A Curriculum Guide
About Enslavement and
Resistance in Colonial New York
Version 2
Historic Hudson Valley
http://www.hudsonvalley.org
The Center for Arts Education
http://www.cae-nyc.org
©Historic Hudson Valley, August 2015
RUNAWAY ART: Interpreting Colonial Slave Ads
RUNAWAY ART: Interpreting Colonial Slave Ads
Table of Contents
INTRODUCTION
ABOUT THE PROJECT
ABOUT THIS CURRICULUM
CURRICULUM OVERVIEW
RUNAWAY ART CURRICULUM MAP
GLOSSARY
UNIT PLANS
UNIT 1: PEOPLE AS PROPERTY
UNIT 2: RESISTANCE TO COLONIAL ENSLAVEMENT
UNIT 3: TELLING THEIR STORIES
UNIT 4: CREATION, PRESENTATION AND REFLECTION
5-16
5
6
12
14
16
17-74
17
36
51
61
APPENDICES
75-88
APPENDIX A: HISTORICAL DOCUMENTS
ADOLPH PHILIPSE PROBATE INVENTORY
ADOLPH PHILIPSE PROBATE INVENTORY TRANSCRIPT
BILL OF SALE
BILL OF SALE TRANSCRIPT
RUNAWAY SLAVE ADVERTISEMENTS
TENANT SLAVE CENSUS TRANSCRIPT
VENDUE AD 1750
VENDUE AD 1750 TRANSCRIPT
76-88
76
77
78
80
73
86
87
88
APPENDIX B: WORKSHEETS
89-128
WORKSHEETS UNIT 1
ANALYZING THE ADOLPHE PHILIPSE PROBATE INVENTORY
DOCUMENT REFLECTION
IMAGINING COLONIAL NEW YORK
INTRODUCTION TO RUNAWAY ART REFLECTION
INVESTIGATE PRIMARY SOURCE DOCUMENTS
OVERMANTEL DRAWING AND REFLECTION
PHILIPSBURG MANOR REFLECTION
SKETCHING FACES REFLECTION
TEXT ANALYSIS
WHAT’S IN A NAME REFLECTION
WRITING THE LION’S STORY REFLECTION
89
93
94
95
96
100
101
102
103
104
105
WORKSHEETS UNIT 2
ANALYZING RUNAWAY SLAVE ADS
DEFINING RESISTANCE
METHODS OF RESISTANCE
ONE-MINUTE BRAINSTORMS
RUNNING FOR FREEDOM REFLECTION
SIGNS OF RESISTANCE
106
110
111
112
113
114
WORKSHEETS UNIT 3
CREATIVE WRITING
115
RUNAWAY ART: Interpreting Colonial Slave Ads
SELECTING A RUNAWAY SLAVE AD
TELLING THEIR STORIES
116
117
WORKSHEETS UNIT 4
ART INTERPRETATION
BEGINNING TO CREATE
COMMENT CARD
EXPLORING WORKS OF ART REFLECTION
EXPLORING WORKS OF ART
REFLECTION ON YOUR WORK OF ART
118
119
120
122
123
127
APPENDIX C: HANDOUTS
READING BETWEEN THE LINES: UNDERSTANDING RUNAWAY ADVERTISEMENTS AND ENSLAVEMENT
IN THE COLONIAL NORTH – AN INTRODUCTORY ESSAY FOR STUDENTS
THE STORY OF PHILIPSBURG MANOR, UPPER MILLS
THE STORY OF PHILIPSBURG MANOR, UPPER MILLS, TEXT CARDS
129-149
APPENDIX D: ASSESSMENTS
CREATIVE ART RUBRIC
FINAL PRESENTATION RUBRIC
HISTORICAL CONTENT QUIZ
RUNAWAY ART BOOK RUBRIC
150-154
150
151
152
154
APPENDIX E: ART IMAGES
RUNAWAY WOODBLOCK PRINTS
VAN BERGEN OVERMANTEL
155-160
155
157
129
134
140
RUNAWAY ART: Interpreting Colonial Slave Ads
About the Project
Project Overview
Runaway Art: Interpreting Colonial Slave Ads is a collaborative project of Historic Hudson Valley (HHV) and The
Center for Arts Education (CAE). This curriculum guide is part of a larger project designed to teach about northern
colonial enslavement and resistance. Participating teachers will engage in professional development workshops to
support implementation of the four units included in this guide. Additionally, teaching artists will be available to
provide ongoing classroom support with the creative art components of the lessons.
The lessons lead towards a culminating project to interpret a historic runaway slave ad. Students will select an
advertisement, create a two- or three-dimensional work of art to represent the ad, and then write a reflection
statement that describes the work of art and the process of analyzing the slave advertisement.
Project Resources
The following website contains all the resources available to support implementation of this curriculum:
Runaway Art Teachers Resource Page: http://www.hudsonvalley.org/education/runaway-art
Online portal containing links to individual lesson plans, appendices, and supporting primary and secondary
materials; professional development materials; films and media; and an exhibition of student artwork. Here,
teachers can also find a link to the online discussion forum, the student works submission page, and the
project’s Facebook page.
About Historic Hudson Valley and Philipsburg Manor
Historic Hudson Valley (HHV) is a museum of historic sites – buildings, landscapes, and objects – that celebrates
the history, architecture, landscape, and culture of the Hudson Valley region of New York State. Educational
programs research, interpret, and promote the historical and artistic significance of the region to the public.
Philipsburg Manor is one of six National Historic Landmark sites where HHV welcomes visitors. Throughout the
18th century, Philipsburg Manor was a thriving farming, milling, and trading center owned by the Philipses, a
family of Anglo-Dutch merchants. The site serves as a living history museum set in the 1750s to tell the story of
colonial life in New York State. During this period in history, the land was rented to tenant farmers of diverse
European backgrounds and relied on a community of 23 enslaved Africans to operate the complex. Museum
programs invite visitors to participate in hands-on activities, related to 18th-century colonial life, such as food
preparation, textile production, and medicinal practices. The stories of Philipsburg Manor's inhabitants tell the
riveting yet little-known history of enslavement in the colonial North.
About The Center for Arts Education
The Center for Arts Education (CAE) offers a variety of programs for students, families, teachers, and school
leaders during and after school. Teaching and learning is an integral part of CAE’s mission to ensure that New York
City public school students have quality arts learning as an essential part of their K-12 education. Artist residencies
and professional development sessions are designed to address the Common Core Learning Standards and are
tailored to accommodate each school’s goals and resources. Many programs include field trips to museums and
live school performances by professional musicians, actors, and dancers.
RUNAWAY ART: Interpreting Colonial Slave Ads
About This Curriculum
Learning History Through Art
This standards-aligned curriculum engages students in the creative practices of art making as an essential way to
process knowledge. The activities in this guide encourage reflection and skill development to enable critical
thinking, thoughtful discussion, writing, and art making that reflects deep understanding of issues related to the
study of American slavery. As a culminating project, students will create two- or three-dimensional works of art
inspired by 18th-century runaway slave ads from local newspapers and accompanying reflection statements that
explore this painful part of our nation’s history.
Curriculum Overview
This curriculum addresses the need for more teaching and learning about the history of northern slavery and the
many acts of resistance taken by enslaved individuals in defiance of this institution. Slavery is well understood as
an economic factor that led to the Civil War, which pitted northern against southern states. However, less is
known about the colonial years in America, when slavery thrived in every American colony.
During the 18th century, runaway slave advertisements were published in nearly every newspaper produced
throughout the colonies. As primary source documents, these ads indicate the size and scope of colonial
enslavement in the North. They also provide evidence of ongoing, active resistance by individuals against the
institution of slavery. Runaway slave advertisements form the basis of this curriculum, Runaway Art: Interpreting
Colonial Slave Ads. The runaway slave ads allude to the complex lives of enslaved Africans who struggled to
maintain a sense of personal identity, family, work life, and aspirations for hope and freedom amidst this violent
form of oppression.
While this curriculum refers to the historical name for these documents called “slave ads,” the terms “slaves” and
“masters” are insufficient. These words only represent the perspective of the people who declared themselves
“masters”, and define those who were enslaved solely according to the condition of their exploitation. This
curriculum often uses the term “enslaved Africans” or “African captive” to serve as a reminder of their cultural
origins. The lessons throughout this curriculum asks that students and teachers attempt to identify people by the
characteristics that made them human – their names, occupations, cultural identities or family relationships.
Curriculum Goals
The four units in this guide are designed to engage middle school students in interdisciplinary study of this period
of history through Social Studies and English Language Arts through the Arts. Activities across 18 lessons
encourage in-depth study of primary source documents to supplement curricula that teaches about U.S. slavery.
This guide also invites uncomfortable discussions about the impossibility of freedom in the context of a society that
allowed for such inhumane conditions. Students will grapple with the harsh realities of slavery and understand the
forms of resistance through the imagined life of those depicted in historic runaway slave advertisements. In doing
so, students will also confront the complex realities of our present-day society and the continued patterns of
injustice and inequality aligned to demographics of race and ethnicity.
RUNAWAY ART: Interpreting Colonial Slave Ads
Guiding Principles
The following principles and goals guide this curriculum:
1. Enable historical learning through the use of primary documents as a tool for critical thinking and
reflection.
2. Stimulate knowledge development, the understanding of history, and self-expression through the creation
of artwork and related commentary.
3. Build empathy for historical figures, specifically those who have been underrepresented in the telling of
history.
4. Support standards-based teaching and learning in social studies, literacy, and the arts.
Core Learning Strategies
The arts are an effective approach to bring American history to life and make it relevant and relatable to students.
In this curriculum, students interpret colonial-era runaway slave ads through in-depth study of primary source
documents and then integrate and express meaning across content areas. They synthesize their ideas,
experiences, feelings, and beliefs through the creation of original artwork and reflective writing. As a result,
students who engage with this curriculum will develop deep and unique insights as they grapple with complex
ideas about history, culture, and society in the colonial North.
Four Core Learning Strategies are essential to each of the unit plans in the Runaway Art curriculum:
Core Strategy #1: Read and Describe
Primary documents provide important information about the past. Students will practice close reading to uncover
details and present those as evidence of an informed point of view on historical knowledge. Discussion and writing
provide opportunities to demonstrate understanding of the information provided.
Core Strategy #2: Analyze and Contextualize
A variety of materials are included to analyze the perspectives offered. Students will interpret information from
multiple primary and secondary sources, compare and contrast documents to reveal omissions or raise questions,
and gather information to further support or refute the perspectives presented.
Core Strategy #3: Critique and Humanize
Critical discussion encourages students to process insights based on their personal reaction to information. Critical
questioning of issues asks that we complicate the surface description and analysis of materials and raise questions
about the consequences of the examination. This makes space for emotional responses that are an essential
aspect of developing historical consciousness. In this way, students begin to apply what they learn to other
questions about society and culture that are related to the themes and issues raised.
Core Strategy #4: Reflect and Communicate
Regular opportunities for written and artistic reflection are encouraged to promote deep and careful thinking
about the issues raised. Personal reflection allows for the uncomfortable and perplexing aspects of the content to
be prioritized and not avoided. Students develop the habit of collecting these thoughts and ideas and
communicating them to others through writing, verbal discussion, and art making. They come to see individual
reflection as an essential practice that informs the collective development of knowledge.
RUNAWAY ART: Interpreting Colonial Slave Ads
Assessments
Assessment in this curriculum centers on four key final products. By the end of the curriculum, each student will
create and be graded on the following:
1.
2.
3.
4.
Project notebook to collect all written and artistic reflection
Culminating work of art based on a runaway slave ad
Reflection essay about the art work and process of its creation
Presentation to share final work and reflections
Project Notebook: The Runaway Art Book
The Runaway Art Book is designed as a combined notebook, sketchbook and portfolio where students will record
written and artistic responses to prompts, and collect worksheets, handouts, and other resources provided in each
lesson. The final Runaway Art Book will demonstrate new knowledge, skills, or vocabulary learned in activities, as
well as critical and creative reflection on the historical themes raised by the primary source documents. Examples
of materials to be included in the book are as follows:






Notes from class lectures
Reflections on primary source documents and articles
Essays and draft versions of student writing
Sketches and draft versions of student art work
Completed worksheets (Sample worksheets are provided for some lessons.)
Photographs or videos to document class work
Format: The Runaway Art Book is an active space that functions as both a daily journal and cumulative portfolio.
Reflection prompts are included at the end of every lesson and students begin noting reflections and sketching at
the start of the project, and refer back to previous entries during each subsequent lesson. It is important that
students have access to prior work and resource materials to inform each new activity. The Runaway Art Book may
take several formats:
Notebook – a physical book with divided sections for writing and drawing, or two books including a ruled
notebook and a sketchbook. Handouts, worksheets, and other documents can be pasted or stapled into the
pages of the book.
Binder or Folder – a simple folder for holding writing, artwork and handouts. This works best if writing and
artistic prompts will be distributed as worksheets or written on loose-leaf paper to be collected and graded.
Blog - an online collection of writing, artwork, and scans of handouts, worksheets, and documents. This works
best if the Runaway Art Book will be maintained digitally as an electronic document.
Final Work of Art
As a culminating project, students will create a two or three-dimensional work of art inspired by 18th-century
runaway slave ads from local newspapers to explore this painful part of our nation’s history. Artwork may be
created in any medium, such as drawing, painting, collage, digital media, or sculpture.
RUNAWAY ART: Interpreting Colonial Slave Ads
Reflection Essay
A personal reflection essay will accompany the artwork to describe the piece, explain students’ reasons for
choosing a particular advertisement and recount the creative choices made to create it.
Final Presentation
The final unit creates a space for the presentation of artwork and discussion of personal reflections about the
Runaway Art curriculum. Students will engage in dialogue with others about their understandings and experiences
from the project, provide feedback to demonstrate learning about colonial slavery, and present questions for
further exploration.
Evaluation Rubrics: Three rubrics are provided as an optional evaluation tool to support teachers who wish to use
these products as summative assessments. Note that as with all rubrics, criteria is predetermined and therefore
cannot take into account the variation needed to differentiate outcomes according to diverse student learning
needs and styles. Please review the wording of criteria with your students so that there is shared understanding
about expectations to reach each level of performance. Sometimes students can suggest alternate wording that
will help clarify learning objectives and better support the achievement of goals. The following rubrics are
available:
1. Runaway Art Book Rubric
2. Final Presentation Rubric
3. Creative Art Rubric
4. Historical Content Quiz
Connections to Learning Standards
The curriculum is aligned to Common Core Learning Standards in Literacy and Writing; the New York State Social
Studies Framework; and National Core Arts Standards (NCAS), in order to promote knowledge of social studies
content, literacy, and creative expression among middle school students, with a particular focus on grade 7.
New York State Common Core Social Studies Framework
The New York State Social Studies Framework has recently been revised to support Common Core Learning
Standards in Literacy and Writing. This curriculum supports the focus on colonial development, one of eight Key
Ideas critical to instruction in the 7th grade.
New York State Social Studies Framework for 7th Grade
Key Idea #7
7.2 COLONIAL DEVELOPMENTS: European exploration of the New World resulted in various interactions with
Native Americans and in colonization. The American colonies were established for a variety of reasons and
developed differently based on economic, social, and geographic factors. Colonial America had a variety of social
structures under which not all people were treated equally.
(Standards: 1, 2, 3, 4; Themes: MOV, GEO, ECO, TECH, EXCH)
7.2d In New York, the Dutch established settlements along the Hudson River and the French established
settlements in the Champlain Valley. Dutch contributions to American society were long-lasting.
 Students will compare and contrast the early Dutch settlements with French settlements and with those
in the subsequent British colony of New York in terms of political, economic, and social characteristics,
RUNAWAY ART: Interpreting Colonial Slave Ads


