban legend. Despite the fact that the oral tradition does not always provide us with completely precise facts, it frequently represents a broader reality of our pride in our nation and our hopes for its future.

  • An embroidered Log Cabin quilt hanging in a window, with a black center for the chimney hole, was thought to denote the presence of a safe haven.
  • Imagining ladies covertly stitching fabric pieces together in order to be used as signals is a fun exercise.
  • However, these legends have been passed down from generation to generation, inspiring thoughts of quilting as a part of the struggle for independence in our minds.
  • For example, Barbara Brackman explains in her essay on the Underground Railroad block: “As a quiltmaker, I’ve always admired the design and the subtle meanings included within the name.
  • Names of Block Patterns from the American Civil War On special block patterns with titles like Lincoln’s Platform, Sherman’s March, Birds in the Air and Evening Star, the boundary between fact and fiction is even more blurred than it is on general block patterns.
  • It’s possible that the Log Cabin gained popularity following the death of Abraham Lincoln.
  • Perhaps many of these popular blocks were indeed created and named in commemoration of the Civil War and the abolition of slavery, as some have suggested.

One thing we can be positive of is that women in the northern hemisphere constructed quilts, stitching messages on them that warned people about the dangers of slavery.

An antislavery poem was engraved on one of them, and the following is an excerpt from it.

They have held a number of handcraft fairs throughout the years in order to earn funds for their cause and to keep it in the public spotlight.

“The first Anti-Slavery Fair was held in Boston in 1834, and it was so successful that the idea spread to other cities and towns throughout New England, and then to other states, such as Ohio and Pennsylvania,” says the author.

These groups disseminated petitions, provided schools for black children, and gathered funds for causes that were important to their members.

As stated in the article, “We have been informed that the colored women of Salem, in particular, ought to be thanked for their interest in the Fair and for the products they sent.” 5 In the years preceding up to the Civil War, these abolitionist movements had a significant impact on public opinion.

Judy Anne Breneman is a woman who lives in the United States.

Quilts and the Underground Railroad, by Barbara Brackman, is number two on the list.

Pat Ferrero, Elaine Hedges, and Julie Silber’s “Hearts and Hands: The Influence of WomenQuilts on American Society” (page 72) is a book about the influence of women quilts on American society.

Laurel Horton’s “Quiltmaking in America: Beyond the Myths” is a book about quiltmaking in America (Editor) Websites: “History of the Underground Railroad Quilt Pattern” and “History of the Underground Railroad Quilt Pattern” “The Myth of the Underground Railroad Quilt” You’ve arrived at a page with various instructive articles about the Underground Railroad as well as about quilts.

Underground Railroad Quilt

I recently discovered about the Underground Railroad Quilt, which is a fable or myth about how quilts were used to communicate with escaping slaves during the Underground Railroad era. Now, I’m not a quilter because I’m just too impatient. But I adore riddles and patterns, and I’m fascinated by how quilters transform bits of fabric into pieces of art using their imaginations, their hands, and their patience. In addition, quilts with hidden codes embroidered into them are quite interesting. Here’s a quick rundown of the past: Before the Civil War, the Underground Railroad was a network of liberated slaves and abolitionists who worked together to provide slaves with hidden passageways, safe houses, and food as they made their way north to free states and Canadian territory.

  • The act of teaching slaves how to read or write was also prohibited by law, making communication difficult and perhaps dangerous.
  • Stories and songs told around a campfire at night were coded messages intended to educate them the symbols they would encounter on the path ahead of them.
  • American-Historama.org (Click on the image to be taken to the source) Monkey Wrench – Collect the items you’ll need to travel, create a shelter, and protect yourself in the wilderness.
  • Crossroads– This symbol represented Cleveland, Ohio, a place where various paths lead to liberty.
  • Change out of your slave garments and into your freedmen’s attire.
  • North Star – Pay attention to the North Star.
  • Is it true or false?

The achievements of the Underground Railroad are nothing short of astounding.

Their efforts were impeded by rules that made it unlawful to aid fugitive slaves in their pursuit of freedom.

They put their livelihoods and, in some cases, their lives at stake.

Slave yet free at the same time.

There are two classes of people: the rich and the poor.

They provided slaves with the TOOLS they need in order to live.

They offered SAFE HOUSES as well as SUPPORT during the journey.

Today, we are confronted with a different, but no less destructive, form of slavery.

Slavery is against the law.

It is remarkable to reflect on the progress made in the movement to eradicate human trafficking, protect the vulnerable, and provide support to victims and survivors since the historic passage of Proposition 35/CASE Act, which was proposed by California Against Slavery and the Safer California Foundation in 2012.

And, most recently, the state budget included a recurring $10 million allocation for human trafficking services and support programs.

Dedicated public servants and committed service providers are working together in counties, cities, and communities across our state to provide public awareness campaigns, housing, transitional living support, health services, counseling, education, and legal assistance, as well as to expand services to underserved populations.

Let’s take a look back at the lessons learned in the past.

Work in a collaborative environment.

Follow in the footsteps of the survivors.

Provide life skills and education to those who need it.

Be fearless and forward-thinking.

and how to get in touch with them. This is a resource that is alive and breathing. We know that some of you may have been overlooked; thus, please submit your organizationshere. I’m honored to serve beside you. Ginger Shaw is a woman who works in the fashion industry.

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