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African American Metalworking

African American Metalworking

Enslaved African Americans practicing ironwork
Years active	1585 to current times
Location	Colonial North America
Influences	Metalworking from African countries

Article Evaluation, African American Arts & Culture, specifically will be focusing on African American Metalsmithing, looking at iron work exhibited through architecture such as door frames, fences, and iron . While focusing on an in depth analysis of iron craftsmanship during the late civil war and post reconstruction period of the United States. Since the dominant art forms of culture back then were dance and music. African American art of iron work displays a glimpse of new art cultural identity. First, these crafts were produced on the identity of slavery and given zero merit. However, these items often made for utilitarian practice to suit the needs of everyday life, offer exuberant decorations of distinct designs. Such Items display a clear organized identity that is linked to the traditions and practices passed down by African American ancestors. These master-craftsmen continue to show a unique ability to pass through social, racial, and ethnic barriers that existed previously. Through exemplified abilities of attention to craft they gain their own recognizable identity of free artisans. The demand of new sorts of labor through post reconstruction allow free artisan retain their own style of iron work even as they adopt to the new market of art and craft.

Metallurgy in Africa

Even before north Africas early colonial period their is tangible evidence noting African iron works technique was a craft of its own to the individuals residing there. The profession was notably viewed as critical form of skill. The use of iron from was an important manufacturing marvel to precolonial Africa. Iron was a main component in African life. Iron ores and other precious metals are extracted through the bloomers process, until the importation of European metals after their intervention in the region.

Colonial Enslaved Metalworking

During the enslavement of Africans in the colonies and America these enslaved Africans were involuntarily sent into metalworking forges. The owners of these slaves forced to craft iron goods. Enslaved Africans were forced to work forges and produce products without being compensated for their labor. These slaves became skilled craftsmen and were able to produce magnificent products. They were "given" the ability to continue the practice of ironwork like they had back in Africa. The hard work and products of these enslaved African remain mostly unknown in the president day since their masters took credit for their work. Enslaved Africans ironworkers weren't given the ability to sign their work and have their stories known. These ironworkers were overlooked with their hard work and artistic success in their crafts being thrown in the shadows because they were African and unfree men.

Post-Colonial Metalworking

Lastly, post war reconstruction created a new industry of opportunity for African Americans slave artisans. Newly, Free Artisans responded to their young professions by creating guilds and trade schools situated in the south to pass on their knowledge of iron work processes. Although most often these skills are culturaly oriented and exchanged through family ties. The prime proponent to the iron work industry in the south shortly after the turn of the twentieth century was Philip Simmons. Educated at an early age through his apprenticeship to a local blacksmith. This is primarily where Philip Simmons spent most his time refining his skills to the trade. Phillip Simmons worked on all types of ornamental wrought iron: fences, windows, and balconies across the city of Charleston, South Carolina. The state also commissioned him for numerous public projects around the state. Later, in his career Philip Simmons received notoriety for his contributions to the world of art. Simmons was inducted into the South Carolina Hall of Fame located in Myrtle Beach, SC on January 31, 1994. Finally spending most of his post career time receiving visits with persons who found in his wrought iron work, the recognition and detail of attention exceptional.

Saunders, Edward. "BIOGRAPHICAL DICTIONARY OF ENGLISH WROUGHT IRON SMITHS OF THE SEVENTEENTH AND EIGHTEENTH CENTURIES." The Volume of the Walpole Society67 (2005): 237-384.

Schmidt, Peter R. "RESISTING HOMOGENIZATION AND RECOVERING VARIATION AND INNOVATION IN AFRICAN IRON SMELTING." Mediterranean Archaeology 14 (2001): 219-27.

Farrington, Lisa. African-American Art: A Visual and Cultural History. New York, NY: Oxford University Press, 2017.