including an examination of the patroon system.
Students will examine the changing status and role of African Americans under the Dutch and English
colonial systems.
Student will examine Dutch contributions to American society including acceptance of a diverse
population, a degree of religious toleration, and right to petition. Students will examine Dutch relations
with Native Americans.
7.2e Over the course of the 17th and 18th centuries, slavery grew in the colonies. Enslaved Africans utilized a
variety of strategies to both survive and resist their conditions.
 Students will describe the conditions of the Middle Passage.
 Students will explain why and where slavery grew over time in the United States and students will
examine the living conditions of slaves, including those in New York State.
 Students will investigate different methods enslaved Africans used to survive and resist their conditions,
including slave revolts in New York.
 Within the context of New York history, students will distinguish between indentured servitude and
slavery.
New York State Common Core Standards for English Language Arts & Literacy in History/Social Studies
Reading Standards for Informational Texts (Grade 7)
Craft & Structure 4: Determine the meaning of words and phrases as they are used in a text, including figurative,
connotative, and technical meanings; analyze the impact of a specific word choice on meaning and tone.
Craft & Structure 6: Determine an author’s point of view or purpose in a text and analyze how the author
distinguishes his or her position from that of others.
Integration of Knowledge & Ideas 7: Compare and contrast a text to an audio, video, or multimedia version of the
text, analyzing each medium’s portrayal of the subject.
Integration of Knowledge & Ideas 9: Analyze how two or more authors writing about the same topic shape their
presentations of key information by emphasizing different evidence of advancing different interpretations of facts.
Writing Standards (Grade 7)
Text Types & Purposes 3: Write narratives to develop real or imagined experiences or events using effective
technique, relevant descriptive details, and well-structured event sequences.
Responding to Literature 11: Create a presentation, artwork, or text in response to a literary work with a
commentary that identifies connections. (a) Make deliberate, personal, cultural, textual, and thematic connections
across genres. (b) Create poetry, stories, plays, and other literary forms (e.g., videos, artwork).
For more information, see the National Coalition for CORE ARTS Standards http://www.nationalartsstandards.org/
Frequently Addressed Common Core Standards in Arts Integration Residencies
CCRA.R.7
Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as
RUNAWAY ART: Interpreting Colonial Slave Ads
well as in words.
CCRA.L.6
Acquire and use accurately a range of general academic and domain-specific words and phrases sufficient for
reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in
gathering vocabulary knowledge when encountering an unknown term important to comprehension or
expression.
CCRA.SL.1
Prepare for and participate effectively in a range of conversations and collaborations with diverse partners,
building on others’ ideas and expressing their own clearly and persuasively.
CCRA.R.1
Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual
evidence when writing or speaking to support conclusions drawn from the text.
National Coalition for CORE ARTS Standards
The Runaway Art curriculum also supports standards developed by the National Coalition for CORE ARTS
Standards at elementary and intermediate levels. These standards encourage the development of creative skills
and practices as a part of knowledge acquisition. These core creative processes include to imagine – form a
mental image or concept; investigate - observe or study through exploration or examination; construct – make or
form by combining parts or elements; and reflect - think deeply or carefully about.
Core Artistic Literacies
National Coalition for CORE ARTS Standards
Anchor Standards
Anchor Standard #1. Generate and conceptualize artistic ideas and work.
Creating
Making dance, theater, visual or media art
Anchor Standard #2. Organize and develop artistic ideas and work.
Anchor Standard #3. Refine and complete artistic work.
Performing, Presenting, Producing
Anchor Standard #4. Analyze, interpret, and select artistic work for
presentation.
Sharing what was created
Anchor Standard #5. Develop and refine artistic work for presentation.
Anchor Standard #6. Convey meaning through the presentation of artistic work.
Anchor Standard #7. Perceive and analyze artistic work.
Responding
Anchor Standard #8. Interpret intent and meaning in artistic work.
Engaging with works of art
Anchor Standard #9. Apply criteria to evaluate artistic work.
Connecting
Anchor Standard #10. Synthesize and relate knowledge and personal
experiences to make art.
Thinking across disciplines
Anchor Standard #11. Relate artistic ideas and works with societal, cultural, and
historical context to deepen understanding.
RUNAWAY ART: Interpreting Colonial Slave Ads
Curriculum Overview
Unit Summary
The semester-long Runaway Art program contains four units. Lessons and activities are designed to be followed in
order; however, teachers may modify the curriculum by rearranging, combining or eliminating activities depending
on the amount of time available.
Essential Activities
If time is limited, the final performance outcomes for the Runaway Art curriculum may be achieved by following
recommendations for “Essential Activities”. This abbreviated version of the curriculum requires approximately 12
hours of instructional time. Essential activities are clearly marked on each unit/lesson plan with an asterisk.
Optional Modification for Art Teachers and Teaching Artists
Unit 1 introduces historical documents known as Runaway Slave Advertisements. These will serve as inspiration
for a final work of art that represents the perspective of a runaway enslaved person. Art teachers and teaching
artists may enhance the art-making portion of the curriculum by introducing new materials, mediums and styles to
help students expand their design skills and create multiple portraits.
Unit 1: People as Property
Lesson 1: Defining Property
 *Activity 1. Writing the Lion’s Story – Introduction to the Runaway Art Project (10 minutes)
 Activity 2. Your Property Inventory (10 minutes)
 *Activity 3. Introduction to Working with Primary Source Documents (30 minutes)
 *Activity 4. Introduction to the Runaway Art Book: Reflection (10 minutes)
Lesson 2: Investigating Primary Source Documents
 *Activity 1. Runaway Slave Ad Analysis (15 minutes per document)
 Activity 2: Primary Source Document Analysis (15-30 minutes)
 *Activity 3. Runaway Art Book: Document Reflection (10 minutes)
Lesson 3: Humanizing History
 Activity 1. What’s in a Name? (15 minutes)
 *Activity 2. Runaway Art Book: What’s in a Name Reflection (15 minutes)
Lesson 4: Introduction to Art Making
 *Activity 1. Introduce Materials (5 minutes)
 *Activity 2. Sketching Faces (25 minutes)
 *Activity 3. Runaway Art Book: Sketching Faces Reflection (10 minutes)
Lesson 5: Imagining Colonial New York
 Activity 1. Historical Picture Analysis (30 minutes)
 Activity 2. Runaway Art Book: Overmantel Drawing and Reflection (30 minutes)
 Activity 3. Optional Homework: The Story of Philipsburg Manor, Upper Mills
Lesson 6: The Story of Colonial Slavery
 Activity 1. Text Analysis (120 minutes)
 Activity 2. Runaway Art Book: Philipsburg Manor Reflection (10 minutes)
RUNAWAY ART: Interpreting Colonial Slave Ads
Unit 2: Resistance to Colonial Enslavement
Lesson 1. Personal Acts of Resistance
 Activity 1. One-Minute Brainstorms (15 minutes)
 Activity 2. Defining Resistance (20 minutes)
 Activity 3. Runaway Art Book: Personal Resistance Reflection (10 minutes)
Lesson 2. Signs of Resistance
 *Activity 1: Review Vocabulary (5 minutes)
 *Activity 2. Runaway Art Book: Signs of Resistance Reflection (20 minutes)
 Activity 3. Optional Homework: Runaway Art: Interpreting Colonial Slave Ads – An Introductory Essay for
Students
Lesson 3. Methods of Resistance
 *Activity 1. Many Ways to Resist (45-90 minutes)
 Activity 2. Runaway Art Book: Methods of Resistance Reflection (15 minutes)
Lesson 4. Reading Runaway Slave Advertisements
 Activity 1. Do Now: A Plan to Run Away (10 minutes)
 *Activity 2. Reading Runaway Slave Ads (70-100 minutes)
 Activity 3. Runaway Art Book: Reflections on Running for Freedom (10 minutes)
Unit 3: Telling Their Stories
Lesson 1. Imagining the Past
 *Activity 1. Do Now: Sensory Response (15 minutes)
 *Activity 2. Imagining the Past: Lecture and Discussion (20 minutes)
 Activity 3. Runaway Art Book: Telling their Stories (30 minutes)
Lesson 2. Selecting a Runaway Slave Ad
 *Activity 1. Selection (20 minutes)
 Activity 2. Creative Writing (20-30 minutes)
Lesson 3. Portrait of a Runaway Slave
 *Activity 1. Character Study (50 minutes)
 Activity 2. Closing – Share (10 minutes)
Unit 4: Runaway Art Creation, Presentation and Reflection
Lesson 1: Exploring History Through Art
 *Activity 1. Themes of Slavery and Freedom in Art (15 minutes)
 *Activity 2. Exploring Works of Art (30 minutes)
 *Activity 3. Runaway Art Book: Exploring Works of Art Reflection (15 minutes)
Lesson 2. Planning Artwork
 *Activity 1. Beginning to Create (35 minutes)
Lesson 3: Create Artwork
 *Activity 1. Artistic Decision-making (15 minutes)
 *Activity 2. Creation (45+ minutes)
Lesson 4: Reflection
 *Activity 1. Runaway Art Book: Reflection on Your Work of Art (30 minutes)
Lesson 5: Final Presentation
 *Activity 1. Final Presentation (60-120 minutes)
 Activity 2. Additional Displays
 *Activity 3. Concluding Discussion (30 minutes)
RUNAWAY ART: Interpreting Colonial Slave Ads
Runaway Art Curriculum Map
A summary of unit goals, objectives and essential activities
Unit 1: People as Property
OBJECTIVES
GOALS
By analyzing primary source documents, students will consider the concept of people as property and the complexity of
life for enslaved Africans living in 18th-century colonial New York. Students will engage in artistic and written reflection
to plan a creative and responsible portrayal of an enslaved person’s perspective, which is often absent from the historical
record.
Students will:
 Analyze primary source materials to understand the notion of people as human property as an essential component of
the economic system in the colonial North
 Examine the economic system of commerce and trade in northern colonies in the 17th-18th centuries and understand
institutionalized slavery as a central component of the colonial labor system
 Learn about the history of Philipsburg Manor and about the individuals who were enslaved there to provide context for
colonial enslavement in New York State
 Empathize with enslaved individuals and appreciate the fragility of life in the context of slavery
 Engage in visual and textual analysis to support reading comprehension
 Learn to use an artistic medium to express critical ideas about history
 Analyze a historic work of art to support knowledge development about an historic time period
 Propose research to extend knowledge of colonial commerce and slavery
 Write a personal essay to describe the artwork and describe choices made
Key Resources
Essential Activities
(Minimum 2 hours, 10 minutes)
Historical Documents [Appendix A]:
Lesson 1: Activity 1, 3, 4 – 50 minutes
Lesson 2: Activity 1, 2 – 25 minutes
 Assortment of Runaway Slave Ads
Lesson 3: Activity 2 – 15 minutes
 Adolph Philipse Probate Inventory
Lesson 4: Activity 1, 2, 3 – 40 minutes
 Vendue Ad 1750 and Vendue Ad 1750 Transcript
 Bill of Sale and Bill of Sale Transcript
 Tenant Slave Census Transcript
 Philipse Family Wills (4 pages)
Unit 2: Resistance to Colonial Enslavement
OBJECTIVES
GOALS
This unit will encourage students to develop a nuanced understanding of resistance in the context of colonial northern
slavery. Students will analyze runaway slave advertisements from the 18th century to examine forms of resistance to
enslavement in the colonial North. Students will deconstruct these primary documents to understand the biases of those
who placed the ads, and conceptualize perspectives of enslaved individuals whose point of view is absent from historical
records.
Students will:
 Consider actions and opposition in their own lives as a way to define resistance as an act based on principles
 Compare and contrast various forms of overt and covert resistance to slavery, why they were used, and the potential
consequences for enslaved individuals
 Connect forms of resistance to perceptions of those who were enslaved and analyze how these contribute to
interpretations of African American history and people
 Use close reading skills to describe, analyze, and critique a runaway slave advertisement
 Compare and contrast the tone of advertisements to indicate perspectives about runaway slaves
 Discuss the biases inherent in runaway slave advertisements
 Understand the opportunity and limitations of primary source documents as the sole historic artifacts available to
understand the perspectives of enslaved Africans
 Write a creative scenario that proposes a nuanced and sensitive portrayal of the enslaved person depicted and his/her
decision to run away
Key Resources
Essential Activities
(Minimum 2 hours, 40 minutes)
Historical Documents [Appendix A]:
Lesson 2. Activity 1, 2 – 25 minutes
Lesson 3. Activity 1 – 45 minutes
 Assortment of Runaway Slave Ads
Lesson 4. Activity 2 – 90 minutes
Handouts [Appendix C]:
 Runaway Art: Interpreting Colonial Slave Ads
Art Images [Appendix D]:
 Runaway Slave Woodblock Print [Appendix E]
RUNAWAY ART: Interpreting Colonial Slave Ads
Unit 3: Telling Their Stories
OBJECTIVES
GOALS
Using primary and secondary source documents, students will imagine the stories of individuals whose identities exist
only through runaway ads written by others. Students will humanize the experience of slavery through art making and
creative writing.
Students will:
 Analyze primary and secondary source materials to identify details about an enslaved individual
 Write a creative scenario that proposes a nuanced and sensitive portrayal of the enslaved person depicted and his/her
decision to run away
 Create visual images that imagine an enslaved individual or some aspect of his/her life
 Write a first-person essay from the perspective of an historic figure to reflect on the complexity of life in enslavement.
Key Resources
Essential Activities
(Minimum 1 hour, 45 minutes)
Historical Documents [Appendix A]:
Lesson 1. Activity 1, 2 – 35 minutes
Lesson 2. Activity 1 – 20 minutes
 Assortment of Runaway Slave Ads
Lesson 3. Activity 1 – 50 minutes
Handouts [Appendix C]:
 Reading Between the Lines
 The Story of Philipsburg Manor, Upper Mills
Unit 4: Creation, Presentation and Reflection
OBJECTIVES
GOALS
Students will explore works of art that depict slavery and freedom, and discuss the potential of art to convey meaning
about society, culture, and history. Students will then choose a runaway slave ad and construct a work of art to represent
the enslaved individual or individuals described, as well as some aspect of the situation or experience imagined. The work
of art will present a creative and responsible portrayal of an enslaved person’s perspective, which is often absent from
the historical record.
Students will:
 Explore works of art that depict slavery and freedom to examine how artists represent their understanding of
historical events
 Discuss the biases inherent in runaway slave advertisements and primary documents
 Use an artistic medium to translate a runaway slave ad into artwork that communicates critical ideas about history
and demonstrates complex knowledge about colonial slavery
 Learn discipline-specific art vocabulary and concepts to support the creation of an accurate representation
 Write a personal statement to describe the artwork and state reasons for choosing a particular advertisement
 Present original artwork and explain how artwork inspired by runaway slave ads demonstrates complex
understanding about colonial slavery
 Provide peer feedback and critique
Key Resources
Essential Activities
(Minimum 4 hours)
Art Images [see Runaway Art website]:
Lesson 1: Activity 1, 2, 3 – 60 minutes
Lesson 3: Activity 1, 2 – 60 minutes
 Runaway Art Examples
Lesson 4: Activity 1 – 30 minutes
Lesson 5: Activity 1, 3 – 90 minutes
Culminating Assessments
Runaway Art Book Rubric
Creative Art Rubric
Final Presentation Rubric
Historical Content Quiz
RUNAWAY ART: Interpreting Colonial Slave Ads
Glossary
Listed below are key terms essential to Runaway Art activities.
Agency – asserting power or influence
Bequeath – to hand on or pass down through a will
Chattel – personal property or possessions that can be owned, such as furniture, domestic animals, etc.
Commerce – an exchange of goods or commodities on a large scale for business or trade
Commodity – goods or products of trade or commerce
Consequence – the effect, result or outcome of something that has occurred
Covert – concealed; secret; disguised
Enslavement – to make a slave; the condition of being a slave, of being controlled, dominated, or forced to work for
another
Entrenched – firmly established
Evoke – bring to mind
Exploitation – a situation where someone is treated unfairly so that another might benefit from his work
Freehold – an estate inherited or held for life
Narrative – n. a true or fictionalized story or account of events or experiences
Overt – open to view; not hidden or secret
Perspective – a way of regarding a situation, facts, or information and judging their importance
Point of view – the position from which something is observed or told; an opinion or attitude from the perspective of
someone
Principles – set of beliefs that guide the way we go about the world; personal basis for one’s conduct
Probate or Will – a document expressing one’s wishes regarding disposal of possessions or property after death; a list
of possessions or property owned by the deceased to be distributed according to his or her wishes
Provisioning – providing or supplying something that is needed, especially food or other necessities
Resistance – the act of withstanding, striving against, or opposing; opposition to a force or power
Risk – a situation involving exposure to danger
Subversive – undermining power or authority without being obvious
Tenant – a person or group who occupies land, a house, or an office, etc. rented from another for a period of time
Trade – the process of buying, selling, or exchanging commodities
Vendue – a public sale or auction
Arts Vocabulary
Background – part of a scene or view that is furthest from the viewer
Design – to plan how something should look and work
Evoke – bring to mind
Expressive – shows or suggests a particular feeling or meaning
Foreground – portion of a scene or view that is nearest to the viewer
Literal – true to fact; actual or strict interpretation of meaning
Medium – material used to create a work of art
Metaphorical – a term, phrase, or idea used to represent something or suggest a resemblance
Mood – the emotional quality or attitude of a person, place, time, etc.
Narrative – adj. representing a story or account of events or experiences in a visual form, like a picture
Overmantel – artwork displayed over a fireplace
Point of view – the angle from which a viewer sees an object in a scene
Portrait – a painting, drawing, or photograph of a person, especially of the face
Representation – a picture or model that shows the likeness of a thing or idea
Sketch – a quick drawing that is unfinished but may be used to plan a final image
Symbols – used to represent something; usually an object, image, letter, or sign
RUNAWAY ART: Interpreting Colonial Slave Ads
Unit 1: People as Property
Unit Goal
By analyzing primary source documents, students will consider the
concept of people as property and the complexity of life for enslaved
Africans living in 18th-century colonial New York. Students will engage in
artistic and written reflection to plan a creative and responsible
portrayal of an enslaved person’s perspective, which is often absent from
the historical record.
Essential Activities
Minimum Time Needed: 2 hours and 10 minutes
Lesson 1: Activity 1, 3 and 4 – 50 minutes
Lesson 2: Activity 1 and 2 – 25 minutes
Lesson 3: Activity 2 – 15 minutes
Lesson 4: Activity 1, 2 and 3 – 40 minutes
RUNAWAY ART: Interpreting Colonial Slave Ads
Unit 1: People as Property
Unit Learning Objectives
Students will:
 Analyze primary source materials to understand the notion of people as human property as an
essential component of the economic system in the colonial North
 Examine the economic system of commerce and trade in northern colonies in the 17th-18th
centuries and understand institutionalized slavery as a central component of the colonial labor
system
 Learn about the history of Philipsburg Manor and about the individuals who were enslaved there to
provide context for colonial enslavement in New York State
 Empathize with enslaved individuals and appreciate the fragility of life in the context of slavery
 Engage in visual and textual analysis to support reading comprehension
 Learn to use an artistic medium to express critical ideas about history
 Analyze a historic work of art to support knowledge development about an historic time period
 Propose research to extend knowledge of colonial commerce and slavery
 Write a personal essay to describe the artwork and describe choices made
Unit Lessons Plans
This unit includes six lessons. Activities may be rearranged or eliminated depending on the amount of time
available. To complete the final performance outcomes for the Runaway Art curriculum, students must
complete the essential activities marked in bold below:
Lesson 1: Defining Property
 *Activity 1. Writing the Lion’s Story – Introduction to the Runaway Art Project (10 minutes)
 Activity 2. Your Property Inventory (10 minutes)
 *Activity 3. Introduction to Working with Primary Source Documents (30 minutes)
 *Activity 4. Introduction to the Runaway Art Book: Reflection (10 minutes)
Lesson 2: Investigating Primary Source Documents
 *Activity 1. Runaway Slave Ad Analysis (15 minutes per document)
 Activity 2: Primary Source Document Analysis (15-30 minutes)
 *Activity 3. Runaway Art Book: Document Reflection (10 minutes)
Lesson 3: Humanizing History
 Activity 1. What’s in a Name? (15 minutes)
 *Activity 2. Runaway Art Book: What’s in a Name Reflection (15 minutes)
Lesson 4: Introduction to Art Making
 *Activity 1. Introduce Materials (5 minutes)
 *Activity 2. Sketching Faces (25 minutes)
 *Activity 3. Runaway Art Book: Sketching Faces Reflection (10 minutes)
RUNAWAY ART: Interpreting Colonial Slave Ads
Lesson 5: Imagining Colonial New York
 Activity 1. Historical Picture Analysis (30 minutes)
 Activity 2. Runaway Art Book: Overmantel Drawing and Reflection (30 minutes)
 Activity 3. Optional Homework: The Story of Philipsburg Manor, Upper Mills
Lesson 6: The Story of Colonial Slavery
 Activity 1. Text Analysis (120 minutes)
 Activity 2. Runaway Art Book: Philipsburg Manor Reflection (10 minutes)
Unit Materials
Prepare copies of documents, worksheets and handouts and/or display on a SMART Board.






Historical Documents [Appendix A]:
*Note to teachers on differentiation. A variety of primary source materials are available to support
this unit, including copies of original documents and transcripts of those documents, and a variety of
runaway slave advertisements. Review materials in advance and select those suitable for individual
students.
o Assortment of Runaway Slave Ads
o Adolph Philipse Probate Inventory and Adolph Philipse Probate Inventory Transcript
o Bill of Sale and Bill of Sale Transcript
o Tenant Slave Census Transcript
o Vendue Ad 1750 and Vendue Ad 1750 Transcript
Worksheets [Appendix B]:
o Analyzing the Adolph Philipse Probate Inventory
o Imagining Colonial New York
o Introduction to Runaway Art Reflection
o Investigate Primary Source Documents
o Overmantel Drawing and Reflection
o Philipsburg Manor Reflection
o Sketching Faces Reflection
o Text Analysis
o What’s in a Name Reflection
o Writing the Lion’s Story Reflection
Handouts [Appendix C]:
o The Story of Philipsburg Manor, Upper Mills – this essay explains the economic system of
slavery that existed in 18th-century New York and includes a history of the Philipse family
and Philipsburg Manor
o The Story of Philipsburg Manor, Upper Mills Text Cards – these cards divide the story into 10
smaller sections. Provide one card per student.
Art Image [Appendix E]:
o Van Bergen Overmantel
Runaway Art Book
Art Materials to support two-dimensional drawing
RUNAWAY ART: Interpreting Colonial Slave Ads
Unit Vocabulary
Bequeath – to hand on or pass down through a will
Chattel – personal property or possessions that can be owned, such as furniture, domestic animals, etc.
Commerce – an exchange of goods or commodities on a large scale for business or trade
Commodity – goods or products of trade or commerce
Enslaved – the condition of being a slave, of being controlled, dominated or forced to work for another
Enslavement – the condition of being a slave, of being controlled, dominated or forced to work for another
Entrenched – firmly established
Exploitation – a situation where someone is treated unfairly so that another might benefit from his work
Freehold – an estate inherited or held for life
Probate or Will – a document expressing ones wishes regarding disposal of possessions or property after
death; a list of possessions or property owned by the deceased to be distributed according to his or her
wishes
Provisioning – providing or supplying something that is needed, especially food or other necessities
Tenant – a person or group who occupies land, a house, etc. rented from another for a period of time
Trade – the process of buying, selling, or exchanging commodities
Vendue – a public sale or auction
Art Vocabulary
Overmantel – artwork displayed over a fireplace
Portrait – a painting, drawing or photograph of a person, especially of the face
Representation – a picture or model that shows the likeness of something
Sketch – a quick drawing that is unfinished but may be used to plan a final image
RUNAWAY ART: Interpreting Colonial Slave Ads
Lesson 1: Defining Property
Learning Objectives
Students will:
 Analyze primary source materials to identify evidence of enslaved individuals as property
Essential Activities:
 Activity 1. Writing the Lion’s Story – Introduction to the Runaway Art Project (10 minutes)
 Activity 3. Introduction to Working with Primary Source Documents (30 minutes)
 Activity 4. Introduction to the Runaway Art Book: Reflection (10 minutes)
Materials





Worksheet: Writing the Lion’s Story Reflection
Adolph Philipse Probate Inventory
Worksheet: Analyzing the Adolph Philipse Probate Inventory
Worksheet: Introduction to Runaway Art Reflection
Runaway Art Book
Vocabulary
Chattel – personal property or possessions that can be owned, such as furniture, domestic animals, etc.
Probate or Will – a document expressing ones wishes regarding disposal of possessions or property after
death; a list of possessions or property owned by the deceased to be distributed according to his or her
wishes
Lesson Outline
Total Time: 60 minutes
*Activity 1. Do Now: Writing the Lion’s Story – Introduction to the Runaway Art Project (10 minutes)
*Note to teachers: Introduce the Runaway Art Book as a combined notebook, sketchbook and portfolio
where students will record written and artistic responses to reflection prompts for each lesson. Use the
optional Worksheet: Writing the Lion’s Story Reflection.
“Until the lions have their own historians, the history of the hunt will always glorify the hunter.”
– Author Chinua Achebe
REFLECTION PROMPT:
Write the quote in your Runaway Art Book, and prepare to discuss as a class.
1. What does this quote mean?
2. What does it say about the way that history is written?
3. What do you predict you will learn in the Runaway Art program?
 Lions and hunters have different points of view.
RUNAWAY ART: Interpreting Colonial Slave Ads





There are many versions of history, some of which are never told.
The history we learn typically reflects the experiences of the hunter, or the most powerful.
The lions’ perspectives might explain the experiences of the least powerful, including stories
that have been left out of the official versions of history.
Lions need more historians.
The Runaway Art curriculum may help us tell stories from the point of view of the lions.
Activity 2. Your Property Inventory (10 minutes)
*Note to teachers: This is designed as a quick 5-minute brainstorm followed by a 5-minute discussion.
A. Create a quick list of everything you own beginning with what you consider to be your most valuable
possessions. Once completed, create a will by assigning each item to a family member or friend who will be
given your property when you die.
B. Debrief inventory lists using the following discussion questions:
1. What did you list as your most valuable possession and why?
2. What do you expect your family or friends to do with property that is inherited? [Ex. Keep it and use
it; sell it; give it away]
3. Is there anything on your list that is not an object? [Ex. a pet]
4. What does it mean to own a living thing? What are or should be the responsibilities of such
ownership?
*Activity 3. Introduction to Working with Primary Source Documents (30 minutes)
*Note to teachers: This discussion introduces the first set of primary source documents to students. Students
may use the Worksheet: Analyzing the Adolph Philipse Probate Inventory to answer the following questions
independently, in pairs, in small groups or as a large group discussion. Alternately, this may be assigned as
homework.
From the beginning years of New York history until slavery was abolished in 1827, the concept of property
included the ownership of human beings. The names of enslaved individuals are well documented as
property in numerous primary source documents including sales advertisements and receipts, runaway
slave ads, legislative records such as personal wills and probate inventories, and shipping records.
Review the Historical Document: Adolph Philipse Probate Inventory. This page from the inventory of
Adolph Philipse’s estate includes the names of the enslaved individuals living at Philipsburg Manor in 1750.
This is one page of a longer inventory, created after Philipse’s death to list all goods connected to his estate.
1. DESCRIBE – What does the document tell us?
a. What type of property is listed?
b. How is the list organized from the top to the bottom of the page?
c. Why do you think it is organized in this way? [More valuable property is listed first.]
2. ANALYZE – What does this information mean?
a. What do you think determines the value of the property listed?
b. What might make the men and women named at the top of the list more valuable then the boys
and girls listed beneath them?
RUNAWAY ART: Interpreting Colonial Slave Ads
c. What might make an enslaved person more valuable to a slave owner then livestock?
d. Why are some men are listed as “not fit for work”? [They are probably old or infirm.]
3. CRITIQUE – What insights do you have based on your personal reaction to the information?
a. How do you think these people felt about being considered property?
b. What might be the consequences of treating people as property?
*Activity 4. Introduction to Runaway Art: Reflection (10 minutes)
*Note to teachers: Use the optional Worksheet: Introduction to Runaway Art Reflection.
REFLECTION PROMPT:
In your Runaway Art Book, write an essay reflecting on your reaction to the information. Choose one or
more questions below as a topic for your essay.
1. What is your reaction to the information on the documents?
2. How do you feel seeing the names of humans listed among animals as possessions?
3. What is confusing about the inventory? What additional questions do you have?
RUNAWAY ART: Interpreting Colonial Slave Ads
Lesson 2: Investigating Primary Source Documents
Learning Objectives
Students will:
 Analyze primary source materials to identify evidence of enslaved individuals as property
 Understand the notion of people as human property as an essential component of the economic
system in the colonial north
Essential Activities:
 Activity 1: Runaway Slave Ad Analysis (15-30 minutes)
 Activity 2. Runaway Art Book: Document Reflection (10 minutes)
Materials
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Assortment of Runaway Slave Ads
Vendue Ad 1750 and Vendue Ad 1750 Transcript
Bill of Sale and Bill of Sale Transcript
Tenant Slave Census Transcript
Philipse Family Wills (4 pages)
Worksheet: Investigate Primary Source Documents
Runaway Art Book
Vocabulary
Bequeath – to hand on or pass down through a will
Chattel – personal property or possessions that can be owned, such as furniture, domestic animals, etc.
Enslaved – the condition of being a slave, of being controlled, dominated or forced to work for another
Probate or Will – a document expressing ones wishes regarding disposal of possessions or property after
death; a list of possessions or property owned by the deceased to be distributed according to his or her
wishes
Tenant – a person who rents or leases land from another for a period of time
Vendue – a public sale or auction
Lesson Outline
Total Time: 25-70 minutes
*Activity 1: Runaway Slave Advertisement Analysis (15-30 minutes)
*Note to teachers: Students may analyze one or more runaway slave advertisements working independently,
in pairs, or in small groups.
Use the Worksheet: Investigate Primary Source Documents to analyze a runaway slave advertisement
independently, in small groups or in pairs. If time allows, repeat these steps to analyze a second ad.
Historical Documents [Appendix A]:
RUNAWAY ART: Interpreting Colonial Slave Ads

Runaway Slave Ads– These ads were retrieved from a range of colonial newspapers published in New
York and New Jersey between the years of 1740 and 1783.
For each primary source document, discuss the following:
1. DESCRIBE – What information does the document provide? Read each word and sentence closely,
line-by-line, to clarify as many details as possible. Use the following questions as a guide:
a. Who is named? Note differences in the names used, such as first and last names, titles, etc.
b. What details or description is given about the person, situation, or context?
c. Where does this take place? Are specific locations mentioned? Locate these places on a map.
d. When was the document created? By whom?
e. Why was this document created? For what purpose?
f. How should the intended reader react to the information provided?
2. ANALYZE – Evaluate what the information means using evidence to support your ideas.
a. Whose perspective does the document represent?
b. What information is included and what information is omitted?
c. What action might have occurred as a result of the information provided by the document?
3. CRITIQUE – What insights do you have about the concept of people as property? (Choose one).
a. What might the relationships have been like between and among owners, buyers, tenants, and
enslaved Africans?
b. How might ownership of people as property shape the identity of the individuals mentioned,
including owners, buyers, tenants, and enslaved Africans?
c. How does this history shape the identity of present day Americans in New York?
Activity 2: Primary Source Document Analysis (15-30 minutes)
*Note to teachers: If extra time allows, students may analyze one or more additional primary source
documents. Allow 15 minutes for each document. Students may work independently, in pairs, or in small
groups.
Repeat the previous steps to analyze additional primary source documents. Select from the following (listed
in order of complexity to support differentiation):
Historical Documents [Appendix A]:
 Vendue Ad 1750 and Vendue Ad 1750 Transcript - This document shows three advertisements for
goods and chattel that would typically appear in colonial era newspapers. The center ad announces
a public auction for four enslaved Africans owned by Adolph Philipse.
 Bill of Sale and Bill of Sale Transcript – This document is a legal agreement between two parties over
the sale of a 17-year old enslaved boy named Cyor.
 Tenant Slave Census Transcript – This document lists the names of tenant farmers at Philipsburg
Manor Upper Mills and the names of the enslaved Africans they owned.
 Philipse Family Wills – This collection of four documents include the wills of Frederick Philipse,
Frederick Philipse II, and Adolph Philipse, and a description of what happened to the enslaved
community upon the death of Adolph Philipse.
RUNAWAY ART: Interpreting Colonial Slave Ads
*Activity 3. Runaway Art Book: Document Reflection (10 minutes)
*Note to teachers: Help students get started by first discussing questions as a large group. Use the optional
Worksheet: Document Reflection.
REFLECTION PROMPT:
In your Runaway Art Book, write an essay reflecting on your reaction to the document(s) you analyzed.
Choose one or more questions below as a topic for your essay.
1. What is troubling or difficult to understand about the document?
2. What additional questions do you have?
3. What feelings or emotions do you have about the document? About the history of enslavement?
RUNAWAY ART: Interpreting Colonial Slave Ads
Lesson 3: Humanizing History
Learning Objectives
Students will:
 Analyze primary source materials to identify evidence of enslaved individuals as property
 Understand the notion of people as human property as an essential component of the economic
system in the colonial north
 Understand how being considered property rather than a person can affect life experiences and
relationships
Essential Activities:
 Activity 2. Runaway Art Book: What’s in a Name Reflection (20 minutes)
Materials



Historical documents for review
Optional Worksheet: What’s in a Name Reflection
Runaway Art Book
Vocabulary
Enslavement – the condition of being a slave, of being controlled, dominated or forced to work for another
Exploitation – a situation where someone is treated unfairly so that another might benefit from his work
Lesson Outline
Total Time: 30 minutes
Activity 1: What’s in a Name? (15 minutes)
“Knowing that a person was a slave does not tell everything about him or her…. The slaves’ history – like all
human history – was made not only by what was done to them but also by what they did for themselves.”
- Ira Berlin, Many Thousands Gone: The First Two Centuries of Slavery in North America, 1998. p. 2.
A. Large Group Discussion. Discuss the meaning of the quote.
*Note to teachers: Optional – Students might start by first writing their thoughts about this quote in their
Runaway Art Book, followed by a large group discussion.
The quote above serves as a reminder that the terms “slaves” and “masters” are insufficient. These words
only represent the perspective of the people who declared themselves “masters”, and define those who
were enslaved solely according to the condition of their exploitation. Instead, when talking about the history
of slavery, it is best to identify people by characteristics that made them human – their names, occupations,
cultural identities or family relationships. When referring to more than one person, the terms “enslaved
Africans” or “African captives” serve as a reminder of their cultural origins.
RUNAWAY ART: Interpreting Colonial Slave Ads
*Activity 2. Runaway Art Book: What’s in a Name Reflection (15 minutes)
Since many primary source documents from the colonial period do not reflect the perspective of enslaved
Africans, information about their lives must be inferred based on knowledge about slavery during that
period.
REFLECTION PROMPT:
*Note to teachers: Use optional Worksheet: What’s in a Name Reflection for this prompt.
Select one name from a runaway slave ad that you analyzed. Note any description provided about this
person and think about what is left out. What details would help you to better understand the human being
behind the name? In your Runaway Art Book, write a letter to that person posing 3-5 questions that you
would like answered about his or her life story.
RUNAWAY ART: Interpreting Colonial Slave Ads
Lesson 4: Introduction to Art Making
Learning Objectives
Students will:
 Use an artistic medium to represent a historical figure depicted in a primary source document
 Learn discipline specific art vocabulary, concepts and techniques to support the creation of an
accurate representation
 Write a personal essay to describe the artwork and describe choices made
Essential Activities:
 Activity 1. Introduce Materials (10 minutes)
 Activity 2. Sketching Faces (25 minutes)
 Activity 3. Runaway Art Book: Sketching Faces Reflection (10 minutes)
Materials
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

Art materials
o Pencils, charcoal or other materials to support two-dimensional drawing
o Scrap paper
Worksheet: Sketches Faces Reflection
Runaway Art Book
Vocabulary
Portrait – a painting, drawing or photograph of a person, especially of the face
Representation – a picture or model that shows the likeness of something
Sketch – a quick drawing that is unfinished but may be used to plan a final image
Lesson Outline
Total Time: 45 minutes
*Activity 1. Introduce Materials (10 minutes)
*Note to teachers: Select pencils, charcoal or another material to support two-dimensional drawing.
Demonstrate techniques for using materials to draw harder or softer lines using the points or edges of pencils
or charcoal. When introducing art making, allow students time to experiment with materials first. Place
materials out and allow students time minutes to “play” with the materials on scrap paper. Encourage
doodling and free drawing.
*Activity 2. Sketching Faces (25 minutes)
Create a sketch depicting the person described in your letter. This will help to tell the story of the everyday
people whose stories have been omitted from history. Your sketch should attempt to represent the
dehumanized aspects of the historical document that you analyzed.
RUNAWAY ART: Interpreting Colonial Slave Ads
Step 1. Review the slave ad and any description provided about the person.
Step 2. Review your notes and reread the letter that you wrote in Lesson 3. Think about what was left out of
the document and what you would like to know.
Step 3. Now, imagine what the person’s face might look like. Use your materials to sketch a portrait of the
person’s face in your Runaway Art Book.
*Activity 3. Runaway Art Book: Sketching Faces Reflection (10 minutes)
*Note to teachers: Use optional Worksheet: Sketches Faces Reflection for this prompt.
REFLECTION PROMPT:
In your Runaway Art Book, write a brief description about your sketch including why you imagined the
individual the way you did.
RUNAWAY ART: Interpreting Colonial Slave Ads
Lesson 5: Imagining Colonial New York
Learning Objectives
Students will:
 Analyze a work of art to support knowledge development about an historic time period
 Engage in visual analysis to support reading comprehension
Materials
Prepare copies of the following as handouts and/or display on a SMART Board:
 Art Image: Van Bergen Overmantel [Appendix E]
 Worksheet: Imagining Colonial New York
 Worksheet: Overmantel Drawing and Reflection
 Worksheet: Philipsburg Manor Reflection
 Handout: The Story of Philipsburg Manor, Upper Mills.
 Art materials:
o Pencils, charcoal or other materials to support two-dimensional drawing
 Runaway Art Book
Vocabulary
Commerce – an exchange of goods or commodities on a large scale for business or trade
Commodity – goods or products of trade or commerce
Overmantel – artwork displayed over a fireplace
Trade – the process of buying, selling, or exchanging commodities
Lesson Outline
Total Time: 60 minutes
Activity 1. Historical Picture Analysis (30 minutes)
Look closely at the Art Image: Van Bergen Overmantel, a painting from the mid-1800s that depicts a
farmstead near the Catskill Mountains in colonial New York. The name of the painting refers to the Van
Bergen family that owns the land, farmhouse, and other buildings shown. The term overmantel was used to
describe artwork displayed over a fireplace.
Use Worksheet: Imagining Colonial New York to describe, analyze and critique what you see:
1. DESCRIBE: What do you see? Make a list of the many types of people and things depicted.
a. People dressed in different clothing. Some are working while others are engaged in leisure
activities.
b. The painting gives clues to the diversity of area inhabitants. These include European settlers like
the Van Bergens, indentured servants and tenants, enslaved Africans, and Native people.
c. Animals were an important part of the farm and daily life, for example, pulling carriages,
RUNAWAY ART: Interpreting Colonial Slave Ads
providing food, etc.
2. ANALYZE: What do these clues tell you about the work done on the farm?
a. Many types of labor were needed to manage an estate of this size.
b. The presence of animals suggests a range of activities needed to manage livestock including
feeding, caring for, and eventually slaughtering animals.
c. The presence of buildings suggests the need to maintain homes.
d. A barn for grains suggests that somewhere there may be fields that require tending.
e. People dressed in different clothing suggests that people had different roles at the farm.
3. CRITIQUE: What questions do these details raise?
a. This picture serves as a starting point for considering the types of goods or products
(commodities) produced during the colonial time period.
b. The buying and selling (trade) of these commodities supported the farmstead.
c. Large-scale commerce had a significant role in the economy of 18th-century northern colonies.
d. The farmstead shows people but we need additional information to understand what their roles
are, where they come from, what their relationships might be to each other, and to this place.
Activity 2. Runaway Art Book: Drawing and Reflection (30 minutes)
*Note to teachers: Use optional Worksheet: Overmantel Drawing and Reflection for this prompt.
REFLECTION PROMPT:
Imagine a wide panorama view of the world you live in. Plan a scene that includes homes, people at work
and at play, and other details that provide a snapshot of your life.
TO DO:
Turn your Runaway Art Book horizontally and draw an overmantel depicting your home.
Write a brief description about your drawing including why you imagined the scene the way you did.
Activity 3. Optional Homework
Read the Handout: The Story of Philipsburg Manor, Upper Mills to prepare for the next lesson.
RUNAWAY ART: Interpreting Colonial Slave Ads
Lesson 6: The Story of Colonial Slavery
Learning Objectives
Students will:
 Examine the economic system of commerce and trade in northern colonies in the 17th-18th
centuries and understand institutionalized slavery as a central component of the colonial labor
system
 Learn about the history of Philipsburg Manor and about the individuals who were enslaved there to
provide context for colonial enslavement in New York State
 Empathize with enslaved individuals and appreciate the fragility of life in the context of slavery
 Engage in textual analysis to support reading comprehension
 Propose research to extend knowledge of colonial commerce and slavery
Materials
Prepare copies of the following as handouts and/or display on a SMART Board:
 Handout: The Story of Philipsburg Manor, Upper Mills – this essay explains the economic system of
slavery that existed in 18th-century New York and includes a history of the Philipse family and
Philipsburg Manor
 Handout: The Story of Philipsburg Manor, Upper Mills Text Cards – these cards divide the story into
10 smaller sections. Provide one card per student.
 Worksheet: Text Analysis
 Worksheet: Philipsburg Manor Reflection
 Runaway Art Book
Vocabulary
Commerce – an exchange of goods or commodities on a large scale for business or trade
Commodity – goods or products of trade or commerce
Entrenched – firmly established
Freehold – an estate inherited or held for life
Provisioning – providing or supplying something that is needed, especially food or other necessities
Tenant – a person or group who occupies land, a house, etc. rented from another for a period of time
Trade – the process of buying, selling, or exchanging commodities
Lesson Outline
Total Time: 130 minutes
Activity 1. Text Analysis (120 minutes)
*Note to teachers: This is a multi-part activity that may take several class sessions to complete. Allot a
minimum of 30 minutes for each part. During this activity, students will engage in close reading of secondary
source text about the economic system of commerce and trade in northern colonies in the 17th-18th
centuries. Assign the Handout: The Story of Philipsburg Manor, Upper Mills Text Cards according to reading
RUNAWAY ART: Interpreting Colonial Slave Ads
ability. There are 10 cards so students may work independently or with a partner or small group. More
advanced students may read the entire Handout: The Story of Philipsburg Manor, Upper Mills, but might
focus on a single passage for deep analysis.
Part 1: Independent Reading
*Note to teachers: Assign this as homework or in class.
Read the entire passage once silently.
Part 2: Text Analysis
During a second reading, annotate the passage as follows:
 Circle key words and new vocabulary
 Underline sensory details that help you visualize information
 Summarize complex sentences and explain the meaning in your own words
 Underline sentences that indicate point-of-view and note whose perspective is represented
 Highlight information that would benefit from additional research and indicate what supporting
documentation is needed [Ex. If a location is mentioned, it would be helpful to find it on a map.]
 Note additional questions you have.
Part 3: Pair Share
Use the Worksheet: Text Analysis to note important facts and ideas, key words and new vocabulary,
information that requires additional research, and additional questions. Each student must complete a
separate handout to bring ideas to the small group discussion.
Part 4: Small Group Discussion
Form a group with others who analyzed different pages of The Story of Philipsburg Manor. Take turns to
share the information from each section and build a cohesive narrative about the economy of northern
plantations and Philipsburg Manor.
Questions for discussion:
 What conclusion does this story make?
 What questions do you still have about the people, time period, and places described?
 What additional historical research is needed to learn more?
Activity 2. Runaway Art Book: Philipsburg Manor Reflection (10 minutes)
*Note to teachers: Use the optional Worksheet: Philipsburg Manor Reflection.
REFLECTION PROMPT:
In your Runaway Art Book, respond to one of the following questions:
 How has your perspective on colonial life changed as a result of understanding more about the
many groups and peoples who contributed to that society?
 How do you think this history contributes to contemporary American society?
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Resources
Additional information to support The Story of Philipsburg Manor:


Cross Roads and Cross Rivers: Diversity in Colonial New York. Available at
http://www.hudsonvalley.org/crossroads/frameset.html
Philipsburg Manor Upper Mills, by Margaret L. Vetare, Historic Hudson Valley Press, 2004
RUNAWAY ART: Interpreting Colonial Slave Ads
Unit 2: Resistance to Colonial
Enslavement
Unit Goals
This unit will encourage students to develop a nuanced understanding of
resistance in the context of colonial northern slavery. Students will
analyze runaway slave advertisements from the 18th century to examine
forms of resistance to enslavement in the colonial North. Students will
deconstruct these primary documents to understand the biases of those
who placed the ads, and conceptualize perspectives of enslaved
individuals whose point of view is absent from historical records.
Essential Activities
Minimum Time Needed: 2 hours and 40 minutes
Lesson 2. Activity 1 and 2 – 25 minutes
Lesson 3. Activity 1 – 45 minutes
Lesson 4. Activity 2 – 90 minutes
RUNAWAY ART: Interpreting Colonial Slave Ads
Unit 2: Resistance to Colonial Enslavement
Unit Learning Objectives
Students will:
 Consider actions and opposition in their own lives as a way to define resistance as an act based on
principles
 Compare and contrast various forms of overt and covert resistance to slavery, why they were used,
and the potential consequences for enslaved individuals
 Connect forms of resistance to perceptions of those who were enslaved and analyze how these
contribute to interpretations of African American history and people
 Use close reading skills to describe, analyze, and critique a runaway slave advertisement
 Compare and contrast the tone of advertisements to indicate perspectives about runaway slaves
 Discuss the biases inherent in runaway slave advertisements
 Understand the opportunity and limitations of primary source documents as the sole historic
artifacts available to understand the perspectives of enslaved Africans
Unit Lesson Plans
This unit includes four lessons. Activities may be rearranged or eliminated depending on the amount of time
available. To complete the final performance outcomes for the Runaway Art curriculum, students must
complete the essential activities marked in bold below:
Lesson 1. Personal Acts of Resistance
 Activity 1. One-Minute Brainstorms (15 minutes)
 Activity 2. Defining Resistance: Large Group Discussion (20 minutes)
 Activity 3. Runaway Art Book: Defining Resistance Reflection (10 minutes)
Lesson 2. Signs of Resistance
 *Activity 1. Review Vocabulary (5 minutes)
 *Activity 2. Runaway Art Book: Signs of Resistance Reflection (20 minutes)
 Activity 3. Optional Homework: Runaway Art: Interpreting Colonial Slave Ads – An Introductory Essay
for Students by Michael A. Lord
Lesson 3. Methods of Resistance
 *Activity 1. Many Ways to Resist (45-90 minutes)
 Activity 2. Runaway Art Book: Methods of Resistance Reflection (15 minutes)
Lesson 4. Reading Runaway Slave Advertisements
 Activity 1. Do Now: A Plan to Run Away (10 minutes)
 *Activity 2. Reading Runaway Slave Ads (90-105 minutes)
 Activity 3. Runaway Art Book: Reflections on Running for Freedom (15 minutes)
RUNAWAY ART: Interpreting Colonial Slave Ads
Unit Materials
Prepare copies of documents, worksheets and handouts and/or display on a SMART Board.





Historical Documents [Appendix A]:
o Assortment of Runaway Slave Ads
*Note to teachers on differentiation. A variety of these advertisements are available to
support this unit. Review materials in advance to select those suitable for individual
students.
Worksheets [Appendix B]:
o Analyzing Runaway Slave Advertisements
o Defining Resistance
o Methods of Resistance
o One-Minute Brainstorms
o Running for Freedom Reflection
o Signs of Resistance Reflection
Handouts [Appendix C]:
o Runaway Art: Interpreting Colonial Slave Ads – An Introductory Essay for Students, by
Michael A. Lord
Art Images [Appendix E]:
o Runaway Slave Woodblock Print
Runaway Art Book
Unit Vocabulary
Agency – asserting power or influence
Consequence – the effect, result or outcome of something that has occurred
Covert – concealed; secret; disguised
Narrative – n. a true or fictionalized story or account of events or experiences
Overt – open to view; not hidden or secret
Perspective – a way of regarding a situation, facts, or information and judging their importance
Point of view – the position from which something is observed or told; an opinion or attitude from the
perspective of someone; the angle from which a viewer sees an object in a scene
Principles – set of beliefs that guide the way we go about the world; personal basis for one’s conduct
Resistance – the act of withstanding, striving against, or opposing; opposition to a force or power
Risk – a situation involving exposure to danger
Subversive – undermining power or authority without being obvious
RUNAWAY ART: Interpreting Colonial Slave Ads
Lesson 1: Personal Acts of Resistance
Learning Objectives
Students will:
 Consider actions and opposition in their own lives as a way to define resistance as an act based on
principles
Materials




Worksheet: One Minute Brainstorm (optional)
Worksheet: Defining Resistance
Runaway Art Book
Stopwatch
Vocabulary
Consequence – the effect, result or outcome of something that has occurred
Principles – set of beliefs that guide the way we go about the world; personal basis for one’s conduct
Resistance – the act of withstanding, striving against, or opposing; opposition to a force or power
Lesson Outline
Total Time: 45 minutes
Activity 1. One-Minute Brainstorms (15 minutes)
There are some activities that we find objectionable because we don’t like to do them. There are some
activities we object to because they go against our morals or values. This brainstorm will help us understand
the difference between these two things—and how we have already demonstrated resistance in our lives.
Begin with your Runaway Art Book or the Worksheet: One-Minute Brainstorm in front of you. Use a
stopwatch to limit each brainstorm to one-minute.
1. Brainstorm 1 – In one minute, brainstorm a list of activities or tasks that you dislike doing. Consider
any chore, job, or other responsibility that you simply dislike. Use brief descriptions and list as many
as possible. (Ex. Cleaning the toilet, waking up early, doing homework, etc.)
2. Brainstorm 2 – Now list activities, tasks, or ideas that you find morally wrong, or that you are
opposed to because they go against your values.
3. Brainstorm 3 – Review your second list and identify those activities, tasks, ideas, or people that you
have stood up against, resisted, or actively opposed. Use brief descriptions and list as many as
possible. Maybe some new items will come to mind as well. (Ex. Stopped shopping at stores that
profiled based on race, stopped talking to a friend who used homophobic language, etc.) Students
may also want to think about notable historical examples of resistance.
4. Brainstorm 4 – Now review your lists and circle anything that you believe is truly objectionable. These
reflect more serious beliefs or values that you believe are important.
5. Brainstorm 5 – Next, share the most important circled items from your list with a partner. Select the
RUNAWAY ART: Interpreting Colonial Slave Ads
top one or two from your collective lists that you both agree are worth resisting.
Activity 2. Defining Resistance: Large Group Discussion (20 minutes)
*Note to teachers: Use the Worksheet: Defining Resistance for Activities 2 and 3.
Share one or two examples of resistance with the larger group. Discuss the following aspects:
 What is the difference between disliking something and being morally opposed to something?
 Were there any items on your lists that affected only you? Were there any items on your lists that
affected many people or had a very broad scope?
 What beliefs or principles encouraged you to resist?
 How did you resist?
o What actions or steps did you take to object?
o What actions did you consider taking but did not? Why not?
 What were the consequences of the act of resistance?
Activity 3. Runaway Art Book: Defining Resistance Reflection (10 minutes)
*Note to teachers: Use the Worksheet: Defining Resistance to continue this activity.
REFLECTION PROMPT:
Think about a time when you or someone you know demonstrated resistance.
TO DO:
In your Runaway Art Book, write an essay explaining this act of resistance.
RUNAWAY ART: Interpreting Colonial Slave Ads
Lesson 2: Signs of Resistance
Learning Objectives
Students will:
 Compare and contrast various forms of overt and covert resistance to slavery, why they were used,
and the potential consequences for enslaved individuals
 Understand and use vocabulary about resistance
Essential Activities:
 Activity 1. Review Vocabulary (20 minutes)
 Activity 2. Runaway Art Book: Signs of Resistance Reflection (25 minutes)
Materials




Historical Documents: Assortment of Runaway Slave Ads
Worksheet: Signs of Resistance
Handout: Runaway Art: Interpreting Colonial Slave Ads – An Introductory Essay for Students, by
Michael A. Lord.
Runaway Art Book
Vocabulary
Agency – asserting power or influence
Consequence – the effect, result or outcome of something that has occurred
Covert – concealed; secret; disguised
Overt – open to view; not hidden or secret
Principles – set of beliefs that guide the way we go about the world; personal basis for one’s conduct
Resistance – the act of withstanding, striving against, or opposing; opposition to a force or power
Risk – a situation involving exposure to danger
Lesson Outline
Total Time: 45 minutes
*Activity 1: Review Vocabulary (20 minutes)
*Note to teachers: Read the following passage and define the terms in bold/italics.
Resistance is about more than simply not doing something. Resistance is an act of withstanding, striving
against, or opposing something, usually because it goes against some principle or belief that we hold about
life. Resistance is often a natural way to demonstrate agency in our lives. However, there may be different
consequences for standing up for your interests, depending on who is resisting and the effect of that
resistance on others. In some instances, resisting may lead to more power or agency to determine aspects
of your life. In other situations, resistance could be met with punishment or other negative repercussions.
RUNAWAY ART: Interpreting Colonial Slave Ads
Since slavery was a legal institution in the colonies, enslaved Africans who resisted were not guaranteed
more power or control over their lives. In fact, resistance often put them and their families at greater risk for
punishment, separation, or even death. But resistance based on the principle of freedom to act on one’s
own life meant that it was sometimes worthwhile to take the risk. This meant that many forms of resistance
were needed. Some engaged in overt acts of resistance such as revolting or running away. Others chose
covert methods of resistance that could go undetected, such as doing work incorrectly or slowly.
*Activity 2. Runaway Art Book: Signs of Resistance Reflection (25 minutes)
*Note to teachers: This introduces runaway slave advertisements for the first time. Students each select an
advertisement and may use the Worksheet: Signs of Resistance to use the lesson vocabulary words to
review the document. This can describe answer the following questions independently, in pairs, in small
groups or as a large group discussion. Alternately, this may be assigned as homework.
REFLECTION PROMPT:
Review the vocabulary words and consider how these terms apply to a runaway slave advertisement. Look
for clues about resistance by those enslaved.
TO DO:
In your Runaway Art Book, respond to the following questions:
 What forms of resistance did this enslaved person demonstrate?
 Was the resistance was overt or covert?
 Why do you think the person chose to take the risk of this form of resistance?
 What level of risk, or exposure to danger, did the person take by resisting?
 Does the ad describe the consequences? If not, what do you imagine the positive and/or negative
consequences might be for this person?
Activity 3. Optional Homework
Read the Handout: Runaway Art: Interpreting Colonial Slave Ads – An Introductory Essay for Students by
Michael A. Lord, to prepare for the next lesson.
RUNAWAY ART: Interpreting Colonial Slave Ads
Lesson 3: Methods of Resistance
Learning Objectives
Students will:
 Compare and contrast various forms of overt and covert resistance to slavery, why they were used,
and the potential consequences for enslaved individuals
 Connect forms of resistance to perceptions of those who were enslaved and analyze how these
contribute to interpretations of African American history and people
Essential Activities:
 Activity 1. Many Ways to Resist (45-90 minutes)
Materials



Historical Documents: Assortment of Runaway Slave Ads
Worksheet: Methods of Resistance
Runaway Art Book
Vocabulary
Agency – asserting power or influence
Consequence – the effect, result or outcome of something that has occurred
Covert – concealed; secret; disguised
Overt – open to view; not hidden or secret
Principles – set of beliefs that guide the way we go about the world; personal basis for one’s conduct
Resistance – the act of withstanding, striving against, or opposing; opposition to a force or power
Risk – a situation involving exposure to danger
Subversive – undermining power or authority without being obvious
Lesson Outline
Total Time: 60-105 minutes
*Activity 1. Many Ways to Resist (45-90 Minutes)
*Note to teachers: This activity may take place as a single large group session or as a multi-part activity over
the course of two class sessions. If you chose to combine Part 1 and 2, allot a minimum of 45 minutes.
Part 1: Small Group Work (45 minutes)
Use the Worksheet: Methods of Resistance with your small group to discuss the many forms of resistance
taken by enslaved people, how these demonstrated resistance, and the possible consequences. Consider
how some methods required more risk than others, but the more subversive forms of resistance may have
had different consequences.
RUNAWAY ART: Interpreting Colonial Slave Ads
Forms of Resistance*
Work slowly
How this Demonstrated
Resistance*
(fill this in as a group)
 Minimized amount of
work produced
Possible Consequences*



Do work incorrectly
 Minimized amount of
work produced


Refuse to work
 Goods produced by the
farm/plantation not
produced
 Owner had to pay for
goods to be fixed
 Work/goods not produced
 Minimized amount of
work produced
 Minimized amount of
work produced
 Owner/manager spent
time trying to explain
 Destruction of property
 Demonstrated to others
that owner/manager not
in control
 Refusal to conform to
“slave” identity
 Kept home culture alive
 Provided hope
 Allowed communication in
a language owner didn’t
understand
 Owner lost money since
enslaved person and
his/her labor was a
commodity
 Minimized amount of
work produced





Sabotage work, tools, or
land
Feign illness
Pretend not to
understand
Revolt
Maintain cultural identity
(language, stories, etc.)
Run away
Develop skills
Form a family
 Enabled individual to do
work for him/herself
 Demonstrated humanity
of the individual
 Showed hope for the
future
(fill this in as a group)
Punishment
Beatings
Sold and separated from family
and home
Public humiliation/shaming
Lowered expectations about
abilities/intelligence
Punishment
Beatings
Sold
Punishment
Skewed or biased history
 Punishment
 Lowered expectations about
abilities/intelligence
 Skewed or biased history
 Execution
 Punishment
 Sold and separated from family
 Punishment
 Prohibited from speaking in
native language
 Returned to owner
 Forced to wear shackles and
collars
 Mutilation or branding
 Punishment of family members
 Lived in fear of being caught
 Left family behind
 Punishment
 Beatings
 Potential of being separated
 Owner/manager could use
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Earn money
 Indicated unwillingness to
operate by the rules of
slavery (since marriages
were not recognized)
 Refused to live in fear
 Provided possibility of
purchasing freedom
emotional connections to his
advantage (through intimidation
or threatening family members)
 Wages taken away
*These are all examples only. Encourage the class to think broadly and to reflect on many different
possibilities.
Part 2. Large Group Debrief (45 minutes)
*Note to teachers: Use the following questions to facilitate a large group discussion about the unique
challenge of resisting enslavement at a time when there was no legal way out of slavery. Possible answers
appear in brackets.
4. DESCRIBE
a. Discuss the various forms of resistance. Characterize them as covert or overt, active and passive.
[Debrief answers on the Worksheet: Methods of Resistance]
b. What were reasons to resist enslavement? What were reasons not to resist enslavement?
[Debrief answers on the Worksheet: Methods of Resistance]
5. ANALYZE
a. Why does running away seem to be the most common form of resistance? [We have historical
documents to prove that many individuals ran away. Accounts from the perspectives of enslaved
individuals that might describe other forms of resistance are rare.]
b. What evidence is available to document this form of resistance? [runaway slave ads]
c. What evidence is needed to learn about other forms of resistance? [personal or reported
accounts]
6. CRITIQUE
a. Debate the various consequences of resistance. [Debrief answers on the Worksheet: Methods of
Resistance. Discuss how some consequences led to negative perceptions of the enslaved that
persist in negative views of African American history and people.]
b. What forms of resistance required that enslaved individuals contribute to their lives and work in
positive ways? How might this have also helped to dismantle the institution of slavery? [Ex.
Forming families at all cost maintained a sense of hope, humanity, and provided a reason for
living. This helped to sustain communities that supported other active forms of resistance.
Learning skills allowed some enslaved individuals to earn money from their labor and later buy
their freedom.]
Activity 2. Runaway Art Book: Methods of Resistance Reflection (15 minutes)
*Note to teachers: This activity may be assigned as homework.
REFLECTION PROMPT:
Return to your Runaway Art Book reflections from Lesson 1: Personal Acts of Resistance and consider the
acts of resistance in which you have engaged.
RUNAWAY ART: Interpreting Colonial Slave Ads
TO DO:
In your Runaway Art Book, respond to one of the following questions:
 In what ways is resistance to enslavement similar to and different from your personal acts of
resistance?
 Which forms of resistance do you believe were more effective? Least effective? Why?
 What kinds of resistance, if any, would you have participated in? Why or why not?
RUNAWAY ART: Interpreting Colonial Slave Ads
Lesson 4: Reading Runaway Slave Advertisements
Learning Objectives
Students will:
 Use close reading skills to describe, analyze, and critique a runaway slave advertisement
 Compare and contrast the tone of advertisements to indicate perspectives about runaway slaves
 Discuss the biases inherent in runaway slave advertisements
 Understand the opportunity and limitations of primary source documents as the sole historic
artifacts available to understand the perspectives of enslaved Africans
Essential Activities:
 Activity 2. Reading Runaway Slave Ads (100-115 minutes)
Materials






Chart paper and markers
Art Image: Runaway Slave Woodblock Print
Historical Documents: Assortment of Runaway Slave Ads
Worksheet: Analyzing Runaway Slave Advertisements
Worksheet: Running for Freedom Reflection
Handout: Runaway Art: Interpreting Colonial Slave Ads – An Introductory Essay for Students
Vocabulary
Agency – asserting power or influence
Narrative – n. a true or fictionalized story or account of events or experiences
Perspective – a way of regarding a situation, facts, or information and judging their importance
Point of view – the position from which something is observed or told; an opinion or attitude from the
perspective of someone; the angle from which a viewer sees an object in a scene
Lesson Outline
Total Time: Approximately 2 hours
Activity 1. Do Now: A Plan to Run Away (10 minutes)
*Note to teachers: Conduct a large group brainstorm using the prompt below. Chart answers.
BRAINSTORM PROMPT:
Imagine that you plan to run away from enslavement. What you would need to survive?
Chart a list of the essential items that you will need, as well as an outline of steps you will take as you plan
your escape. A strategy, information, and resources must all be a part of your plan. Share your list with the
class to fill in gaps and think of concerns. Some ideas:
Resources: Food, clothing, a disguise, tools, friends or helpers, mode of transportation
RUNAWAY ART: Interpreting Colonial Slave Ads
Strategy: A place to hide, a time to leave when you may not be missed, a destination
Information: Survival skills, knowledge of the area, language
*Activity 2. Reading Runaway Slave Ads (100-115 minutes)
*Note to teachers: This is a multi-part activity that may take several class sessions to complete. During this
activity, students will engage in close reading of assorted Runaway Slave Advertisements from colonial era
newspapers.
Part 1: Historical Perspectives on Running Away (20 minutes)
* Note to teachers: Begin by reading and discussing the following paragraphs.
Running away was not a simple matter. Running away was an overt act of resistance that required careful
planning. The defiant act of running away represented a powerful assertion of one’s humanity at a time
when slaves were defined as property. However, there are few historical documents that can teach us about
the perspective of running away from the point of view of the enslaved individuals who took this risk.
Instead, we must review primary source materials such as runaway slave advertisements, which appeared in
every newspaper printed during colonial times. All of these ads were placed by slave owners, and, from their
perspective, running away was the equivalent of theft – stealing labor from the owner. A close reading of
these ads reveals historical biases about enslaved peoples and their intelligence, and often inaccurate
information about this form of resistance.
Regardless, much can be learned from runaway slave ads. A close reading provides clues to understand the
reasons why many enslaved individuals attempted escape, the conditions they were running from, as well as
insight into the cultural origins, skills, abilities, and interests of enslaved individuals. Whether runaways were
successful or not, the existence of these ads demonstrates that this was an effective form of resistance.
Searching for runaway slaves demanded resources and time that detracted from slave owners’ profits.
Additionally, runaways reinforced the notion that enslaved people were not simply complacent and willing
captives, but were determined to have agency in their lives.
Part 2: Analyze Runaway Slave Ads (30-45 minutes)
*Note to teachers: Students may analyze ads independently or in small groups spending approximately 10-15
minutes per worksheet. Differentiate by assigning ads based on complexity and reading level. Some students
may create their own chart by suggesting categories of information expected in an advertisement about a
missing person. Include images of Runaway Slave Woodblock Prints, which would have accompanied
runaway ads in the papers.
Use the Worksheet: Analyzing Runaway Slave Advertisements to guide close reading, analysis, and critique
of runaway slave ads and prints. The completed charts will inform a nuanced narrative about the individuals
described. Refer to the Handout: Runaway Art: Interpreting Colonial Slave Ads – An Introductory Essay for
Students if more information is needed.
Part 3: Discuss Analysis (30 minutes)
*Note to teachers: Use a selection from the questions below to facilitate a large group discussion about how
history of the enslaved has been told, and what has been left out. To support this activity, students may use
their completed charts and refer to the Handout: Runaway Art: Interpreting Colonial Slave Ads – An
Introductory Essay for Students.
RUNAWAY ART: Interpreting Colonial Slave Ads
1. DESCRIBE – Share exact information as it appears on the primary source document.
a. Include description and details about the person, place, situation, or context in which the ad was
created.
b. Note new vocabulary or unfamiliar phrases for further research.
2. ANALYZE – Indicate what each detail means about the enslaved person described in the ad.
a. Explain who authored the ad and why. Where was it published, and for whom?
b. How do the Runaway Slave Woodblock Prints serve as illustrations for the ads?
c. Does the ad and image contribute to a biased perspective about the individual? If so, how?
i. What evidence do you have?
ii. Note negative characterizations that reveal biases from the owner or potentially inaccurate
information about the person or situation.
d. Suggest insights into the cultural origins, skills, abilities, and interests of enslaved individuals.
e. Examine similarities across the ads, such as the time, strategy, or method of escape.
3. CRITIQUE – The absence of information is often just as important as information found in historical
records. Omissions can also tell us about how the enslaved were viewed during this time period.
a. What information is missing from this document? Why is this important?
b. In what ways do the woodblock prints, like the ads, also depict a specific point of view?
c. How might the biases and omissions reflected in the ad and images lead to general historical
biases about enslaved people?
d. How is the information you analyzed valuable to historians?
Part 4. Large Group Discussion – “Introducing … ” (20 minutes)
To conclude this activity, take turns making thoughtful introductions of the individuals from each ad.
Introductions must not stop at just a name and simple description, but should offer analytic and critical
comments about the situations in which they may have lived.
Activity 3. Runaway Art Book: Reflections on Running for Freedom (15 minutes)
*Note to teachers: This activity may be assigned as homework. Use the optional Worksheet: Running for
Freedom Reflection.
REFLECTION PROMPT:
Think about an individual from a Runaway Slave Advertisement and the challenging choices he or she would
have considered before deciding to run away.
 What possible opportunities for agency may have existed if he or she stayed enslaved?
 What opportunities might he or she have been seeking by choosing to leave?
 Who or what might they have left behind?
 What was the risk of getting caught?
Now think about the little things you normally do on any given day: waking up, going to school, doing
chores, eating dinner, getting ready for bed. Imagine how all of this would be different if you suddenly had
to leave your life behind and run for your freedom.
TO DO:
In your Runaway Art Book, write a journal entry imagining what would it be like to leave your life behind.
Discuss what would be most challenging and why.
RUNAWAY ART: Interpreting Colonial Slave Ads
*Optional Activity: Creating Artwork
**A Note to Teachers: At this point in the curriculum, it is possible to fast forward to Unit 4: Runaway Art
Creation, Presentation and Reflection, which includes lessons for imagining and creating a work of art to
represent the enslaved individual described in the Runaway Slave Advertisements. Throughout the remainder
of the curriculum, students can continue to revise their artwork and learn about new materials, mediums and
styles to create additional portraits. See the following lessons and activities:
Unit 4: Runaway Art Creation, Presentation and Reflection
Lesson 2: Planning Artwork
 Activity 1. Beginning to Create (35 minutes)
Lesson 3: Create Artwork
 Activity 1. Artistic Decision-making (10 minutes)
 Activity 2. Creation (45+ minutes)
RUNAWAY ART: Interpreting Colonial Slave Ads
Unit 3: Telling Their Stories
Unit Goal
Using primary and secondary source documents, students will imagine
the stories of individuals whose identities exist only through runaway
ads written by others. Students will humanize the experience of slavery
through art making and creative writing.
Essential Activities
Minimum Time Needed: 1 hour and 45 minutes
Lesson 1. Activity 1 and 2 – 35 minutes
Lesson 2. Activity 1 – 20 minutes
Lesson 3. Activity 1 – 50 minutes
RUNAWAY ART: Interpreting Colonial Slave Ads
Unit 3: Telling Their Stories
Unit Learning Objectives
Students will:
 Analyze primary and secondary source materials to identify details about an enslaved individual
 Write a creative scenario that proposes a nuanced and sensitive portrayal of the enslaved person
depicted and his/her decision to run away
 Create visual images that imagine an enslaved individual or some aspect of his/her life
 Write a first-person essay from the perspective of an historic figure to reflect on the complexity of
life in enslavement.
Unit Lesson Plans
This unit includes four lessons. Activities may be rearranged or eliminated depending on the amount of time
available. To complete the final performance outcomes for the Runaway Art curriculum, students must
complete the essential activities marked with an asterisk below:
Lesson 1. Imagining the Past
 *Activity 1. Do Now: Sensory Response (15 minutes)
 *Activity 2. Imagining the Past: Lecture and Discussion (20 minutes)
 Activity 3. Runaway Art Book: Telling their Stories (30 minutes)
Lesson 2. Selecting a Runaway Slave Ad
 *Activity 1. Selection (20 minutes)
 Activity 2. Creative Writing (20-30 minutes)
Lesson 3. Portrait of a Runaway Slave
 *Activity 1. Character Study (50 minutes)
 Activity 2. Closing – Share (10 minutes)
Unit Materials
Prepare copies of documents, worksheets and handouts and/or display on a SMART Board.



Historical Documents [Appendix A]:
o Assortment of Runaway Slave Ads
*Note to teachers on differentiation. A variety of these advertisements are available to
support this unit. Review materials in advance to select those suitable for individual
students.
Worksheets [Appendix B]:
o Completed Text Analysis Worksheet from Unit 1
o Telling Their Stories
Handouts [Appendix C]:
o Reading Between the Lines – this essay explains complex forms of resistance to slavery in
the Colonial North as evidenced in Runaway Slave advertisements from the period
o The Story of Philipsburg Manor, Upper Mills – this essay explains the economic system of
slavery that existed in 18th-century New York and includes a history of the Philipse family
and Philipsburg Manor
RUNAWAY ART: Interpreting Colonial Slave Ads
o


The Story of Philipsburg Manor, Upper Mills Text Cards – these cards divide the story into 10
smaller sections. Provide one card per student.
Art Materials:
o Pencils, charcoal or other materials to support two-dimensional drawing
Runaway Art Book
Unit Vocabulary
Bequeath – to hand on or pass down through a will
Expressive – shows or suggests a particular feeling or meaning
Medium – material used to create a work of art
Narrative – adj. representing a story or account of events or experiences in a visual form, like a picture
Point of view – the position from which something is observed or told; an opinion or attitude from the
perspective of someone; the angle from which a viewer sees an object in a scene
Portrait – a painting, drawing, or photograph of a person, especially of the face
Sketch – a quick drawing that is unfinished but may be used to plan a final image
RUNAWAY ART: Interpreting Colonial Slave Ads
Lesson 1: Imagining the Past
Learning Objectives
Students will:
 Analyze primary and secondary source materials to identify details about an enslaved individual
 Write a creative scenario that proposes a nuanced and sensitive portrayal of the enslaved person
depicted and his/her decision to run away
 Draw a visual image to imagine fictionalized details of an historical figure
Essential Activities:
 Activity 1. Do Now: Sensory Response (15 minutes)
 Activity 2. Imagining the Past: Lecture and Discussion (20 minutes)
Materials
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

Historical Documents: Assortment of Runaway Slave Ads
Worksheet: Telling Their Stories
Runaway Art Book
Vocabulary
Narrative – adj. representing a story or account of events or experiences in a visual form, like a picture
Point of view – the position from which something is observed or told; an opinion or attitude from the
perspective of someone; the angle from which a viewer sees an object in a scene
Sketch – a quick drawing that is unfinished but may be used to plan a final image
Lesson Outline
Total Time: 60-65 minutes
*Activity 1. Do Now: Sensory Response (15 minutes)
PROMPT:
Re-read your ad and begin to visualize the scene, from the point of view of the individual. What mental
images immediately come to mind? Are there certain colors you see as you are reading? Does the scene
take place at night or during the day? What sounds might there be? Are there other people there?
TO DO:
In your Runaway Art Book, make a list of words or short phrases, or draw quick sketches, that come to mind
when you read the ad. Don’t stop to perfect anything—just try to capture the emotions that this ad evokes.
*Activity 2. Imagining the Past: Lecture and Discussion (20 minutes)
RUNAWAY ART: Interpreting Colonial Slave Ads
*Note to teachers: Read the following paragraphs then follow with a group discussion.
Part 1. Historians and Artists
The work of a historian includes trying to pull together information from a variety of sources to create a
realistic understanding of the past. In the Runaway Art program, we have looked at a variety of primary
source documents, such as the runaway slave advertisements, and secondary source documents like The
Story of Philipsburg Manor, Upper Mills essay. Synthesizing information from primary and secondary
sources, we can understand the context of colonial slavery in the North and can begin to imagine the
experience of the enslaved. But we have learned that simply analyzing the historical evidence is often
incomplete. Since all historical documents have a point of view, they can leave out information and
perspectives. So we must ask critical questions about the gaps and omissions to form more complete
narratives about individuals neglected by history.
The work of an artist is to take facts or experiences and endow them with emotion and meaning. Artists
create images, poems and stories, and performances that raise fundamental questions about what it means
to be human. In Units 1 and 2, we have imagined the rich inner lives of the enslaved people who lived and
worked on plantations like Philipsburg Manor, and those who ran away. We now have perceptions of these
individuals’ motivations, hopes, fears, and dreams. Artistic creations based on these emotions can help us to
better understand the daily existence of enslaved individuals during colonial times. Yet art is not always
about creating understanding. Art also helps us pose troubling, unanswerable questions that reveal
uncomfortable truths about life and human experience. Art can make us curious, so that we continue to
search for meaning.
From this point forward, this project will focus on this integrated approach of working like historians and
artists to imagine the stories of enslaved Africans in the northern colonies.
Discussion Questions:
 What are the differences and similarities between historians and artists?
 Does the integration of history and art help you understand the period of colonial slavery? If so,
how? If not, why not?
Activity 3. Runaway Art Book: Telling their Stories (30 minutes)
In Lesson 2, The Story of Philipsburg Manor explored the family connections among the enslaved community
at Philipsburg. Forming families and connections to the community at large were ways that helped enslaved
individuals develop and maintain a sense of cultural and personal identity.
Understanding these relationships to each other can reveal how the enslaved were able to endure
hardships, or make the decision to run away.
Use the Worksheet: Telling their Stories to imagine the life of the enslaved person.
REFLECTION PROMPT:
Use information from your selected runaway ad that might provide information about the life of the
enslaved person and his or her relationships with others. Imagine answers to the following questions:



Who were their family members?
Did they live together or were they separated from family?
What work did they do every day?
RUNAWAY ART: Interpreting Colonial Slave Ads



What special skills did they have that might tell us more about their training, what they excelled at,
and therefore how they spent their days?
What was their person’s relationship with plantation owners, like Adolph Philipse at Philipsburg?
What was their relationship with other community members, like the European tenant farmers who
lived on the manor or traded at Philipsburg Manor?
TO DO:
In your Runaway Art Book, do the following:
Step 1. Write – Write a description that imagines a day in the life of the enslaved person described in the ad.
The creative description should propose a nuanced and sensitive portrayal of the enslaved person and
suggest some background about his/her decision to run away.
Step 2. Draw – Add an illustration depicting a scene from the day.
RUNAWAY ART: Interpreting Colonial Slave Ads
Lesson 2: Selecting a Runaway Slave Ad
Learning Objectives
Students will:
 Analyze primary and secondary source materials to identify details about an enslaved individual
 Write a first-person essay from the perspective of an historic figure to reflect on the complexity of
life in enslavement
Essential Activities:
 Activity 1. Selection (20 minutes)
 Activity 4. Closing – Share (10 minutes)
Materials




Worksheet: Selecting a Runaway Slave Ad
Worksheet: Creative Writing
Historical Documents: Assortment of Runaway Slave Ads
Runaway Art Book
Vocabulary
Expressive – shows or suggests a particular feeling or meaning
Narrative – adj. representing a story or account of events or experiences in a visual form, like a picture
Point of view – the position from which something is observed or told; an opinion or attitude from the
perspective of someone; the angle from which a viewer sees an object in a scene
Lesson Outline
Total Time: 50-60 minutes
*Activity 1. Selection (20 minutes)
*Note to teachers: The slave ads included in this curriculum are annotated to help you assign ads to students
based on various factors.
Select one advertisement to interpret into an original work of art. Use the Worksheet: Selecting a Runaway
Slave Ad to help you explore the ad in more detail:
1. Are there clues in the ad that suggest specific reasons this enslaved person might attempt escape?
2. Does the ad mention a possible location of origin for the individual (Africa, the Caribbean), or a
possible destination the person might be traveling to?
3. Does the ad name other people that this individual might be with or might be going to find?
4. What time of year was this ad written? How do you think the season might have affected the
person’s escape or chance of success?
5. What parts of the ad stood out to you? Why did you connect with this ad?
RUNAWAY ART: Interpreting Colonial Slave Ads
Activity 2. Creative Writing (20-30 minutes)
Select one of the following writing activities to craft an expressive essay from the point of view of the
enslaved individual that you selected. Your narrative should attempt to rehumanize the dehumanized
aspect of these ads. Refer to the Worksheet: Creative Writing.






A short life-story about what led the person to decide to run away
A journal entry written the night before the person’s escape to describe the plan to run away.
Include ideas about strategy, resources, and information you will need. [See Unit 2, Lesson 4]
A newspaper article that details the escape from a journalist’s perspective. Use the information
from the ad to breathe life into the person and offer a less biased view of his/her motives and
character.
A letter from the individual to a family member s/he left behind. Perhaps the individual is explaining
his/her actions or is sharing information about what it’s like to be on the run.
A letter to the editor in response to the advertisement. Imagine that this will be published as an
opinion piece in the newspaper that featured the ad.
A creative vignette or short story to imagine any part of the enslaved individual’s life
Activity 3. Closing – Share (10 minutes)
Share your essay with a partner or with the entire group. Use the following questions to encourage
dialogue:
1. Why did you choose to tell this story? What was the motivation?
2. What emotions does your narrative express, and why? [hope, fear, anger, sadness, etc.]
3. What connections appear across each other’s stories and portraits? Describe notable commonalities
or differences.
RUNAWAY ART: Interpreting Colonial Slave Ads
Lesson 3: Portrait of a Runaway Slave
Learning Objectives
Students will:
 Analyze primary and secondary source materials to identify details about an enslaved individual
 Create a visual portrait that imagines an enslaved individual or some aspect of his/her life
Essential Activities:
 Activity 1. Character Study (50 minutes)
 Activity 2. Closing – Share (10 minutes)
Materials





Historical Documents: Assortment of Runaway Slave Ads
Completed Worksheet: Selecting a Runaway Slave Ad
Completed Worksheet: Creative Writing
Art Materials:
o Paints, pencils, charcoal or other materials to support two-dimensional drawing
o Scrap paper
Runaway Art Book
Vocabulary
Expressive – shows or suggests a particular feeling or meaning
Medium – material used to create a work of art
Narrative – adj. representing a story or account of events or experiences in a visual form, like a picture
Point of view – the position from which something is observed or told; an opinion or attitude from the
perspective of someone; the angle from which a viewer sees an object in a scene
Portrait – a painting, drawing, or photograph of a person, especially of the face
Lesson Outline
Total Time: 60 minutes
*Activity 1. Character Study (50 minutes)
Create a character study of the individual you selected using any medium. This should be a rough draft of a
portrait, not a perfect piece of art. Instead, think about how you might want to use the visual arts to express
the emotional and physical experience of running away.
Refer to your notes from the Worksheet: Selecting a Runaway Slave Ad and your Worksheet: Creative
Writing (above) to help inform your artistic choices.
GUIDING QUESTIONS
*Note to teachers: Consult with art teachers and teaching artists to provide information about art techniques
and materials to support this discussion.
RUNAWAY ART: Interpreting Colonial Slave Ads




What artistic choices might you use to show various emotions? [colors, materials, style, etc.]
How will you depict facial expressions, bodies, and movement to coincide with emotions?
What medium will highlight the expressive qualities of the person’s escape?
How could you show that this act of running away is part of a larger narrative of this person’s life?
Activity 2. Closing – Share (10 minutes)
Share your portrait with a partner or with the entire group. Use the following questions to encourage
dialogue:
1. Why did you choose to tell this story? What was the motivation?
2. What connections appear across each other’s stories and portraits? Describe notable commonalities
or differences.
RUNAWAY ART: Interpreting Colonial Slave Ads
Unit 4: Runaway Art Creation,
Presentation and Reflection
Unit Goal
Students will explore works of art that depict slavery and freedom, and
discuss the potential of art to convey meaning about society, culture, and
history. Students will then choose a runaway slave ad and construct a
work of art to represent the enslaved individual or individuals described,
as well as some aspect of the situation or experience imagined. The work
of art will present a creative and responsible portrayal of an enslaved
person’s perspective, which is often absent from the historical record.
Essential Activities
Minimum Time Needed: 4 hours
Lesson 1. Activity 1, 2 and 3 – 60 minutes
Lesson 3. Activity 1 and 2 – 60 minutes
Lesson 4. Activity 1 – 30 minutes
Lesson 5. Activity 1 and 3 – 90 minutes
RUNAWAY ART: Interpreting Colonial Slave Ads
Unit 4: Runaway Art Creation, Presentation and Reflection
Unit Learning Objectives
Students will:
 Explore works of art that depict slavery and freedom to examine how artists represent their
understanding of historical events
 Discuss the biases inherent in runaway slave advertisements and primary documents
 Use an artistic medium to translate a runaway slave ad into artwork that communicates critical ideas
about history and demonstrates complex knowledge about colonial slavery
 Learn discipline-specific art vocabulary and concepts to support the creation of an accurate
representation
 Write a personal statement to describe the artwork and state reasons for choosing a particular
advertisement
 Present original artwork and explain how artwork inspired by runaway slave ads demonstrates
complex understanding about colonial slavery
 Provide peer feedback and critique
Unit Lessons Plans
This unit includes five lessons that lead to a culminating presentation of artwork and reflection about the
curriculum. Students are expected to complete all of these lessons to complete the final performance
outcomes for the Runaway Art curriculum. Lesson plans include:
Lesson 1: Interpreting History Through Art
 *Activity 1. Themes of Slavery and Freedom in Art (15 minutes)
 *Activity 2. Exploring Works of Art (30 minutes)
 *Activity 3. Runaway Art Book: Exploring Works of Art Reflection (15 minutes)
Lesson 2: Planning Artwork
 Activity 1. Beginning to Create (30-45 minutes)
Lesson 3: Create Artwork
 *Activity 1. Artistic Decision-making (15 minutes)
 *Activity 2. Creation (45+ minutes)
Lesson 4: Reflection
 *Activity 1. Runaway Art Book: Reflection on Your Work of Art (30 minutes)
Lesson 5: Final Presentation
 *Activity 1. Final Presentation (60-120 minutes)
 Activity 2. Additional Displays
 *Activity 3. Concluding Discussion (30 minutes)
RUNAWAY ART: Interpreting Colonial Slave Ads
Unit Materials
Prepare copies of documents, worksheets and handouts and/or display on a SMART Board.







Worksheets [Appendix B]:
o Art Interpretation
o Beginning to Create
o Comment Cards
o Exploring Works of Art
o Exploring Works of Art Reflection
o Reflection on Your Work of Art
Art Images [Appendix E, and complete Powerpoint found online at Runaway Art website]:
o Runaway Art Examples – This includes many examples of student artwork from NYC 7th
graders and from our Pilot Program with high school students, available in Powerpoint at:
http://www.hudsonvalley.org/education/runaway-art
All work completed in previous lessons, including written reflections and artistic sketches, primary
source documents, handouts and completed worksheets
Art Materials—Select any materials to support two- or three-dimensional representations of a slave
ad such as a drawing, painting, sculpture, collage, or digital art.
Runaway Art Book
Post-it Notes
Pens or pencils
Unit Vocabulary
Background – part of a scene or view that is furthest from the viewer
Evoke – bring to mind
Foreground – portion a scene or view that is nearest to the viewer
Literal – true to fact; actual or strict interpretation of meaning
Metaphorical – a term, phrase, or idea used to represent something or suggest a resemblance
Mood – the emotional quality or attitude of a person, place, time, etc.
Narrative – n. a true or fictionalized story or account of events or experiences
Point of view – the position from which something is observed or told; an opinion or attitude from the
perspective of someone
Representation – a picture or model that shows the likeness of a thing or idea
Symbols – used to represent something; usually an object, image, letter, or sign
RUNAWAY ART: Interpreting Colonial Slave Ads
Lesson 1: Interpreting History Through Art
Learning Objectives
Students will:
 Explore works of art that depict slavery and freedom to examine how artists represent their
understanding of historical events
Essential Activities:
 Activity 1. Themes of Slavery and Freedom in Art (15 minutes)
 Activity 2. Exploring Works of Art (30 minutes)
 Activity 3. Runaway Art Book: Exploring Works of Art Reflection (15 minutes)
Materials





Art Images: Runaway Art Examples [found online at the Runaway Art website]
Worksheet: Exploring Works of Art
Worksheet: Exploring Works of Art Reflection
Runaway Art Book
Art Materials—Select any materials to support two- or three-dimensional representations of a slave
ad such as a drawing, painting, sculpture, collage, or digital art.
Vocabulary
Evoke – bring to mind
Mood – the emotional quality or attitude of a person, place, time, etc.
Narrative – n. a true or fictionalized story or account of events or experiences
Symbols – used to represent something; usually an object, image, letter, or sign
Lesson Outline
Total Time: 60 minutes
*Activity 1. Themes of Slavery and Freedom in Art (15 minutes)
View the Runaway Art Examples Powerpoint to see examples of how artists depict the themes of
enslavement and freedom using historical research and documents as information. Discuss how art can be
used to raise questions about history and broaden the perspectives that are available through documents
and artifacts.
*Activity 2. Exploring Works of Art (30 minutes)
Select one work of art to analyze using the Worksheet: Exploring Works of Art as a guide:
1. DESCRIBE – Describe the people, context, and action in this work of art.
a. Who is depicted? What emotions are shown? What are the relationships between the people
shown?
RUNAWAY ART: Interpreting Colonial Slave Ads
b. Where is the scene located? Is there movement and if so, how is that depicted?
c. What materials or techniques does the artist use?
d. What historical time period or themes are depicted in the artwork? How do you know?
2. ANALYZE – Examine how artistic techniques are used to create meaning.
 Does the artist attempt to tell a story or narrative through the artwork? How do you know?
What is the theme or topic of the story?
 What mood or sense of feeling is communicated by the art?
 How do the materials or technique contribute to the mood, themes, or narrative?
3. CRITIQUE – Suggest possible interpretations of the artwork.
 What questions or critiques does the artwork raise about the experience of slavery and its
lingering legacy in American history? In other words, what facts, issues or ideas does the artist
question?
i. How, if at all, does the artwork argue for an alternate perspective on history?
ii. Does it contradict, challenge, or support alternate views of history?
 What contemporary issues does the narrative or themes connect to? What might the artist want
you to think about those issues?
*Activity 3. Runaway Art Book: Exploring Works of Art Reflection (15 minutes)
*Note to teachers: This activity may be assigned as homework. Use the optional Worksheet: Exploring
Works of Art Reflection.
REFLECTION PROMPT:
Consider how the professional artists and high school students have depicted the concepts of slavery and/or
freedom work of art.
TO DO:
In your Runaway Art Book, respond to the following questions:
 What emotions does the work of art evoke in you?
 What does the piece make you think about the concepts of slavery and/or freedom?
 What lingering questions do you have about the artist, the artwork, and the issues raised by the
artwork?
RUNAWAY ART: Interpreting Colonial Slave Ads
Lesson 2: Planning Artwork
Learning Objectives
Students will:
 Discuss the biases inherent in runaway slave advertisements and primary documents
 Use an artistic medium to translate a runaway slave ad into artwork that communicates critical ideas
about history and demonstrates complex knowledge about colonial slavery
 Learn discipline-specific art vocabulary and concepts to support the creation of an accurate
representation
Essential Activities:
 Activity 1. Beginning to Create (30-45 minutes)
Materials




Runaway Art Book
Worksheet: Beginning to Create
All work completed in previous lessons, including written reflections and artistic sketches, primary
source documents, handouts and completed worksheets
Art Materials—Select any materials to support two- or three-dimensional representations of a slave
ad such as a drawing, painting, sculpture, collage, or digital art.
Vocabulary
Background – part of a scene or view that is furthest from the viewer
Foreground – portion a scene or view that is nearest to the viewer
Literal – true to fact; actual or strict interpretation of meaning
Metaphorical – a term, phrase, or idea used to represent something or suggest a resemblance
Mood – the emotional quality or attitude of a person, place, time, etc.
Narrative – n. a true or fictionalized story or account of events or experiences
Representation – a picture or model that shows the likeness of a thing or idea
Symbols – used to represent something; usually an object, image, letter, or sign
Lesson Outline
Total Time: 30-45 minutes
Activity 1. Beginning to Create (30-45 minutes)
Step 1. Review any written and artistic reflections in your Runaway Art Book to inform a representation of
the slave advertisement you analyzed. Your artwork will help to tell the story of the everyday people whose
stories have been omitted from history.
RUNAWAY ART: Interpreting Colonial Slave Ads
Step 2. Select one or more of the people described in the runaway slave advertisement you analyzed. Your
interpretation of the slave ad should attempt to rehumanize the dehumanized aspects of the person
advertised.
Step 3. Use the Worksheet: Beginning to Create, to plan the following elements of your work of art:

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


Person – What does the person look like? What is s/he wearing or carrying? What distinguishing
features or characteristics were not included in the advertisement but seem plausible?
Emotions – What range of emotions might this person feel at the time of his/her escape? Review the
Sketching Faces activity from Unit 1, Lesson 4.
Other People - Who else is mentioned? What is there relationship to the main person mentioned in
the ad? How central are they to the person’s story? Should they also be depicted in the artwork?
Why or why not?
Narrative | Theme | Mood – What story do you wish to tell about the person? How would you
explore a theme, issue or situation as a narrative? How can the mood of the story reflect the
emotions felt by the person?
Environment – Describe the location or setting this person might be in? What is in the foreground?
What is in the background? What is the time of day, year, or season? How might you depict this
place either literally or metaphorically?
Symbols – What other objects, words, shapes, symbols, or colors can be used to represent any of
the components mentioned above? These do not have to be literal choices. For example, if an ad
mentions a person with dark skin tone, you may select a color that seems accurate, or you may
choose a dark blue or purple to symbolize darkness.
RUNAWAY ART: Interpreting Colonial Slave Ads
Lesson 3: Creating Artwork
Learning Objectives
Students will:
 Use an artistic medium to translate a runaway slave ad into artwork that communicates critical ideas
about history and demonstrates complex knowledge about colonial slavery
 Learn discipline-specific art vocabulary and concepts to support the creation of an accurate
representation
 Write a personal statement to describe the artwork and state reasons for choosing a particular
advertisement
Essential Activities:
 Activity 1. Artistic Decision-making (15 minutes)
 Activity 2. Creation (45+ minutes)
Materials







Historical Document: Assortment of Runaway Slave Ads
Completed Worksheet: Analyzing Runaway Slave Advertisements
Completed Worksheet: Beginning to Create
Worksheet: Art Interpretation
All work completed in previous lessons, including written reflections and artistic sketches, primary
source documents, handouts and completed worksheets
Art Materials—Select any materials to support two- or three-dimensional representations of a slave
ad such as a drawing, painting, sculpture, collage, or digital art.
Runaway Art Book
Vocabulary
Evoke – bring to mind
Medium – material used to create a work of art
Mood – the emotional quality or attitude of a person, place, time, etc.
Narrative – adj. representing a story or account of events or experiences in a visual form, like a picture
Lesson Outline
Total Time: 60+ minutes
*Activity 1. Artistic Decision-Making (15 minutes)
*Note to teachers: The focus of this exercise should be on the stages of artistic creation—reiterating to
students the need for revision—as well as on deepening their understanding and connection to the historical
figures they are depicting.
Use the Worksheet: Beginning to Create to decide how to create an expressive individual considering the
following key artistic elements:
RUNAWAY ART: Interpreting Colonial Slave Ads



Narrative – Determine what story your image will tell.
Mood – Determine the emotions that you want the piece to evoke.
Medium – Select materials to create a two- or three-dimensional work of art depicting that story.
*Activity 2. Creation (45+ minutes)
*Note to teachers: Art making may take one period or continue for many periods. This lesson might also be
introduced as early as Unit 2 when Runaway Slave Advertisements are analyzed. If so, students should
continue to revise their artwork and learn about new materials, mediums and styles to create additional
portraits.
Conclude all art making with reflection in the Runaway Art Book. Use the Worksheet: Art Interpretation.
REFLECTION PROMPT:
After creating art, reflect on the many design and composition choices made to interpret a historical person,
place, event, or document.
TO DO:
In your Runaway Art Book, respond to the following questions:
 What inspired you to create the picture you made?
 Which art materials did you use?
 What design choices did you make?
 Did you revise your work? If so, what revisions did you make and why?
 How do you think creating art helped you interpret the text you chose?
RUNAWAY ART: Interpreting Colonial Slave Ads
Lesson 4: Reflection
Learning Objectives
Students will:
 Write a personal statement to describe the artwork and state reasons for choosing a particular
advertisement
Essential Activities:
 Activity 1. Runaway Art Book: Reflection on Your Work of Art (30 minutes)
Materials





Completed Work of Art
Completed Worksheet: Art Interpretation
Worksheet: Reflection on Your Work of Art
All work completed in previous lessons, including written reflections and artistic sketches, primary
source documents, handouts and completed worksheets
Runaway Art Book
Lesson Outline
Total Time: 30 minutes
Activity 1. Runaway Art Book: Reflection on Your Work of Art (30 minutes)
*Note to teachers: This activity may be assigned as homework. Use the optional Worksheet: Reflection on
Your Work of Art
REFLECTION PROMPT:
Return to your Runaway Art Book and review all of your written reflections and artistic sketches.
Reflect back on the stages of this process: from first encountering otherwise forgotten figures from history,
gradually coming to understand and piece together a life for them, and creating an artwork to eternalize
their experiences.
TO DO:
In your Runaway Art Book, write a personal statement to state reasons for choosing a particular
advertisement. Describe your final work of art, including the choices you made to represent the individual
and why. Revisit your Art Interpretation reflections:
 What inspired you to create the picture you made?
 Which art materials did you use?
 What design choices did you make?
 Did you revise your work? If so, what revisions did you make and why?
 How do you think creating art helped you interpret the text you chose?
RUNAWAY ART: Interpreting Colonial Slave Ads
Conclude your essay with one or two paragraphs that respond to the following questions:
 How has the Runaway Art project caused you to re-think how history is told?
 How has the Runaway Art project caused you to re-think your place in history? In the world?
Use the second page of the worksheet to write a personal statement that will accompany your artwork.
RUNAWAY ART: Interpreting Colonial Slave Ads
Lesson 5: Final Presentation
Goal
This lesson creates an intimate space in which to share artwork and discuss culminating personal reflections
about the Runaway Art curriculum. Students will engage in dialogue with others about their understandings
and experiences from the project, artistic and historic, and present lingering questions for further
exploration.
Learning Objectives
Students will:
 Present original artwork
 Explain how artwork inspired by runaway slave ads demonstrates complex understanding about
colonial slavery
 Provide peer feedback and critique
Essential Activity:
 Activity 1. Final Presentation (60-120 minutes)
 Activity 3. Concluding Discussion (30 minutes)
Materials




Completed Work of Art
Handout: Comment Cards (Or blank index cards or paper)
Post-it Notes
Pens or pencils
Vocabulary
Point of view – the position from which something is observed or told; an opinion or attitude from the
perspective of someone
Activity Description
Total Time: 90-150 minutes
Activity 1. Final Presentation (60-120 minutes)
The final presentation offers an opportunity to share the work and experiences gained through this project.
This may take place during a class period; however, since art is a powerful form of communication, this is an
ideal time to invite parents and others in your community to attend an in-class art exhibition as audience
members.
Criteria for Presentation
All presentations should describe the artwork and the process of creating it. Presenters should explain why
RUNAWAY ART: Interpreting Colonial Slave Ads
they chose a particular advertisement, describe their key choices in the creation of the artwork, and discuss
how this whole process has helped them identify with history in new ways.
Feedback and Reflection
Comment cards provide positive critique and initiate dialogue about potential interpretations of the historic
documents. Comment cards should be shared directly with artists after presentations and then collected
and scanned as part of the final evaluation for the project. Use the optional Handout: Comment Cards to
prompt written feedback about one or more of the following questions:







What is most striking about the work of art?
Can you determine the narrative, theme, or story just by looking at it? What do you like or
appreciate about the narrative, theme, or story told?
How will this work of art contribute to a more nuanced telling of history about colonial-era slavery
and the enslaved individuals who resisted by running away?
How is this portrayal similar or different to the work of art that I created?
How does this piece encourage me to look differently at my artwork?
How does this piece encourage me to look differently at the historic source that inspired it?
How does this piece contribute to a re-thinking of the way that history gets told?
*Note to teachers: All participants should complete a comment card for at least one artist in each round of
presentations. Each artist should receive at least one comment card, so assign peer reviewers in advance.
Gallery Walk in Four Rounds
The format for this presentation provides multiple methods for sharing work. In this Gallery Walk, each
round will last 15 minutes and give students time to present their work while others tour the gallery viewing
artwork and providing feedback.
Round 1 – Gallery Walk with Group 1
Students in Group 1 will be stationed near their artwork to share reflections and answer questions.
Other students will tour the gallery, pose questions, and provide feedback using the Handout:
Comment Cards.
Round 2 – Gallery Walk with Group 2
Students in Group 2 will be stationed near their artwork to share reflections and answer questions.
Other students will tour the gallery, pose questions, and provide feedback using the Handout:
Comment Cards.
Round 3 – Large Group Presentations with Volunteers from Groups 1 and 2
Volunteer students will take turns to present their artwork and reflections to a seated audience.
Round 4 – Mingle with all students to visit any project
All students will mingle in the gallery to visit any project they missed and talk to each other about
their artwork.
*Note to teachers: If all students are expected to make a large group presentation, plan Round 3 and Round
4 as a multi-class or after school event.
Assigning Groups
To organize this event, divide students into 2 groups of 10-15 students to sit with projects during a gallery
walk. In addition, solicit volunteers from both groups to present to a large audience.
RUNAWAY ART: Interpreting Colonial Slave Ads
*Note on differentiation: Students will not have the opportunity to hear from artists in their own group
except during Round 3 presentations or the Round 4 Mingle period. Use this as a way to ensure a variety of
feedback across each round.
Activity 2. Additional Displays
Primary Source Documents – Create an area in the gallery to display the collection of runaway slave ads, as
well as other primary source documents used throughout the lessons.
Student Work – Display sample Runaway Art Books and other selections of student work collected
throughout the project.
Comment Wall – Create a section of wall space where visitors can leave comments about the exhibition
using Post-it notes. This format is more interactive than a static guest book and encourages multiple and
more candid comments and suggestions. Photograph the wall to create a lasting document.
*Activity 3. Concluding Discussion (30 minutes)
“Until the lions have their own historians, the history of the hunt will always glorify the hunter.”
– Author Chinua Achebe
Reflect back on Chinua Achebe’s quote introduced at the beginning of the Runaway Art Project. This quote
demonstrates that point of view always determines how the story is told. But it also tells us that history is
open to change, and that it is not set forever. History can be re-told and re-shaped. Over the past four units,
we have explored history from a new perspective. How has this experience changed the way you think
about the past?
Final Thoughts
*A Note to Teachers: For many enslaved Africans and runaways in New York, freedom remained elusive
until slavery was abolished in 1827. Therefore, the topic of colonial-era slavery yields complex emotions
with no easy answers. As students share their artwork, it is important to honor the range of emotions that
exist. Students may remain perplexed by the impossibility of freedom during this time, and therefore may
communicate futility in the hope that runaways sought. Students may pose uncomfortable questions about
the social injustice that persists as a result of slavery’s legacy. In many situations, it is appropriate to not
attempt to provide answers. It can be very empowering to permit students to simply divulge these troubling
questions and allow a space for them to exist as a part of learning. This deeply personal reflection is indeed
a crucial part of making sense of this tragic period in history. This final presentation encourages this deep
reflection and continued processing as students share these ideas and feelings with classmates and other
visitors.
RUNAWAY ART: Interpreting Colonial Slave Ads
Appendix
RUNAWAY ART: Interpreting Colonial Slave Ads
RUNAWAY ART: Interpreting Colonial Slave Ads
Inventory of all and Singular the goods, Rights Chattels & Credits of the
Estate of Mr. Adolph Philipse Deceased vizt:
On the manour of Philipsburgh-12th February 1749
NEGROS VIZ:
Ceaser
Dimond
Sampson
Kaiser
Flip
Tom
... Men
Venture
James
Charles
Billy
Susan
Abigal
Massy
Dina
Sue
...Women
... Men not fitt for work
Tom abt
Charles
Sam
Dimond
Hendrick
Ceaser
Harry
9 years old
9 Do
8 Do
7 Do
... Boys
5 Do
2 Do
1 &4 months
Betty ...
3 years old
A Girl
CATTLE VIZ:
(old)
(all dead
‘fore ye
Vendue)
6 worken Oxen
12 Milch Cows
9 3yr old heffers Steers & bulls
9
2
ditto
6
1
ditto
30
sheep & some lambs
19
hoggs & some piggs
HORSES VIZ:
3
3
17
Stable Horses
horses in the woods
Mares & young horses
Transcript from Adolph Philipse Probate Inventory 12 Feb. 1750
Original—New York Public Library Manuscript Collection
RUNAWAY ART: Interpreting Colonial Slave Ads
RUNAWAY ART: Interpreting Colonial Slave Ads
KNOW ALL MEN BY THESE PRESENTS that I Peter
Peterse Demerest of the precinct of Hackensack in the
county of Bergen in the province of New Jersey former
For in the consideration of the sum of ninety pounds
to me in hand paid by Dirck Terhuen of the precinct
of Sadel river in the county and province aforesaid before
insealing and delivery of these payments the receipt where
of I do acknowledge have bargained and sold and [advise]
and by these payments do bargain and sell unto the good Dirck
Terhuen a Negro boy named Cyor about seventeen years
of age to have and to hold the said Negro boy named
Cyor by these payments have bargained and sold unto the said
Dirck Terhuen by his heirs executors administrators and
assigns for ever and I the said Peter Peterse Demarest
for myself my heirs executors and administrators all and
singular the said Negro boy unto the said Dirck Terhuen
his heirs executors administrator and assigns against me
the said Peter Peterse Demarest my executors administrators
and assigns and against all and every person or persons
what so ever shall and will warrant and for ever do
find by these payments the sale of the said Negro boy
joined and in good health at the delivery of these payments
in witness whereof I have set my hand and fixed
my seal this fifth day of March [1771]
Signed sealed and
Delivered in the
Presents of us
RUNAWAY ART: Interpreting Colonial Slave Ads
New-York Gazette
November 13, 1732
Ran away from JOSEPH READE of New York City, merchant, the 14th of November 1732,
a likely mullatto servant woman named SARAH. She is about 24 years of age, and she
has taken with her a callico Suit of Cloathes, a striped Satteen silk waistecoat, Two
Homespun waiste-Coates and Petty-coat; she is a handy Wench, can do all sorts of
House-work, speaks good English and some Dutch. Whoever takes up the said Servant,
and will bring her to her late Master, shall have 5 POUNDS Reward and all reasonable
Charges paid.
New-York Weekly Post-Boy
August 18, 1746
th
Run away on Sunday the 10 instant from Captain George Hall, of this city, a tall likely
young Negroe man named Quaw; he is a cunning and artful fellow, Jamaica born,
stutters very much and had one of his ears cropt; he stole away a £5, 12s and £3
Johannes Pieces and was seen going towards Kingsbridge. Whoever takes up said Negro
and brings him to his master, shall have fifty shillings reward and all reasonable charges
paid by George Hall.
New-York Weekly Journal
May 25, 1747
New York, May 23, 1747 Made his escape from on board the Privateer Brig, Pollux, on
the 20th inst, a Mulatto man named Storde, a Bermudian Born, aged about 23 years,
pretty tall and pock broken, but not very much, but pretty large pits in his face, pretty
fair, with his Head commonly shaved in order to make himself pass for a white man, by
trade a carpenter; the cloathes he used to wear before he left the vessel, was a check’d
shirt, a striped Flannel Jacket, a pair of Oznabrig trousers, a red and white worsted cap,
and some other cloathes, but can’t say what they were and believe, that he caried with
him both shoes and stockings, with a large pair of silver shoe buckles and a silver stock
buckle and also a pair of Gold Sleeve buttons, when in Bermuda, which without doubt
he had with him, and which ‘tis thought he will offer to sell. It is very likely that he may
be well dress’d as he had good cloath when he left Bermuda. The above mentioned
Buckles and Buttons given him by his Master Mr. Thomas Hunt of Bermuda. Whoever
takes up the said Mulatto slave and delivers him to Mr. Daniel Stiles at Captain John
Waldron’s at New-York or to Mr. Philip Wilkinson, merchant at New-Port, Rhode
Island, shall have ten pounds, as a reward and all reasonable charges paid by either.
Daniel Stiles or Philip Wilkinson.
New-York Weekly Post Boy
June 27, 1748
RUNAWAY ART: Interpreting Colonial Slave Ads
Run away from the Executors of Captain Beezley, a Spanish Negro Man, named
Domingo, about 40, pitted with small pox, but a scar under his left eye brow, speaks
bad English; had on when he went away a Brown cloth Jacket, a check shirt, an old hat
flapt, a striped blue and white cotton trowsers, is supposed to harbor in or about the
swamp, having frequently been seen near Mary Carrey, a white woman, that frequently
used to harbor him at her lodgings near the Stockade. Whoever takes up said Negro,
and secures him, so that he made be had again, shall receive Twenty Shillings Reward
by James Mills.
New-York Weekly Post Boy
November 14, 1748
Run away from John Pell of the Mannor of Pelham, a Negro wench named Bell, a boy
named Janneau, a girl named Tamar, another named Dianah, another named Isabel,
also a Negro Man named Lewis. Whoever will take up said Negroes, and bring them to
John Pell aforesaid, shall have Five Pounds Reward, and all reasonable charges, paid by
John Pell.
New-York Weekly Post Boy
April 23, 1753
th
Run away on the 12 Instant April, from ISAAC KINGSLAND of Saddle River, in
Bergen County, East New Jersey, a Negro Wench named Nell, who formerly belonged
to Robert J. Livingston, Merchant in New York: she is a tall slim Wench, has three
Diamonds in her face, one on each side and the other on her Forehead: had on and
taken with her when she went away, three Petticoats, one is an old quilted one, and the
other two homespun, one striped and the other mixed, a blue and white striped short
gown, a bluish homespun Waistcoat, and an Ozenbrigs shirt, with Homespun sleeves, a
short blue cloke, a new pair of Blue Stockings, a pair of old crooked shoes, and several
other Things too tedious to mention. These are therefore to Forewarn all Masters of
Vessels and others, of carrying off, concealing or harbouring said Wench, as they will
answer it at their peril with the utmost Rigour of the Law. Whoever takes up the
foremention’d Negroe, and secures her in any Gaol, so that her master may have her
again, shall have Forty Shillings reward, and all reasonable charges paid by ISAAC
KINGSLAND.
RUNAWAY ART: Interpreting Colonial Slave Ads
New-York Gazette
October 15, 1753
Run away on Sabbath Day evening, Sept. 2, 1753, from his Master Chauncy Graham,
of Rumbout, in Dutchess County, a likely Negro Man named Cuff, about 30 years old,
well set, has had the Small Pox, is very black, speaks English pretty well for a Guinea
Negroe, and very flippant; he is a plausable smooth Tongue Fellow. Had with him a
pair of greenish plush breeches about two-thirds worn, and a Pair of russel ditto
flowered green and yellow, two white shirts, two Pair of middling short Tow Trowsers,
one pair of Thread Stockings knit in Squares, one Pair of blue fine wool ditto flowered,
one Diaper Cap, one white Cotton ditto, one blue Broad Cloth Jacket with red lining,
one blue homespun coat lined with streak’d Lindsey Woolsey, or woolen &c. &c. &c.
He is a strong Smoaker. ‘Tis supposed he was seduced away by one Samuel Stanberry,
alias Joseph Linley, a white fellow that run away with him, and ‘tis very likely this white
man has wrote the Negro a pass; for ‘tis said he has been in Norwalk in Conecticut, and
passed there for a free Negro, by the name of Joseph Jennings, and that he was making
toward the Eastward. Whoever shall take up and secure said Servant, so that his Master
may have him again, shall have FORTY SHILLINGS New-York Money Reward, and all
reasonable charges paid by CHAUNCY GRAHAM. N.B. All Masters of Vessels are
forbid to carry off said Servant, as they would not escape the utmost Rigour of the Law
in that case made and provided.
New-York Gazette
January 22, 1759
th
Ran away from Richard Harris, of Staten Island, the 14 Instant; a Negro man named
Tom, speaks good English, about 30 years of age. Ran away at the same time a Negro
Boy named Harry, 14 years old, has an Impediment in his speech, speaks good French,
and has lost one of Fore Teeth: They both had light coloured Kersey jackets, with white
flowered Metal Buttons; Harry had a cap on, such as Mariners generally wear, and Tom
had a Great coat with a cap to it, that covered his head on Occasion. Whoever takes up
and secures said Negroes, so that their Master can have them again, shall receive twenty
shillings reward for each, and all reasonable Charges paid by RICHARD HARRIS.
RUNAWAY ART: Interpreting Colonial Slave Ads
New-York Gazette
December 31, 1759
New-York, December 31, 1759, RUN-AWAY, from Charles Lewis, of the City of NewYork, Mariner, the 20th Instant, a negro fellow named Harry, about 5 feet 9 Inches high:
Had on when he went away, an old green Jacket, and a white one under it, wore a Cap,
and Woolen ribb’d Stockings, and had an Iron Collar round his neck, which is not
visible without examination. Whoever takes up said Negro Fellow and secures him so
that his Master may have him again, shall receive Twenty Shillings reward, and all
reasonable Charges paid, by Charles Lewis.
New-York Weekly Post Boy
November 6, 1760
th
Run away from John Waddell the 6 Instant, a negro man named Charles, about 24
years old, a likely middle fine Fellow, talks good English, this Country born; he
formerly belonged to Colonel Moore, is well known in town and in Harlaem, and was
seen last Saturday night in Harlaem. Whoever takes up said negro and brings him to
his master shall have Five Pounds reward paid by John Waddell.
N.B. He reports that he is a free negro and has a Counterfeit pass or Certificate,
in order to induce any Commander of a vessel to take him off.
New-York Gazette
September 30, 1762
TAPPAN, SEPT. 26. RUN AWAY last Sunday Evening, from his Master, in Orange
County, Johannes Blauveldt, Blacksmith, a Negro Fellow, named as he says, ADONIA,
but by us, DUCA. He is a yellow Complexion, being a mixed Breed, speaks and reads
pretty good LOW DUTCH, and speaks little ENGLISH: Is a very good BLACK SMITH by
Trade, and can make Leather Shoes, and do something at the CARPENTERS TRADE, is
about 5 and a half Feet high, full Faced, black Hair, but cut off about one Inch long, is
20 or 22 Years old. Had on when he went away homespun Trowsers, Shirt, gray
Waistcoat, and Felt Hat; took with him a check Shirt and Trowsers, a white Shirt and a
Pair of blue Cloth Breeches, and one home spun Waist Coat. He had been whip’d the
day before he went off, which may be seen pretty much on his right side, he pretends to
be free, and perhaps will get a Pass for that Purpose. Whoever takes up and secures the
said Fellow, so that his Master may have him again, shall have THREE POUNDS
Reward, and all reasonable Charges paid by JOHANNES BLAUVELDT.
N.B. All Masters of Vessels and others are forbid to carry him away.
RUNAWAY ART: Interpreting Colonial Slave Ads
New-York Gazette
March 05, 1763
ST
WENT AWAY ON SUNDAY MORNING, THE 1 DAY OF MAY INSTANT, from the house of
ADAM STATES, a negro woman called LUCRETIA or CRETIA. She is low in stature, has
not been long in the Country, and speaks broken Dutch and English, she has had the
smallpox and is also great with Child. She had on when she went away, a black
Petticoat mended or patched on both Sides, a white Apron and a speckled
Handkerchief, a blue waistcoat and laced cap with a blue short Cloak. She is very slow
in walking and is very black of Complexion: She was entrusted into the Care of the
Subscriber to sell, and belongs to the Widow MARY DAUCHY, N. Y. Any person who
takes up and secures the said negro woman so that her Mistress or the subscriber may
have her again, shall receive THREE POUNDS IN NEW YORK MONEY and all reasonable
charges paid by HENRY JACOB PITTS.
N.B. All masters of vessels are hereby forewarn’d not to carry her off as they will answer at
their peril.
BEN (FIRST OF FOUR ADVERTISEMENTS FOR BEN BETWEEN 1766 AND 1770)
The New-York Gazette
September 4, 1766
rd
R U N A W A Y on Saturday the 23 of August last, from Nathaniel Richards at
Newark, a Negro man named Ben, about 5 feet 8 or 9 inches high, aged 28, slim made,
thin visage, yellow Complexion, and can speak good Dutch. He formerly belonged to
Thomas Budde, at Morris-town in New Jersey, who several months ago sold him to the
Widow Mrs. Elizabeth Finn at Prakenas in the County of Bergen, from whom he run
away soon after, and being advertised, was taken and brought home to his Mistress, by
whom he was sold soon after to the Subscriber. When he went away he pretended that
he was going to swim, and as he never returned, and next day his Clothes were found
near the Shore, he was supposed to be drown’d, till his Character was known, which
gives Reason to suppose he took Method to deceive his Master and prevent a Search. It
is not known whether he had any clothes with him or not. Whoever returns him to his
Master or secures him in any gaol, shall receive Eight Dollars Reward and all reasonable
charges.
NATHANIEL RICHARDS.
RUNAWAY ART: Interpreting Colonial Slave Ads
New-Jersey Gazette
April 23, 1778
200 DOLLARS REWARD.
WAS stolen by her mother, a NEGRO GIRL about 9 or 10 years old, named DIANAH-Her mother's name is CASH, and was married to an Indian named LEWIS WOLIS
near 6 feet high, about 35 years of age--They have a male child with them between three
and four years old. Any person that takes up the said Negroes and Indian and secures
them, so that the subscriber may get them, shall have the above reward and all
reasonable charges.
Any person that understands distilling rye spirits, may find encouragement by
applying to the subscriber at his own house.
KENNETH HANKINSON.
Penelapon, East New-Jersey, April 15, 1778.
The Royal Gazette (New York)
May 24, 1783
FIVE GUINEAS REWARD
W E N T off from his master on Thursday night, a Negro Wench, called VIOLET, with
her male children, one about 7 years old, called Willis, the other about two years old,
named Joe. The Wench is about 26 years old, tall, thin, and somewhat pitted with the
small-pox. The youngest boy is rather of a yellow complexion. Both boys have lately
had their hair or wooll cut short. Whoever apprehends said Negroes, and brings them
to the Subscriber’s House, at Greenwich, shall have a reward of Five Guineas
immediately paid them.
David Campbell.
Excerpts from:
Hodges, Graham Russell and Alan Edward Brown, eds. PRETENDS TO BE FREE: Runaway Slave
Advertisements from Colonial and Revolutionary New York and New Jersey. Garland: New York, 1994.
RUNAWAY ART: Interpreting Colonial Slave Ads
List of Negro Slaves in the Manor of Philipsburgh
of the upper part where of William is Cap’t
Josiah Martin Esq’r. his Slaves
1
Caser
1
2
Tom
3
Argile
4
Oxfoot
5
jeffery
The Slaves of Joseph Hitchcock
6
Handy
The Slaves of Joseph Polden
7
Harry
the slave of Harmon Yurksea
8
Jno; Sharpe
the Slave of Moses Sherwood
9
Ned
The Slave of William Brett
10
Ceaser
Joseph Anten his Slaves
11
Charls
12
Ben
The Slaves of Thomas Champenois
13
tom
The Slaves of Samuel Davenport
14
Harry
15
Jack
Jno Smith his Slaves
16 Stephen
Richard Davenport his Slave
17 tom
Beniamon Kipp his Slave
18 ffranck
Elbert Artse his Slave
19 Philip
20
Barth Cornell his Slave petter
Josiah Martin his Slaves
The negrois Mally
Joseph Hitchcock Slaves
2
the negrois Abigail
3
Lace
Joseph Polden his Slave
4
the negrois Fillis
Mos’es Sherwood his Slave
5
the Negrois Flora
William Brett his Slave
6
the negrois Ginne
Jno Anten his Slave
7
The negrois Marey
Thomas Champenois his Slave
8
Fillis
Samuel Davenport his Slave
9
Dine
Jno Smith his negrois
10
flora
Anthony Woodhouse his negrois
11
Molly
Here is in the Sd. upper part
Eleven negrois women where
of Wm Hamman Cap’t
here is in the upper part of The
Manner twenty negro men
Transcription
Historic Hudson Valley mss. PX 2356
NYS Library, NY Col. Mss vol. 35-88, #632. ca March, 1755
RUNAWAY ART: Interpreting Colonial Slave Ads
RUNAWAY ART: Interpreting Colonial Slave Ads
To be sold at Publick Vendue, at Ten o’clock on Thursday MornIng, the 19th Instant, at the House of the late Adolph Philipse,
Esq; deceased, on the Manour of Philipsburgh;
Four Negro Men, viz. a Miller, a Boat-Man,
and two Farmers; three Negro Women; six Negro Boys, and two
Girls; Household Goods, and all the Stock, consisting of 40 odd Head
Of Cattle, 26 Horses, a Number of Sheep and Hogs and all the
Utensils belonging to the said Manor.
New-York Gazette Revived the Weekly Post-Boy, April 9, 1750
RUNAWAY ART: Interpreting Colonial Slave Ads
Analyzing the Adolphe Philipse Probate Inventory,
Part 1
Use the following worksheets to describe, analyze and critique information collected from the Adolph Philipse Probate
Inventory.
DESCRIBE – What does the document tell us?
1
What type of
property is
listed?
2
How is the
list organized
from the top
to the
bottom of
the page?
3
Why do you
think it is
organized in
this way?
RUNAWAY ART: Interpreting Colonial Slave Ads
Analyzing the Adolphe Philipse Probate Inventory,
Part 2
ANALYZE – What does this information mean?
1
What do you
think determines
the value of the
property listed?
2
What might make
the men and
women named at
the top of the list
more valuable
then the boys and
girls listed
beneath them?
What might make
an enslaved
person more
valuable to a
slave owner then
livestock?
3
4
Why are some
men are listed as
“not fit for
work”?
RUNAWAY ART: Interpreting Colonial Slave Ads
Analyzing the Adolphe Philipse Probate Inventory,
Part 3
CRITIQUE – What insights do you have based on your personal reaction to the information?
1
How do you feel
seeing the names
of humans listed
among animals as
possessions?
2
How do you think
these people felt
about being
considered
property?
3
What might be
the consequences
of treating people
as property?
RUNAWAY ART: Interpreting Colonial Slave Ads
Analyzing the Adolphe Philipse Probate Inventory,
Part 4
Next Steps: Reflection
In your Runaway Art Book, write an essay reflecting on your reaction to the documents you analyzed.
Choose one or more questions as a topic for your essay.
1. How do you feel seeing the names of humans listed among animals as possessions?
2. What is confusing about the inventory?
3. What additional questions do you have?
RUNAWAY ART: Interpreting Colonial Slave Ads
Runaway Art Book
Document Reflection
Reflection Prompt:
In your Runaway Art Book, write an essay reflecting on your reaction to the documents you
analyzed. Choose one or more questions below as a topic for your essay.
1. What is troubling or difficult to understand about the document?
2. What additional questions do you have?
3. What feelings or emotions do you have about the document? About the history of
enslavement?
RUNAWAY ART: Interpreting Colonial Slave Ads
Imagining Colonial New York
Use this worksheet to describe, analyze and critique what you see in the Van Bergen Overmantel painting.
DESCRIBE – What do you see? Make a list of the many types of people and things depicted.
ANALYZE – What do these clues tell you about the kind of work done at the farmstead?
CRITIQUE – What questions do these details raise?
RUNAWAY ART: Interpreting Colonial Slave Ads
Runaway Art Book
Introduction to Runaway Art Reflection
Reflection Prompt:
Return to your Runaway Art Book, and write an essay reflecting on your reaction to the information
on the documents. Choose one or more questions below as a topic for your essay.
1. What is your reaction to the information on the documents?
2. How do you feel seeing the names of humans listed among animals as possessions?
3. What is confusing about the inventory? What additional questions do you have?
RUNAWAY ART: Interpreting Colonial Slave Ads
Investigate Primary Source Documents: Describe
Use these worksheets to describe information collected from other primary source documents, then analyze and
critique information to form conclusions.
DESCRIBE – What does the document provide? Read each word and sentence closely, line-by-line, to clarify as
many details as possible.
1
Who is
named? Note
differences in
the names
used, such as
first and last
names, titles,
etc.
2
What details
or description
is given about
the person,
situation, or
context?
3
Where does
this take
place? Are
specific
locations
mentioned?
Locate these
places on a
map.
4
When was the
document
created? By
whom?
Why was this
document
created? For
what
purpose?
5
How should
the intended
reader react
to the
information
provided?
RUNAWAY ART: Interpreting Colonial Slave Ads
Investigating Primary Source Documents: Analyze
Use these worksheets to describe information collected from other primary source documents, then analyze and
critique information to form conclusions.
ANALYZE – Evaluate what the information means using evidence to support your ideas.
1
Whose
perspective does
the document
represent?
2
What information
is included and
what information
is omitted?
3
What action
might have
occurred as a
result of the
information
provided by the
document?
RUNAWAY ART: Interpreting Colonial Slave Ads
Investigating Primary Source Documents: Critique
Use these worksheets to describe information collected from other primary source documents, then analyze and
critique information to form conclusions.
CRITIQUE – What insights do you have about the concept of people as property?
1
What might the
relationships have
been like between
and among
owners, buyers,
tenants, and
enslaved Africans?
2
How might
ownership of
people as property
shape the identity
of the individuals
mentioned,
including owners,
buyers, tenants,
and enslaved
Africans?
How does this
history shape the
identity of present
day Americans in
New York?
3
RUNAWAY ART: Interpreting Colonial Slave Ads
Investigating Primary Source Documents: Reflect
Use these worksheets to describe information collected from other primary source documents, then analyze and
critique information to form conclusions.
Next Steps: Reflection
In your Runaway Art Book, write an essay about your reaction to the documents you analyzed. Choose one
or more questions as a topic for your essay.
1. What is troubling or difficult to understand about the document?
2. What additional questions do you have?
3. What feelings or emotions do you have about the document? About the history of enslavement?
RUNAWAY ART: Interpreting Colonial Slave Ads
Runaway Art Book
Overmantel Drawing and Reflection
Reflection Prompt:
Imagine a wide panorama view of the world you live in. Plan a scene that includes homes, people at
work and at play, and other details that provide a snapshot of your life.
To Do:
In your Runaway Art Book –
1. Turn your Runaway Art Book horizontally and draw an overmantel depicting your home.
2. Write a brief description about your drawing including why you imagined the scene the way
you did.
RUNAWAY ART: Interpreting Colonial Slave Ads
Runaway Art Book
Philipsburg Manor Reflection
Reflection Prompt:
In your Runaway Art Book, respond to one of the following questions:

How has your perspective on colonial life changed as a result of understanding more about
the many groups and peoples who contributed to that society?

How do you think this history contributes to contemporary American society?
RUNAWAY ART: Interpreting Colonial Slave Ads
Runaway Art Book
Sketching Faces Reflection
Reflection Prompt:
In your Runaway Art Book, write a brief description about your sketch including why you imagined
the individual the way you did.
RUNAWAY ART: Interpreting Colonial Slave Ads
Text Analysis
Use this chart as you analyze The Story of Philipsburg Manor Text Card. Note 3-5 ideas in each column.
Important Facts and
Ideas
New Vocabulary
Step 1. Read by yourself.
Step 2. Work with a partner to share your analysis.
Step 3. Form a group with others to discuss.
Step 4. Personal reflection
Further Research
Needed
Additional Questions
RUNAWAY ART: Interpreting Colonial Slave Ads
Runaway Art Book
What’s in a Name Reflection
“Knowing that a person was a slave does not tell everything about him
or her…. The slaves’ history – like all human history – was made not only
by what was done to them but also by what they did for themselves.”
- Ira Berlin, Many Thousands Gone: The First Two Centuries of Slavery in North America
Reflection Prompt:
Select one name from a runaway slave ad that you analyzed. Note any description provided about
this person and think about what is left out. What details would help you to better understand the
human being behind the name?
To Do:
In your Runaway Art Book, write a letter to that person posing 3-5 questions that you would like
answered about his or her life story.
RUNAWAY ART: Interpreting Colonial Slave Ads
Runaway Art Book
Writing the Lion’s Story Reflection
Reflection Prompt:
“Until the lions have their own historians, the history of the hunt will always glorify the hunter.”
– Author Chinua Achebe
To Do:
Write the quote in your Runaway Art Book, and prepare to discuss as a class.
1. What does this quote mean?
2. What does it say about the way that history is written?
3. What do you predict you will learn in the Runaway Art program?
RUNAWAY ART: Interpreting Colonial Slave Ads
Analyzing Runaway Slave Advertisements: Describe
Use these charts to describe data collected from runaway slave ads, then analyze and critique information about the
individuals described.
Describe
Enter exact information as it appears on the primary source document
1
Name and age of enslaved person(s)
listed
2
Clothing or dress worn
3
Other physical descriptions of the
enslaved person (ex. height, skin
tone, markings, etc.)
Occupation or skills (ex. languages
spoken, etc.)
4
5
Resources or possessions carried
6
Clues that suggest the strategy of
escape and/or a plan or destination
7
Name of slave owner
8
Reward offered
9
Clues that indicate the perspective
of the slave owner
10
Name of the newspaper and date of
the advertisement
11
Note any new vocabulary or
unfamiliar phrases
12
RUNAWAY ART: Interpreting Colonial Slave Ads
Analyzing Runaway Slave Advertisements: Analyze
Use these charts to describe data collected from runaway slave ads, then analyze and critique information about the
individuals described.
Analysis
What might this detail mean about the enslaved person described in the ad?
1
Name and age of enslaved person(s)
listed
2
Clothing or dress worn
3
Other physical descriptions of the
enslaved person (ex. height, skin
tone, markings, etc.)
Occupation or skills (ex. languages
spoken, etc.)
4
5
Resources or possessions carried
6
Clues that suggest the strategy of
escape and/or a plan or destination
7
Name of slave owner
8
Reward offered
9
Clues that indicate the perspective
of the slave owner
10
Name of the newspaper and date of
the advertisement
11
Note any new vocabulary or
unfamiliar phrases
12
RUNAWAY ART: Interpreting Colonial Slave Ads
Analyzing Runaway Slave Advertisements: Critique
Use these charts to describe data collected from runaway slave ads, then analyze and critique information about the
individuals described.
Critique
What conclusions can you draw based on this information?
1
Name and age of enslaved person(s)
listed
2
Clothing or dress worn
3
Other physical descriptions of the
enslaved person (ex. height, skin
tone, markings, etc.)
Occupation or skills (ex. languages
spoken, etc.)
4
5
Resources or possessions carried
6
Clues that suggest the strategy of
escape and/or a plan or destination
7
Name of slave owner
8
Reward offered
9
Clues that indicate the perspective
of the slave owner
10
Name of the newspaper and date of
the advertisement
11
Note any new vocabulary or
unfamiliar phrases
12
RUNAWAY ART: Interpreting Colonial Slave Ads
Analyzing Runaway Slave Advertisements
Create your own chart to collect data about runaway slave ads. Then describe, analyze, and critique the information
that you collect.
Categories
Suggest at least 10 categories of information that
you might expect to see in a runaway slave ad.
1
2
3
4
5
6
7
8
9
10
11
12
Description
Enter exact information as
it appears on the primary
source document
Analysis
What might this detail mean
about the person described?
Critique
What conclusions can you
draw based on this
information?
RUNAWAY ART: Interpreting Colonial Slave Ads
Runaway Art Book
Defining Resistance
Group Discussion:
Share one or two examples of resistance with the larger group. Discuss the following aspects:





What is the difference between disliking something and being morally opposed to
something?
Were there any items on your lists that affected only you? Were there any items on your
lists that affected many people or had a very broad scope?
What beliefs or principles encouraged you to resist?
How did you resist?
o What actions or steps did you take to object?
o What actions did you consider taking but did not? Why not?
What were the consequences of the act of resistance?
Reflection Prompt:
Think about a time when you or someone you know demonstrated resistance.
To Do:
In your Runaway Art Book, write an essay explaining this act of resistance
RUNAWAY ART: Interpreting Colonial Slave Ads
Methods of Resistance
Work with your group to fill in the blank columns with ideas.
Forms of Resistance
How would this demonstrate
resistance?
What would be possible
consequences?
Work slowly
Do work incorrectly
Refuse to work
Sabotage work, tools, or
land
Feign illness
Pretend not to
understand
Revolt
Maintain cultural identity
(language, stories, etc.)
Run away
Develop skills
Form a family
Earn money
Reflection Prompt:
Return to your Runaway Art Book reflections from Lesson 1 and consider the acts of resistance in
which you have engaged.
To do:
In your Runaway Art Book, respond to the following questions:
 In what ways is resistance to enslavement similar to and different from your personal acts
of resistance?
 Which forms of resistance to slavery do you believe were more effective? Least effective?
Why?
 What kinds of resistance, if any, would you have participated in? Why or why not?
RUNAWAY ART: Interpreting Colonial Slave Ads
Runaway Art Book
One-Minute Brainstorms
List activities or tasks that you dislike doing.
List activities, tasks, or ideas that you find morally
wrong.
List activities, tasks, ideas, or people that you
have stood up against.
List the most important things worth resisting.
Reflection: Write about a time when you or someone you know demonstrated resistance.
RUNAWAY ART: Interpreting Colonial Slave Ads
Runaway Art Book
Reflections on Running for Freedom
Reflection Prompt:
Think about an individual from a Runaway Slave Advertisement and the challenging choices he or
she would have considered before deciding to run away.




What possible opportunities for agency may have existed if he or she stayed enslaved?
What opportunities might he or she have been seeking by choosing to leave?
Who or what might they have left behind?
What was the risk of getting caught?
Think about the little things you normally do on any given day: waking up, going to school, doing
chores, eating dinner, getting ready for bed. Imagine how all of this would be different if you
suddenly had to leave your life behind and run for your freedom.
To Do:
In your Runaway Art Book, write a journal entry imagining what would it be like to leave your life
behind. Discuss what would be most challenging and why.
RUNAWAY ART: Interpreting Colonial Slave Ads
Runaway Art Book
Signs of Resistance
Vocabulary
Agency – asserting power or influence
Consequence – the effect, result or outcome of something that has occurred
Covert – concealed; secret; disguised
Overt – open to view; not hidden or secret
Principles – set of beliefs that guide the way we go about the world; personal basis for one’s
conduct
Resistance – the act of withstanding, striving against, or opposing; opposition to a force or power
Risk – a situation involving exposure to danger
Reflection Prompt:
Review the vocabulary words and consider how these terms apply to a Runaway Slave
Advertisement.
To Do:
In your Runaway Art Book, respond to the following questions:
 What forms of resistance did this enslaved person demonstrate?
 Was the resistance was overt or covert?
 Why do you think the person chose to take the risk of this form of resistance?
 What level of risk, or exposure to danger, did the person take by resisting?
 Does the ad describe the consequences? If not, what do you imagine the positive and/or
negative consequences might be for this person?
RUNAWAY ART: Interpreting Colonial Slave Ads
Creative Writing
Select one of the following writing activities to craft an essay from the perspective of the enslaved individual
that you selected. Your essay should attempt to rehumanize the dehumanized aspect of these ads.






A short life-story about what led the person to decide to run away
A journal entry written the night before the person’s escape to describe the plan to run away.
Include ideas about strategy, resources, and information you will need. [See Unit 2, Lesson 4]
A newspaper article that details the escape from a journalist’s perspective. Use the information
from the ad to breathe life into the person and offer a less biased view of his/her motives and
character.
A letter from the individual to a family member s/he left behind. Perhaps the individual is explaining
his/her actions or is sharing information about what it’s like to be on the run.
A letter to the editor in response to the advertisement. Imagine that this will be published as an
opinion piece in the newspaper that featured the ad.
A creative vignette or short story to imagine any part of the enslaved individual’s life
RUNAWAY ART: Interpreting Colonial Slave Ads
Selecting a Runaway Slave Ad
Select one advertisement to interpret into an original work of art. Note the following:
Name of the Enslaved Person
Date of the Advertisement
Location of the Advertisement
Use the following questions to help you explore the ad in more detail:
6. Are there clues in the ad that suggest specific reasons this enslaved person might attempt
escape?
7. Does the ad mention a possible location of origin for the individual (Africa, the Caribbean), or a
possible destination the person might be traveling to?
8. Does the ad name other people that this individual might be with or might be going to find?
9. What time of year was this ad written? How do you think the season might have affected the
person’s escape or chance of success?
10. What parts of the ad stood out to you? Why did you connect with this ad?
RUNAWAY ART: Interpreting Colonial Slave Ads
Runaway Art Book
Telling Their Stories
REFLECTION PROMPT:
Review information from your selected runaway ad. Consider details that might provide
information on the life of the enslaved person and his or her relationships with others. Imagine
answers to the following questions:
 Who were their family members?
 Did they live together or were they separated from family?
 What work did they do every day?
 What special skills did they have that might tell us more about their training, what they
excelled at, and therefore how they spent their days?
 What was their person’s relationship with plantation owners, like Adolph Philipse at
Philipsburg?
 What was their relationship with other community members, like the European tenant
farmers who lived on the manor or traded at Philipsburg Manor?
TO DO:
In your Runaway Art Book, do the following:
Step 1. Write
Write a description that imagines a day in the life of the enslaved person described in the ad. The
creative description should suggest some background about his/her decision to run away.
Step 2. Draw
Add an illustration depicting a scene from the day.
RUNAWAY ART: Interpreting Colonial Slave Ads
Runaway Art Book
Art Interpretation
Reflection Prompt:
After creating any art work, consider the many design and composition choices you made in order
to interpret a person, place, event, or document.
To Do:
In your Runaway Art Book, respond to the following questions: –





What inspired you to create the picture you made?
Which art materials did you use?
What design choices did you make?
Did you revise your work? If so, what revisions did you make and why?
How do you think creating art helped you interpret the text you chose?
RUNAWAY ART: Interpreting Colonial Slave Ads
Planning a Work of Art
Use this worksheet to plan the following elements of your work of art.
1
Person – What does the person look
like? What is s/he wearing or carrying?
What distinguishing features or
characteristics were not included in the
advertisement but seem plausible?
2
Emotions – What range of emotions
might this person feel at the time of
his/her escape? Review the Sketching
Faces activity from Unit 1, Lesson 4.
3
Other People - Who else is mentioned?
What is there relationship to the main
person mentioned in the ad? How
central are they to the person’s story?
Should they also be depicted in the
artwork? Why or why not?
4
Narrative | Theme | Mood – What story
do you wish to tell about the person?
How would you explore a theme, issue or
situation as a narrative? How can the
mood of the story reflect the emotions
felt by the person?
5
Environment – Describe the location or
setting this person might be in? What is
in the foreground? What is in the
background? What is the time of day,
year, or season? How might you depict
this place either literally or
metaphorically?
Symbols – What other objects, words,
shapes, symbols, or colors can be used to
represent any of the components
mentioned above?
6
RUNAWAY ART: Interpreting Colonial Slave Ads
Feedback and Reflection
Use one or more of the following questions to provide feedback to each artist:







What is most striking about the work of art?
Can you determine the narrative, theme, or story just by looking at it? What do you like or
appreciate about the narrative, theme, or story told?
How will this work of art contribute to a more nuanced telling of history about colonial-era
slavery and the enslaved individuals who resisted by running away?
How is this portrayal similar or different to the work of art that I created?
How does this piece encourage me to look differently at my artwork?
How does this piece encourage me to look differently at the historic source that inspired it?
How does this piece contribute to a re-thinking of the way that history gets told?
RUNAWAY ART: Interpreting Colonial Slave Ads
Comment Card
Artist Name:
Title of Art Work:
Reviewer’s Name:
Reviewer’s Comment:
Comment Card
Artist Name:
Title of Art Work:
Reviewer’s Name:
Reviewer’s Comment:
RUNAWAY ART: Interpreting Colonial Slave Ads
Runaway Art Book
Exploring Works of Art Reflection
Reflection Prompt:
Think about how this work of art depicts the concepts of slavery and/or freedom.
To Do:
In your Runaway Art Book, respond to the following questions: –



What emotions does the work of art evoke in you?
What does the piece make you think about the concepts of slavery and/or freedom?
What lingering questions do you have about the artist, the artwork, and the issues
raised by the artwork?
RUNAWAY ART: Interpreting Colonial Slave Ads
Exploring Works of Art
Draw your own sketch of the image here.
Name of the Artist
Title and Date of the Artwork
Notes about the Artwork
RUNAWAY ART: Interpreting Colonial Slave Ads
Exploring Works of Art: Describe
Use this worksheet to describe, analyze and critique a work of art.
DESCRIBE – Describe the people, context, and action in this work of art.
1
Who is depicted?
What emotions are
shown? What are
the relationships
between the people
shown?
2
Where is the scene
located? Is there
movement and if so,
how is that
depicted?
3
What materials or
techniques does the
artist use?
4
What historical time
period or themes are
depicted in the
artwork? How do
you know?
5
Other details?
RUNAWAY ART: Interpreting Colonial Slave Ads
Exploring Works of Art: Analyze
Use this worksheet to describe, analyze and critique a work of art.
ANALYZE – Examine how artistic techniques are used to create meaning.
1
Does the artist
attempt to tell a
story or narrative
through the artwork?
How do you know?
What is the theme or
topic of the story?
2
What mood or sense
of feeling is
communicated by the
art?
3
How do the materials
or techniques
contribute to the
mood, themes, or
narrative?
4
Other comments
about the artistic
choices used to
create this piece?
RUNAWAY ART: Interpreting Colonial Slave Ads
Exploring Works of Art: Critique
Use this worksheet to describe, analyze and critique a work of art.
CRITIQUE – Suggest possible interpretations of the artwork.
1
What facts, issues or
ideas about history
does the artist
question or critique?
2
How does the
artwork argue for an
alternate perspective
on history? How
does it contradict,
challenge, or support
alternate views of
history?
3
What contemporary
issues does the
narrative or themes
connect to? What
might the artist want
you to think about
those issues?
4
Other
interpretations of
the artwork?
RUNAWAY ART: Interpreting Colonial Slave Ads
Runaway Art Book
Reflection on Your Work of Art
Reflection Prompt:
Return to your Runaway Art Book and review all of your written reflections and artistic sketches.
Reflect back on the stages of this process: from first encountering otherwise forgotten figures from
history, gradually coming to understand and piece together a life for them, and creating an artwork
to eternalize their experiences.
To Do:
In your Runaway Art Book, write a personal statement to state reasons for choosing a particular
advertisement and depicting this person the way you did.
Step 1. Describe your final work of art, including the choices you made to represent the individual
and why. Revisit your Art Interpretation reflections:
 What inspired you to create the picture you made?
 Which art materials did you use?
 What design choices did you make?
 Did you revise your work? If so, what revisions did you make and why?
 How do you think creating art helped you interpret the text you chose?
Step 2. Conclude your essay with one or two paragraphs that respond to the following questions:
 How has the Runaway Art project caused you to re-think how history is told?
 How has the Runaway Art project caused you to re-think your place in history? In the
world?
Step 3. Write a version of your essay onto the “label” on the next page. This sheet will accompany
your artwork in exhibitions.
RUNAWAY ART: Interpreting Colonial Slave Ads
PERSONAL STATEMENT
Runaway Ad (name of runaway and/or date of ad)
/
Student Name
RUNAWAY ART: Interpreting Colonial Slave Ads
READING BETWEEN THE LINES: Understanding Runaway
Advertisements and Enslavement in the Colonial North
An Introductory Essay for Students, Teachers and Parents
Runs falls rises stumbles on from darkness into darkness
and the darkness thicketed with shapes of terror
and the hunters pursuing and the hounds pursuing
and the night cold and the night long and the river
to cross and the jack-muh-lanterns beckoning beckoning
and blackness ahead and when shall I reach that somewhere
morning and keep on going and never turn back and keep on going
Runagate
Runagate
Runagate
_______________
The opening lines from Robert Hayden’s poem Runagate Runagate capture both the
confusion and determination present when enslaved men and women chose selfemancipation. The defiant act of running away represented a powerful assertion of one’s
humanity at a time when slaves were defined as property. Historic Hudson Valley developed
“Pretends to Be Free: Imagining Runaway Slaves” as an art competition based on the
research and interpretation carried out by Philipsburg Manor, an outdoor history museum
located in Sleepy Hollow, New York. One of several historic sites owned by Historic
Hudson Valley, Philipsburg Manor focuses on the story of enslavement in the colonial north
and its effects on the commercial and cultural development of New York.
Students visiting Philipsburg Manor often express anger at the system of enslavement and
suggest that they would have resisted slavery through acts of sabotage, rebellion, physical
violence against slave owners, and by running away. Not surprisingly, many enslaved
individuals did exactly what students suggest they would do if confronted by such a system.
Although every type and individual act of resistance has its own story, there is much to be
learned from the act of running away. “Pretends to Be Free” is designed for students to:
 Creatively and responsibly conceptualize the information published in New York and
New Jersey newspapers during the eighteenth century
RUNAWAY ART: Interpreting Colonial Slave Ads
 Understand that slavery in the colonial north was a complex and significant part of
American history that must be approached with sensitivity
 Recognize the uses and misuses of primary documents as a window into the past
 Gain insight into and respect for the individuals who chose self-emancipation
 Learn that history is ever-changing and always relevant to contemporary issues
_______________
Contrary to popular belief, slavery in America was not limited to the southern states. At the
time of the American Revolution, slaves were present in all thirteen colonies and the largest
slaveholding colony north of the Mason-Dixon line was New York. The life and labor of
captive Africans in colonial New York is well documented. Surviving legislative records of
the colony note the development of New York’s “black codes” that defined the nature of
slavery and imposed severe restrictions against mobility and assembly within the enslaved
community. Court documents detail the harsh punishments given to enslaved individuals for
arson, robbery, conspiracy and insurrection. Shipping records attest to the size and scope of
the transatlantic slave trade carried out by New York merchants. Personal wills and probate
inventories note the names, occupations and ages of numerous enslaved men, women and
children. Recent and ongoing archaeological excavations in Manhattan, Brooklyn and
eastern Long Island provide physical evidence of slavery’s brutality while also confirming
the source cultures of captive Africans in America. Printed advertisements for runaways
often described in detail the clothing, skills, education, physical traits and even perceived
behavior of those who ran off.
In New York, the hundreds of runaway advertisements printed in local newspapers provide
us with a wealth of knowledge about enslaved individuals and their community. The ads
show evidence of ongoing, active resistance by individuals against the institution of slavery
and allow us a glimpse into the appearance, skills, personalities and motives of those who
chose to run. In their introduction to “Pretends to Be Free:” Runaway Slave Advertisements
from Colonial and Revolutionary New York and New Jersey (New York: Garland Publishing,
1994), authors Graham Russell Hodges and Alan Edward Brown state that
fugitive advertisements culled from the newspapers of colonial and revolutionary New
York and New Jersey offer rich evidence of African American resistance to servitude
and of a nascent black culture.… Escape hurt masters economically.… Slaves usually
departed during the busiest times of the agricultural calendar—cultivation and
harvest—when their absence was inconvenient and disruptive. Fugitives also
sabotaged property by destroying and stealing animals, equipment, and crops.
Above all, flight was the most effective individual means of struggle against slavery;
through escape, slaves were active agents who undermined the system of subjugation.
[Pp. xiii, xiv]
One of the ads that follow this essay provides support for their argument. During the spring
of 1754, at the height of the planting season, slave owner George Mumford of Fisher’s Island
noted that three of his enslaved men and one white indentured servant ran away together.
RUNAWAY ART: Interpreting Colonial Slave Ads
Because slaves were considered property, the act of running away was treated as theft. Not
only did these men “steal themselves” (and the clothes they wore), they also took a two-masted
boat, a canoe, sixty pounds of butter, sixty-four pounds of cheese and some bread.
In the eighteenth century, running away meant more than finding freedom. With slavery legal
and practiced in all thirteen colonies, freedom was understandably hard to find and harder to
keep. Enslaved individuals also ran to find or maintain family. Although marriage between
slaves was not legally recognized, family ties were nonetheless strong. Forced separation of
family members was common and often occurred with little or no notice to the parties
involved. Adolph Philipse was one of the wealthiest men and one of the largest slaveholders
in New York. When he died in the winter of 1750, his oldest nephew, Colonel Frederick
Philipse II, inherited all his property. The inheritance included at least twenty-seven enslaved
men, women and children—most of whom had lived together for generations at Philipsburg
Manor in Sleepy Hollow, New York. Col. Philipse wasted no time in liquidating his new
“property.” Within six months, Philipse had sold or transferred eleven of his late uncle’s
slaves. One was an eight-year-old boy named Sam who was sold at an auction held at
Philipsburg Manor and, presumably, sold in front of his parents and extended family.
The importance of maintaining family ties as a motivation for running away is suggested in
three of the ads that follow this essay. One runaway notice is for Prince and Suck, a man and
a woman with different owners who ran away together. Another speaks of a ten-year-old
enslaved girl, Dinah, who, in April of 1778, was “stolen by her mother,” a woman named
Cash. A third ad refers to Violet, who in 1783 ran from her owner taking her two children
with her.
In addition to providing evidence of resistance and the importance of maintaining family
connections at any cost, runaway advertisements also provide ample information about the
diverse cultures and skills within the enslaved community. Hodges and Brown state that
scholars have begun to take a fresh look at runaway ads to rediscover slave culture.
[N]ational origins and ethnicities [of fugitive slaves] ranged from West African to
West Indian to locally-born mulattos sufficiently fair-skinned to pass as Caucasian.
Their work cultures crossed urban and rural mentalities, with skills useful in town or
country. A murmur of trans-Atlantic culture rippled among slaves, who were fluent in
African, English, Spanish, French, Indian, High, Low, and Negro Dutch. We may also
discern the personal styles and appearances of common people, interpret their
gestures and speech for glimpses of the personalities behind the mask of servitude,
and glean some understanding of their motivations and intentions for flight. Runaway
advertisements give hints of the interior lives of slaves by indicating their religious
beliefs [and] announcing their vices.… In brief, the notices are the chief mode of
evidence for assembling individual or group portraits of African Americans of the
eighteenth-century North. [Ibid., pp xiv-xv]
RUNAWAY ART: Interpreting Colonial Slave Ads
Much has been written about the ethnic diversity of Europeans in colonial New York, but the
enslaved population was equally diverse. Ritualistic scarification patterns and culturally
specific names noted in runaway advertisements attest to the variety of nationalities present
in the enslaved community. Venture, one of three enslaved men who ran from George
Mumford in April of 1754, was described as “mark’d in the face, or scar’d with a knife in his
own country.” Facial scarification was most prevalent in the Senegambia region of West
Africa. The Akan-speaking peoples of the so-called “Gold Coast” (modern Ghana and
Togo) are easily identified through their names. The names Cuff and Cuffee were noted in
numerous ads. These names were Anglicized from the Akan day-name, Kofe. Quack,
Quake or Quaco derives from Kweku; Quash is Kwesi; Quaw is Kwami. Even names such
as Joe, Jack and Tom—which could be the shortened versions of Joseph, John and
Thomas—also could be shortened from the West and Central African names Kwajo, Cheque
and Tomba.
The skills and education possessed by African captives were similar to those of white New
Yorkers. Because there were no legal restrictions against educating enslaved individuals in
the 18th century, one’s job more or less dictated the amount of formal education received.
Slaves working as millers, carpenters, and blacksmiths needed certain mathematical skills to
accomplish their tasks, while literacy skills were noted for several runaway boat pilots,
manservants and traveling musicians. The ability to read and write is apparent by the
numerous references in advertisements to runaways who “forge their own pass” as a means
of eluding capture. One of the attached notices mentions a fiddler, Mark Edward, who ran
away in February of 1761. Enslaved musicians often traveled throughout the countryside
performing at parties and dances. This mobility provided numerous opportunities for selfemancipation.
It should be noted, however, that runaway advertisements were written by slave owners and
written for people in support of slavery. Advertisements that refer to women as “wenches,”
men as “boys,” hair as “wooll” and numerous character traits ranging from deceitful and
cunning to slow-witted and clumsy give more insight into the authors than the true nature of
the individuals who ran away. While a significant resource, runaway notices must be read
with an understanding that these are painful reminders of an era marked by grave
inhumanity. Documents written by slave owners about their slaves tell only one side of the
story.
Although runaway advertisements cannot be taken at face value, neither can they be
discounted. With few written records authored by enslaved individuals, runaway ads allow
us to “put a face” on the past. Once we learn to recognize the bias and read beyond it, these
documents become more meaningful and useful both to scholars and students of history.
Taking the author’s biases into consideration it becomes readily apparent that enslaved
individuals living in New York and New Jersey had ample reasons and opportunities to run
away, as Hodges and Brown summarize:
RUNAWAY ART: Interpreting Colonial Slave Ads
Harsh laws sharply limited the potential for emancipation. Newly arrived Africans
and seasoned West Indian slaves came from turbulent, fragmented societies, where
flight was common. In the Mid-Atlantic colonies, repeated sales diminished loyalty to
master or mistress. Gender imbalances between town and country virtually
necessitated flight for any slave desiring to preserve or create a family.… Finally,
whether by major revolt, or a constant stream of individual acts of defiance, Africans
in New York and New Jersey experienced an unending river of courageous opposition
to slavery. [Ibid., p. xxiv]
The eight runaway advertisements selected for this project cannot be wholly representative
of the large, diverse and multi-faceted population of people who chose to run away.
However, the fifteen enslaved men and women noted in these ads each had personal reasons,
motivations, hopes and desires for running away that may well have been shared by
numerous others. Some of these reasons and hopes may seem readily apparent in the notices,
but others most certainly were hidden from the slaveholders who were the authors of these
advertisements. “Pretends to Be Free: Imagining Runaway Slaves” is a project that allows
students to represent the other side of the story.
A NOTE ON THE FOLLOWING ADVERTISEMENTS:
The runaway advertisements chosen can be found in PRETENDS TO BE FREE: Runaway Slave
Advertisements from Colonial and Revolutionary New York and New Jersey. (Hodges,
Graham Russell and Alan Edward Brown, eds. New York: Garland Publishing, 1994).
Although the layout and choice of “period” fonts were reproduced using modern equipment,
the spelling, syntax, punctuation, capitalization and contractions used in the original ads have
been largely retained. Perhaps the most recognizable difference between contemporary
typeface and those used in 18th century print is the use of the long “s” (Èirt, perÇon). Certain
ligatures such as the double “s” (braß, veßel) were also used. Although difficult to read
at first, students should be aware that these characters are pronounced like the modern “s.”
Michael A. Lord
Historic Hudson Valley
September 2005
RUNAWAY ART: Interpreting Colonial Slave Ads
The Story of a Northern Colonial Plantation
Philipsburg Manor, Upper Mills
Excerpts adapted from Philipsburg Manor Upper Mills
by Margaret L. Vetare, Historic Hudson Valley Press, 2004.
Introduction
The story of Philipsburg Manor, Upper Mills challenges commonly held notions about
America’s colonial past in the North. In contrast to the mythic ideal of modest, self-sufficient,
freeheld farmsteads owned by settlers of Anglo-Saxon origin, Philipsburg Manor was a provisioning
plantation that was part of a network of worldwide trade. The majority of people who lived and
worked at the Upper Mills were of African origin. They turned wheat and milk into flour and butter
on a commercial scale and sent these processed foodstuffs on boats bound for Manhattan, for
export to the West Indies and beyond. However, these men and women did not participate in this
expansive economy of their own accord. Caesar, Massy, Dina and the twenty other members of the
Upper Mills community – the property’s only year-round residents – were enslaved. Adolph
Philipse, the absentee owner of the property, held and deployed them as a captive work force.
Philipse also rented out surrounding farmsteads to tenants of various northern European
ethnicities who supplied his mill with the cash crop, wheat. The story of Philipsburg Manor
exemplifies how New York’s wealth, like that of other northern colonies, was entangled in
enslavement.
The Economy of Northern Colonies: Historical Background
The Pursuit of Trade
Ever since 1609 when Hendry Hudson sailed up the “North River” (as the Hudson River was
then called), the Dutch had claimed the territory that would become New York as part of their New
Netherland colony. New Netherland stretched from the Delaware River to the Connecticut River
and north to Canada. The Dutch government chartered a merchant corporation called the Dutch
West India Company to exploit the economic potential of the colony. This revolved around the
lucrative fur trade with Native Americans. Europe strongly desired North American beaver, otter,
and other fur pelts to make hats and other garments. The fur trade, dominated by the Iroquois
Indians, remained the driving economic force in New York throughout most of the seventeenth
century.
RUNAWAY ART: Interpreting Colonial Slave Ads
Provisioning Plantations
By 1750, the provisioning trade had long superseded fur as New York’s most important
commodity. Most farmers in the Hudson Valley cultivated products popular in the coastal trade, in
the export trade to the West Indies, and in New York City. Much of the produce was shipped down
the Hudson and out of New York harbor on ships bound for the Caribbean. New York commodities
such as preserved meats, fish, and vegetables, dairy products, timber, and above all, wheat
products such as flour and ship’s biscuit sustained the plantations of the West Indies. These Hudson
Valley foods and supplies were referred to in shipping records of the period as “provisions of
plantation produce.”
In essence, the plantations of the Caribbean gave rise to the plantations of the Hudson
Valley, and of other coastal areas in the Mid-Atlantic and New England. The agricultural patterns of
the valley also reflect the close relationship between the city and the country. Farmers along the
Hudson would not have had a market for their produce without nearby Manhattan’s excellent port.
Likewise, Manhattan merchants would not have been able to send well-laden ships out from the
port without the goods produced by their agricultural neighbors.
Transatlantic Trade
West Indian products had an eager market in Europe so planters put the land into luxury
cash crops like sugar and chocolate rather than basic food crops. Ships transported sugar, rum,
molasses, cacao, and tropical dye-woods, along with New York commodities, to Britain, the
Netherlands, and Germany. In turn, the colonies demanded European finished goods such as
textiles, hardware, glass, ceramics, building materials, tools, household equipment, and other
consumer goods, as well as “East India” goods from Asia, such as spices, silk, cotton, and porcelain.
Africa welcomed both European an American commodities in trade as well. But alongside the
African ivory, gold, and textiles offered in exchange, coastal traders sold men, women, and children
to willing buyers who knew they would find profit in the Americas by trafficking in human beings.
The skills and labor of enslaved African men, women, and children played a critical role in
establishing New York’s economic and cultural riches.
Origins of Enslaved Africans
As early as 1625, the Dutch West India Company brought African captives to New
Amsterdam, setting in motion over two hundred long years of slavery in New York. Africans forced
to New York were as diverse in origin and culture as the European emigrants. The enslaved
population primarily came from West Central African coastal regions of present-day Ghana, Togo,
and Benin, as well as from Madagascar. These are areas where Europeans had already established
RUNAWAY ART: Interpreting Colonial Slave Ads
navigation routes and trade relationships. In colonial years, many Africans in New York had been
enslaved first in the Caribbean.
Transatlantic trade had also created a group of people, referred to by historians as Atlantic
Creoles, because they had lived on both the east and west shores of the Atlantic Ocean in Europe,
Africa, and North and South America. As a group they were of mixed ancestry and often spoke
many languages. These people served as middlemen – merchants, translators, and sailors who
understood and created the culture and language of trade. Atlantic Creoles, some free and some
enslaved, were among New York’s earliest black residents.
Slave Labor
By 1750, New York had grown so dependent on the skills and labor of African people that
slaves represented fourteen percent of the colony’s population. The middle class as well as the
wealthy participated in slavery, and many tenant farmers also relied on African labor. This vicious
aspect of the Atlantic trade had been firmly entrenched since the sixteenth century but was so
entrenched by the eighteenth century that virtually no aspect of colonial commerce could be
disentangled from slavery’s web.
New York’s climate and terrain meant that rural captives worked at more varied agricultural
labors than their southern and Caribbean counterparts. The city’s bustling port meant that urban
captives worked at many different trades, some related to the maritime industry and some related
to the many businesses that supported a growing population.
Wheat was New York’s cash crop, just as tobacco, indigo and sugar were the cash crops for
Virginia, Carolina, and the West Indies respectively. Ideally suited to the climate and soil, wheat
remained an important crop in southern New York for most of the eighteenth century. Along with
wheat, farmers grew smaller amounts of maize, rye, barley, oats, and buckwheat in the Hudson
Valley. These were labor-intensive crops, especially during grain harvest time. Many of the
enslaved Africans in the region would have worked in the fields. Those from agricultural societies in
West Africa who knew the art of cultivation would have held primary responsibility for farm work.
Grain agriculture in West Africa included cultivation of native millet, sorghum, and rice, and maize,
which had been introduced from the Americas. Farmers in Madagascar also cultivated rice. The
well-honed agricultural skills of Africans made them valuable to slaveholders.
Whenever possible, African captives used to their advantage the knowledge that whites
were dependent on them. The irresistible inclination to control one’s own life and be an agent of
RUNAWAY ART: Interpreting Colonial Slave Ads
one’s own destiny, combined with whites’ reliance on slaves’ skills and labor, created relationships
between captives and slaveholders that were based on negotiation.
The Story of Philipsburg Manor, Upper Mills
The Philipse Family
Philipsburg Manor was a large family estate that spanned over 50,000 acres in Westchester
County and the present-day Bronx. The manor was officially established in 1693, when Frederick
Philipse (1626-1702) was granted a royal charter confirming this land acquisition from King William
III and Queen Mary of Great Britain. Frederick Philipse was already in the colony for forty years, had
become the wealthiest resident of New York City. Upon his death, Frederick’s son, Adolph Philipse
(1665-1750) inherited the northern portion of the manor, known as the “Upper Mills". Frederick
Philipse (c.1698-1751) was Adolph’s nephew and he owned the manor’s southern portion of the
property called the “Lower Mills”. In 1750, the milling, trading, and agricultural activities that
occurred on the manor were part of a vast commercial enterprise with close connections to the
burgeoning port city of New York and to the trade network of the Atlantic world.
The Upper Mills included several hundred acres near the Hudson River. This property
included a barn, gristmill, and manor house, a bakehouse, storehouse, lime house, living quarters
for the enslaved workers, extensive meadowlands, grain fields, and orchards. Its main economic
purpose was to supply foodstuffs – especially wheat products – and other rural commodities to
New York’s urban population and to plantations in the West Indies.
The Upper Mills Community: Tenant Farmers
Adolph Philipse was no farmer, and he did not live at Philipsburg Manor. He was an
international merchant, active in in colonial politics and government, a bachelor involved in
Manhattan’s social scene, and one of the wealthiest residents of New York City. Like most other
major landowners in the Hudson River Valley, Adolph relied on others to do the hard work of
clearing, cultivating, and making productive the thousands of acres of land under his control. The
native Lenape Indians who sold the northern Westchester lands to the Philipse’s had already
cleared and cultivated some of the more fertile acreage for maize. Adolph leased most of the
manor lands in farms of about 150 to 200 acres to tenants from a wide variety of European
backgrounds. By 1750, the tenant population on the manor included about 150 families numbering
around 800 people. Like much of the settlers across the colony of New York, these tenants were of
diverse northern European origins, including Belgium, Sweden, Germany, Norway, France, and the
RUNAWAY ART: Interpreting Colonial Slave Ads
British Isles, as well as from European colonies in Brazil. They shared in common the need to clear
land of trees and stones, cultivate grain crops, plant orchards, tend livestock, fence fields, and build
necessary structures. They paid their rent primarily in wheat, and used the Philipses’ mills to grind
their grains.
The Upper Mills Community: Enslaved Africans
The Philipses were among the largest slaveholders in the northern colonies; Adolph Philipse
claimed twenty-three women, men, and children as property at the Upper Mills plantation, and
Frederick Philipse II owned close to twenty captives at the Lower Mills. Both men relied on
enslaved individuals at their properties in the city as well, where slaves made up nearly twenty
percent of Manhattan’s population.
While in most cases we don’t know exactly who performed each job at Philipsburg Manor,
we can nevertheless imagine a possible breakdown of labor at the Upper Mills based on records
that lists the names of enslaved individuals, and what is known about this provisioning plantation
and its products. Caesar maintained and operated three sets of millstones and kept all the gears,
mechanics and structural components of the mill in good order. Diamond loaded plantation
produce from the wharf onto boats and navigated the Hudson to Manhattan with his cargo. Flip
and Tom labored in the fields, orchards, and hay meadows, plowing, planting, and harvesting.
Sampson and Kaiser managed livestock, maintained fences, and baked hard-tack. Susan and Abigail
processed barrels of beef, pork, and dried peas for export. Sue maintained the manor house,
cooked meals for the enslaved community, and watched over the smallest children who were too
young to help with work. Dina and Massy milked the dairy cows, processed the milk into butter for
export, and kept the dairy and all its utensils clean. James, Venture, Charles, and Billy, too old for
heavy labor, worked in the provision garden and helped mind the children. All their labors
combined – far more extensive than what is profiled here as we imagine the division of work –
made the Upper Mills plantation a profitable endeavor for Adolph Philipse through the decades
between 1700 and 1750.
Conclusion
Pursuit of trade on an international scale has been a hallmark of New York since the very
beginning of its European settlement. The commercial emphasis that drove first the Dutch and then
the English colonization of New York led to remarkable diversity and interaction among, Africans,
Europeans, and Native Americans in the province – still a significant characteristic of the state
today.
RUNAWAY ART: Interpreting Colonial Slave Ads
Slavery supported New York’s economy directly through the labor of enslaved Africans in
the colony and indirectly through profits reaped by the New York merchants from the Caribbean
trade. Slavery in New York ended in 1827 – thirty-eight years before the Thirteenth Amendment
abolished slavery throughout the United States. In the aftermath of the American Civil War,
northerners tended to deny or downplay their long involvement in American slavery. Philipsburg
Manor, Upper Mills helps demonstrate the centuries-old presence of forced labor in New York,
reminding us not only of the notable diversity of New York, but also of the longevity and
geographic reach of slavery in the Americas.
Glossary
Commerce – an exchange of goods or commodities on a large scale for business or trade
Commodity – goods or products of trade or commerce
Entrenched – firmly established
Freehold – an estate inherited or held for life
Provisioning – providing or supplying something that is needed, especially food or other necessities
Tenant – a person or group who occupies land, a house, or an office, etc. rented from another for a period of time
Trade – the process of buying, selling or exchanging commodities
RUNAWAY ART: Interpreting Colonial Slave Ads
The Story of a Northern Colonial Plantation
Introduction
The story of Philipsburg Manor, Upper Mills challenges commonly held notions
about America’s colonial past in the North. In contrast to the mythic ideal of modest,
self-sufficient, freeheld farmsteads owned by settlers of Anglo-Saxon origin,
Philipsburg Manor was a provisioning plantation that was part of a network of
worldwide trade. The majority of people who lived and worked at the Upper Mills
were of African origin. They turned wheat and milk into flour and butter on a
commercial scale and sent these processed foodstuffs on boats bound for
Manhattan, for export to the West Indies and beyond. However, these men and
women did not participate in this expansive economy of their own accord. Caesar,
Massy, Dina and the twenty other members of the Upper Mills community – the
property’s only year-round residents – were enslaved. Adolph Philipse, the absentee
owner of the property, held and deployed them as a captive work force. Philipse also
rented out surrounding farmsteads to tenants of various northern European
ethnicities who supplied his mill with the cash crop, wheat. The story of Philipsburg
Manor exemplifies how New York’s wealth, like that of other northern colonies, was
entangled in enslavement.
RUNAWAY ART: Interpreting Colonial Slave Ads
The Economy of Northern Colonies: Historical Background
The Pursuit of Trade
Ever since 1609 when Hendry Hudson sailed up the “North River” (as the
Hudson River was then called), the Dutch had claimed the territory that would
become New York as part of their New Netherland colony. New Netherland
stretched from the Delaware River to the Connecticut River and north to Canada. The
Dutch government chartered a merchant corporation called the Dutch West India
Company to exploit the economic potential of the colony. This revolved around the
lucrative fur trade with Native Americans. Europe strongly desired North American
beaver, otter, and other fur pelts to make hats and other garments. The fur trade,
dominated by the Iroquois Indians, remained the driving economic force in New York
throughout most of the seventeenth century.
RUNAWAY ART: Interpreting Colonial Slave Ads
The Economy of Northern Colonies: Historical Background
Provisioning Plantations
By 1750, the provisioning trade had long superseded fur as New York’s most
important commodity. Most farmers in the Hudson Valley cultivated products
popular in the coastal trade, in the export trade to the West Indies, and in New York
City. Much of the produce was shipped down the Hudson and out of New York
harbor on ships bound for the Caribbean. New York commodities such as preserved
meats, fish, and vegetables, dairy products, timber, and above all, wheat products
such as flour and ship’s biscuit sustained the plantations of the West Indies. These
Hudson Valley foods and supplies were referred to in shipping records of the period
as “provisions of plantation produce.”
In essence, the plantations of the Caribbean gave rise to the plantations of the
Hudson Valley, and of other coastal areas in the Mid-Atlantic and New England. The
agricultural patterns of the valley also reflect the close relationship between the city
and the country. Farmers along the Hudson would not have had a market for their
produce without nearby Manhattan’s excellent port. Likewise, Manhattan merchants
would not have been able to send well-laden ships out from the port without the
goods produced by their agricultural neighbors.
RUNAWAY ART: Interpreting Colonial Slave Ads
The Economy of Northern Colonies: Historical Background
Transatlantic Trade
West Indian products had an eager market in Europe so planters put the land
into luxury cash crops like sugar and chocolate rather than basic food crops. Ships
transported sugar, rum, molasses, cacao, and tropical dye-woods, along with New
York commodities, to Britain, the Netherlands, and Germany. In turn, the colonies
demanded European finished goods such as textiles, hardware, glass, ceramics,
building materials, tools, household equipment, and other consumer goods, as well
as “East India” goods from Asia, such as spices, silk, cotton, and porcelain. Africa
welcomed both European an American commodities in trade as well. But alongside
the African ivory, gold, and textiles offered in exchange, coastal traders sold men,
women, and children to willing buyers who knew they would find profit in the
Americas by trafficking in human beings. The skills and labor of enslaved African
men, women, and children played a critical role in establishing New York’s economic
and cultural riches.
RUNAWAY ART: Interpreting Colonial Slave Ads
The Economy of Northern Colonies: Historical Background
Origins of Enslaved Africans
As early as 1625, the Dutch West India Company brought African captives to
New Amsterdam, setting in motion over two hundred long years of slavery in New
York. Africans forced to New York were as diverse in origin and culture as the
European emigrants. The enslaved population primarily came from West Central
African coastal regions of present-day Ghana, Togo, and Benin, as well as from
Madagascar. These are areas where Europeans had already established navigation
routes and trade relationships. In colonial years, many Africans in New York had been
enslaved first in the Caribbean.
Transatlantic trade had also created a group of people, referred to by
historians as Atlantic Creoles, because they had lived on both the east and west
shores of the Atlantic Ocean in Europe, Africa, and North and South America. As a
group they were of mixed ancestry and often spoke many languages. These people
served as middlemen – merchants, translators, and sailors who understood and
created the culture and language of trade. Atlantic Creoles, some free and some
enslaved, were among New York’s earliest black residents.
RUNAWAY ART: Interpreting Colonial Slave Ads
The Economy of Northern Colonies: Historical Background
Slave Labor
By 1750, New York had grown so dependent on the skills and labor of African people that
slaves represented fourteen percent of the colony’s population. The middle class as well as the
wealthy participated in slavery, and many tenant farmers also relied on African labor. This vicious
aspect of the Atlantic trade had been firmly entrenched since the sixteenth century but was so
entrenched by the eighteenth century that virtually no aspect of colonial commerce could be
disentangled from slavery’s web.
New York’s climate and terrain meant that rural captives worked at more varied agricultural
labors than their southern and Caribbean counterparts. The city’s bustling port meant that urban
captives worked at many different trades, some related to the maritime industry and some related
to the many businesses that supported a growing population.
Wheat was New York’s cash crop, just as tobacco, indigo and sugar were the cash crops for
Virginia, Carolina, and the West Indies respectively. Ideally suited to the climate and soil, wheat
remained an important crop in southern New York for most of the eighteenth century. Along with
wheat, farmers grew smaller amounts of maize, rye, barley, oats, and buckwheat in the Hudson
Valley. These were labor-intensive crops, especially during grain harvest time. Many of the
enslaved Africans in the region would have worked in the fields. Those from agricultural societies in
West Africa who knew the art of cultivation would have held primary responsibility for farm work.
Grain agriculture in West Africa included cultivation of native millet, sorghum, and rice, and maize,
which had been introduced from the Americas. Farmers in Madagascar also cultivated rice. The
well-honed agricultural skills of Africans made them valuable to slaveholders.
Whenever possible, African captives used to their advantage the knowledge that whites
were dependent on them. The irresistible inclination to control one’s own life and be an agent of
one’s own destiny, combined with whites’ reliance on slaves’ skills and labor, created relationships
between captives and slaveholders that were based on negotiation.
RUNAWAY ART: Interpreting Colonial Slave Ads
The Story of Philipsburg Manor, Upper Mills
The Philipse Family
Philipsburg Manor was a large family estate that spanned over 50,000 acres in
Westchester County and the present-day Bronx. The manor was officially established
in 1693, when Frederick Philipse (1626-1702) was granted a royal charter confirming
this land acquisition from King William III and Queen Mary of Great Britain. Frederick
Philipse was already in the colony for forty years, had become the wealthiest
resident of New York City. Upon his death, Frederick’s son, Adolph Philipse (16651750) inherited the northern portion of the manor, known as the “Upper Mills".
Frederick Philipse (c.1698-1751) was Adolph’s nephew and he owned the manor’s
southern portion of the property called the “Lower Mills”. In 1750, the milling,
trading, and agricultural activities that occurred on the manor were part of a vast
commercial enterprise with close connections to the burgeoning port city of New
York and to the trade network of the Atlantic world.
The Upper Mills included several hundred acres near the Hudson River. This
property included a barn, gristmill, and manor house, a bakehouse, storehouse, lime
house, living quarters for the enslaved workers, extensive meadowlands, grain fields,
and orchards. Its main economic purpose was to supply foodstuffs – especially wheat
products – and other rural commodities to New York’s urban population and to
plantations in the West Indies.
RUNAWAY ART: Interpreting Colonial Slave Ads
The Story of Philipsburg Manor, Upper Mills
The Upper Mills Community: Tenant Farmers
Adolph Philipse was no farmer, and he did not live at Philipsburg Manor. He
was an international merchant, active in in colonial politics and government, a
bachelor involved in Manhattan’s social scene, and one of the wealthiest residents of
New York City. Like most other major landowners in the Hudson River Valley, Adolph
relied on others to do the hard work of clearing, cultivating, and making productive
the thousands of acres of land under his control. The native Lenape Indians who sold
the northern Westchester lands to the Philipse’s had already cleared and cultivated
some of the more fertile acreage for maize. Adolph leased most of the manor lands
in farms of about 150 to 200 acres to tenants from a wide variety of European
backgrounds. By 1750, the tenant population on the manor included about 150
families numbering around 800 people. Like much of the settlers across the colony of
New York, these tenants were of diverse northern European origins, including
Belgium, Sweden, Germany, Norway, France, and the British Isles, as well as from
European colonies in Brazil. They shared in common the need to clear land of trees
and stones, cultivate grain crops, plant orchards, tend livestock, fence fields, and
build necessary structures. They paid their rent primarily in wheat, and used the
Philipses’ mills to grind their grains.
RUNAWAY ART: Interpreting Colonial Slave Ads
The Story of Philipsburg Manor, Upper Mills
The Upper Mills Community: Enslaved Africans
The Philipses were among the largest slaveholders in the northern colonies;
Adolph Philipse claimed twenty-three women, men, and children as property at the
Upper Mills plantation, and Frederick Philipse II owned close to twenty captives at
the Lower Mills. Both men relied on enslaved individuals at their properties in the
city as well, where slaves made up nearly twenty percent of Manhattan’s population.
While in most cases we don’t know exactly who performed each job at
Philipsburg Manor, we can nevertheless imagine a possible breakdown of labor at
the Upper Mills based on records that lists the names of enslaved individuals, and
what is known about this provisioning plantation and its products. Caesar maintained
and operated three sets of millstones and kept all the gears, mechanics and
structural components of the mill in good order. Diamond loaded plantation produce
from the wharf onto boats and navigated the Hudson to Manhattan with his cargo.
Flip and Tom labored in the fields, orchards, and hay meadows, plowing, planting,
and harvesting. Sampson and Kaiser managed livestock, maintained fences, and
baked hard-tack. Susan and Abigail processed barrels of beef, pork, and dried peas
for export. Sue maintained the manor house, cooked meals for the enslaved
community, and watched over the smallest children who were too young to help
with work. Dina and Massy milked the dairy cows, processed the milk into butter for
export, and kept the dairy and all its utensils clean. James, Venture, Charles, and
Billy, too old for heavy labor, worked in the provision garden and helped mind the
children. All their labors combined – far more extensive than what is profiled here as
we imagine the division of work – made the Upper Mills plantation a profitable
endeavor for Adolph Philipse through the decades between 1700 and 1750.
The Story of a Northern Colonial Plantation
Conclusion
RUNAWAY ART: Interpreting Colonial Slave Ads
Pursuit of trade on an international scale has been a hallmark of New York
since the very beginning of its European settlement. The commercial emphasis that
drove first the Dutch and then the English colonization of New York led to
remarkable diversity and interaction among, Africans, Europeans, and Native
Americans in the province – still a significant characteristic of the state today.
Slavery supported New York’s economy directly through the labor of enslaved
Africans in the colony and indirectly through profits reaped by the New York
merchants from the Caribbean trade. Slavery in New York ended in 1827 – thirtyeight years before the Thirteenth Amendment abolished slavery throughout the
United States. In the aftermath of the American Civil War, northerners tended to
deny or downplay their long involvement in American slavery. Philipsburg Manor,
Upper Mills helps demonstrate the centuries-old presence of forced labor in
The Anti-Slavery Record, Vol III, No 7 (July; New York: Published by the
American Anti-Slavery
Society, 1837). The Alderman Library, University of Virginia.
RUNAWAY ART: Interpreting Colonial Slave Ads
Creative Art Rubric
Name
Date
Self:
Peer:
Teacher:
*Adapted from The Incredible Art Department, Available at http://www.incredibleart.org/files/Rubric.htm#galyk
Composition and
Use of Design
Elements
[Including Line,
Shapes, Form,
Color, Contrast,
Space, etc.]
Creativity/
Originality
Skill /
Craftsmanship
Beginning
1
Learning
2
Accomplished
3
Exemplary
4
Artwork incomplete.
No evidence that
design elements were
used or planned.
Artwork shows
evidence of a planned
composition but little
evidence of design
elements used.
Artwork shows
awareness of one or
more design elements
with attempt to fill
the space adequately.
Artwork shows no
evidence of original
thought or attempt to
use new techniques
or ideas.
Artwork attempts a
new technique or
idea, but the piece
lacks overall
originality.
Artwork shows poor
craftsmanship and a
lack of pride in the
finished product.
Artwork
demonstrates
beginning artistic
skills but careless or
inconsistent attention
to detail.
Artwork attempts one
or more new
techniques and
demonstrates
decision making to
expand on the idea in
a creative way.
Artwork shows
evidence of skill and
good craftsmanship.
Lacks some finishing
touches that would
make the work
outstanding.
Artwork was carefully
planned with several
sketches, and showed an
awareness of many design
elements, including a color
scheme, interesting choice
of line and shapes, and
effective use of space.
Artwork explores several
creative techniques and
demonstrates deliberate
artistic choices to solve a
problem or express an idea
in an unusual or original
way.
Artwork demonstrates
careful execution of artistic
skills, consistent attention
to detail, and a high level of
craftsmanship. Evidence of
hard work and patience to
create a beautiful and
complete work of art.
Total Score
Additional comments:
Score
/12
RUNAWAY ART: Interpreting Colonial Slave Ads
Final Presentation Rubric
Name
Date
Self:
Peer:
Teacher:
Write comments on the back of this sheet.
Beginning
1
Knowledge
Organization
Supporting Art
Information
Voice
Posture and Eye
Contact
Written Personal
Statement
Learning
2
Accomplished
3
Exemplary
4
No understanding of
goals or objectives is
demonstrated.
Student cannot
answer questions
about the subject.
Audience cannot
understand
presentation because
there is no
organization.
Uncomfortable with
information but is
able to answer basic
questions.
Comfortable with
information, answers
questions, but does
not elaborate.
Demonstrates full
understanding by
responding to all questions
with insightful explanations
and elaboration.
Audience has difficulty
following presentation
because student
jumps around.
Student presents
relevant information
about the topic in
logical order, which
engages the audience.
No extra information
about artistic
technique or materials
is used to support
presentation.
Occasionally refers to
artistic work but these
do not support
discussion of the
information
presented.
Voice is low.
Pronounces terms
incorrectly. Audience
members have
difficulty hearing
presentation.
Sometimes stands up
straight and makes
eye contact with
audience during
presentation.
The statement reads
well with minor
grammatical errors
that do not diminish
the overall quality of
the statement.
Uses art work to
support discussion of
the information
presented and explain
ideas
Student organizes
information to creatively tie
together many aspects of
the project, demonstrating
comfort with the
information.
Consistently makes relevant
connections to technique,
style and materials to
enhance discussion of the
information and the
presentation.
Uses a clear voice and
correct pronunciation of
terms. Audience members
react with interest and
enthusiasm to the
presentation.
Stands up straight, looks
relaxed and confident.
Establishes eye contact with
everyone in the room
during the presentation.
The statement synthesizes
personal opinions with
historical knowledge and
artistic creation and shows
evidence of a writer’s voice
that stylistically addresses
the program themes.
Mumbles, pronounces
terms incorrectly, and
speaks too quietly for
students in the back
of class to hear.
Slouches and/or does
not look at audience
during the
presentation.
Personal statement
requires further
editing to address
mechanical issues
such as spelling,
punctuation and
grammar.
Voice is clear.
Pronounces most
words correctly. Most
audience members
can hear
presentation.
Stands up straight and
makes eye contact
with everyone in the
room during the
presentation.
The statement is
mechanically correct
and demonstrates
understanding of the
program themes,
including comments
on historical
knowledge and
artistic creation.
Presentation Total Score
Score
/24
RUNAWAY ART: Interpreting Colonial Slave Ads
Historical Content Quiz
*Note to students: This is not a test - your answers will not affect your grade or participation in the class in any way,
but helps measure your understanding of this challenging material. Please answer all of the questions as honestly as
you can. If you are unsure about a question please raise your hand and the teacher will help you.
True or False (check the correct answer):
1. Slavery in America only existed in the southern United States True_______False_______
2. Slavery was not an important part of the economic / labor system of New York State
in the 1700s. True_______False_______
3. During the time of slavery in America, enslaved men and women were not allowed
to own real estate. True_______False_______
4. Children of enslaved people belonged to their parents. True_______False_______
5. It is possible to interpret runaway slave advertisements from the 1700s through the perspective of both the
owner and the slave. True_______False_______
6. It is usually the people who are in power who get to write history. True_______False_______
7. Enslaved people faced no risk of being separated from their families when their owner died or owed debt.
True_______False_______
8. Often runaway slave ads printed in local newspapers and putting a price on retrieved runaways are the only
document we have on these individuals’ lives. True_______False_______
Circle the letter that is best answer(s) to the following questions:
9. The majority of people arriving to North America as part of the trans-Atlantic trade were from what
continent?
A. Europe
B. South America
C. Africa
D. Asia
10. To be “enslaved” meant that you were considered:
A. An indentured servant
B. An employee
C. Property
D. A person
RUNAWAY ART: Interpreting Colonial Slave Ads
11. During the time of slavery in America, when an enslaved person ran away from their owner, what crime
was he/she committing?
A. Kidnapping
B. Stealing
C. Trespassing
D. Murder
12. Which of the following were consequences for running away/committing other crimes if you were an
enslaved person (Circle all that apply):
A.
B.
C.
D.
Your pay could be withheld
You could be separated from your family
You would have to wear a special uniform
You could be sold
13. For enslaved people, “enduring under hardship,” “negotiating,” and “developing coping and survival
skills,” were all forms of what?
A.
B.
C.
D.
Rebellion
Resistance
Insurrection
Conspiracy
14. Which of the following are examples of “overt resistance” used by enslaved people (Circle all that apply):
A.
B.
C.
D.
E.
F.
Insurrection
Developing survival skills
Rebellion
Burning the houses of slave owners
Negotiating
Using violence against slave owners
15. Which of the following are examples of “covert resistance” used by enslaved people (Circle all that
apply):
A.
B.
C.
D.
E.
F.
G.
Rebellion
Work at a slow pace
Go on strike
Act incompetent
Insurrection
Pretend to be sick
Show irresponsibility
RUNAWAY ART: Interpreting Colonial Slave Ads
Runaway Art Book Rubric
*Note to teachers: The Runaway Art Book can be used as a formative and summative assessment. Teachers
may choose to review and grade the notebook regularly to see if assignments have been completed.
Teachers may also use this rubric to evaluate the final product for evidence of multi-level understanding and
depth of thinking on assigned topics.
Student Name:
Check one box for each area:
The Runaway Art Book includes a variety of responses and shows active participation in the
program.
 Includes a wide range of samples from almost all activities and experiences in the program
including notes, creative writing, reflections, drawings and sketches created in multiple
mediums.
 Includes samples from many activities and experiences in the program including writing,
drawings, and reflections.
 Few samples included. Random contributions to the notebook do not demonstrate regular
participation in program.
The Runaway Art Book is organized and neat.
 Very well organized and easy to understand.
 May be somewhat disorganized but is easy to understand.
 Lacks organization. Appears messy and hard to follow.
Personal reflection is clear and communicates learning.
 Contributions to the notebook demonstrate deep engagement with the program and synthesis
of personal opinions with historical knowledge.
 Contributions to the notebook demonstrate accurate understanding of curriculum content.
 Somewhat superficial consideration of curriculum themes or shows little interest in own work.
Overall Notebook Assessment:
 Excellent
 Good
 Unsatisfactory
Optional Letter Grade: _______
Comment on each of the areas mentioned above: