Tag Archives: Dyckman Farmhouse Museum

Dyckman Farmhouse – Exhibition Opening: “Our Blues,” and “The Devil I Dance With: the Makings of the U.S. Thru African American Eyes”

Exhibition Opening and Reception for “Our Blues,” and “The Devil I Dance With: the Makings of the U.S. Thru African American Eyes”
September 11th, 2024
6PM-8PM
FREE
Light refreshments will be served.
“Our Blues,” by Regina Y. Evans is a healing arts textile installation highlighting the sacredness and dynamic beauty of Black women. The installation focuses upon rage to joy, with the understanding that rage held with intention can be the fuel needed for upending injustices for the sake of necessary freedom.
Black women are the holders of varied coded chapters, divine feelings, insistent jubilations, and spirited pathways. From the melancholy of a poetic blue musical note to the nurturing blue of the wise ocean deep…this is “Our Blues”.
“The Devil I Dance With: the Makings of the U.S. Thru African American Eyes,” is an expression of the tenderness artist Rebecca Boyd Driver feels for the strength of her people, who in the face of tremendous ongoing oppression not only survived, but made us, American people, a better people in all areas and paved the way for all those who followed. Driver feels that no matter who you are and how you are ‘colored’ by your past and present, you can appreciate the reality of how African American people have shaped this country, and how deeply Black people are underappreciated, given the outsized role they have played, in the furtherance of this country’s ideals and construction.

RESHEDULED – Dyckman Farmhouse: Bearing Witness: An Update on the Journey Toward Collaboration, Repair and Return at the Inwood Sacred Site and African Burial Ground

Bearing Witness: An Update on the Journey Toward Collaboration, Repair and Return at the Inwood Sacred Site and African Burial Ground

By Peggy King Jorde and Rachel Watkins

Thursday, August 29th at 6PM on the back porch at DFM

In Inwood until  the late 1800s, the Dyckman and Nagel family cemeteries remained with grave markings, enclosed by a fence, and appeared to be a well kept rural cemetery. A few hundreds yards away were unmarked graves of enslaved Africans. During rapid development in the early 20th century, the site was discovered in March of 1903, and again, no means of protection came for those buried in this hilly knoll, and the bodies were exhumed, examined, and stolen.

The location of the Inwood Sacred Site lies between today’s 211th and 212th Streets, between Broadway and 10th Avenue. Until recently, this block was occupied by various Auto Shops and P.S. 98 – Shorac Kappock’s faculty parking lot. The local community of Inwood is fighting to raise awareness and gain recognition of this sacred site that was sadly desecrated a century ago. Hear from the team behind the Inwood Sacred Site Memorial at this session of Back Porch History at the Dyckman Farmhouse Museum.

 

Dando testimonio: Una actualización sobre el viaje hacia la colaboración, la reparación y el regreso en el Sitio Sagrado de Inwood y el Cementerio Africano.

Por Peggy King Jorde y Rachel Watkins

Jueves 22 de agosto a las 6 PM en el porche de la casa histórica y museo Dyckman.

En Inwood hasta finales de 1800, los cementerios de las familias Dyckman y Nagel permanecieron con tumbas marcadas, protegidos por una valla y parecían ser cementerios rurales bien cuidados. A unos cientos de metros había tumbas sin marcas de africanos esclavizados. Durante el rápido desarrollo de la ciudad a principios del siglo XX, el sitio fue descubierto en marzo de 1903 y de nuevo, no llegó ningún medio de protección para los enterrados en esta colina. Los cuerpos fueron exhumados, examinados y robados.

La ubicación del Sitio Sagrado de Inwood se encuentra entre las calles 211 y 212, entre Broadway y 10th Avenue. Hasta hace poco, este bloque estaba ocupado por varios talleres mecánicos y el estacionamiento de la facultad de P.S. 98 – Shorac Kappock. La comunidad local de Inwood está luchando para crear conciencia y ganar reconocimiento de este sitio sagrado que fue profanado hace un siglo. Escuche al equipo detrás del Memorial del Sitio en esta sesión de Historia en la casa histórica y museo Dyckman.

“I Was Their Midwife”: Pregnancy, Childbirth, and Motherhood on Seventeenth-Century Slave Ships

“I was their midwife”: Pregnancy, Childbirth, and Motherhood on Seventeenth-Century Slave Ships

By Dr. Andrea Mosterman

August 28th at 12PM
VIRTUAL; FREE
Register here

Ships are usually seen as masculine spaces, and slave ships are no exception. But as the slave voyages database shows, about a fourth of the captives transported on board seventeenth and eighteenth-century Dutch slavers were in fact women. In this presentation, I explore the experiences of women on board these slavers, paying special attention to pregnancy, childbirth, and motherhood in these spaces.

 

“Yo Fui su Partera”: Embarazo, parto y maternidad en barcos de esclavos del siglo XVII.

Por la Dra. Andrea Mosterman

28 de agosto a las 12PM

VIRTUAL VÍA ZOOM

Los barcos son usualmente vistos como espacios masculinos y los botes que transportaban esclavos no eran la excepción. Pero las bases de datos de esclavizadores holandeses de los siglos XVII y XVIII demuestran que un cuarto de todos los esclavos transportados eran mujeres. En esta presentación exploro las experiencias de estas mujeres a bordo de estas naves, prestando atención especial al embarazo, parto y maternidad en estos espacios.

Dyckman Farmhouse: “Bled, Cupped, Blister’d and Purged”—Healthcare in the 18th and Early 19th Centuries

“Bled, Cupped, Blister’d and Purged”—Healthcare in the 18th and Early 19th Centuries

By Dr. Gretchen Sorin

August 7th at 6:30PM

VIRTUAL VIA ZOOM

Register here

Healthcare in the time of the Dyckman Farmhouse, the 18th and early 19th centuries, was dramatically different from healthcare and wellness today, although we can see vestiges of this time in some current practices. The people of the enlightenment made some moves toward cleanliness, but, the lack of indoor plumbing and body cleansing, the difficulty of finding clean water, and the lack of sewage systems contributed to a host of health problems, as did a limited number of effective medicines. Inspired by an exhibition developed by the Cooperstown Graduate Program, “Health and Hygiene at a 19th century Farmhouse,” this talk will highlight medical practices in this period and the care available to both wealthy landowners and the enslaved people who shared their households.

 

“Sangrado,ventosaterapia, ampollas y purgado”: ​​la atención médica en el siglo XVIII y principios del XIX

Por la Dra. Gretchen Sorin

7 de agosto a las 6:30 PM

VIRTUAL VÍA ZOOM

Registrarse aquí

La atención médica en la época de Dyckman Farmhouse, el siglo XVIII y principios del XIX, era dramáticamente diferente de la atención médica y el bienestar actuales, aunque podemos ver vestigios de esta época en algunas prácticas actuales. Las personas del Siglo de las Luces hicieron algunos avances hacia la limpieza, pero la falta de plomería interior y de limpieza corporal, la dificultad para encontrar agua potable y la falta de sistemas de alcantarillado contribuyeron a una serie de problemas de salud, al igual que un número limitado de medicamentos. Inspirada en una exposición desarrollada por el Programa de Graduados de Cooperstown, “Salud e higiene en una granja del siglo XIX”, esta charla destacará las prácticas médicas en este período y la atención disponible tanto para los propietarios ricos como para los esclavos que compartían sus hogares.

WHCO at Dyckman Farmhouse: Luminae Trio: Contrasts

WHCO sunset picnic performance!

Luminae Trio: Contrasts

Friday, August 23rd at 7pm
Dyckman Farmhouse Museum
4881 Broadway at West 204th Street

Enjoy a 1 hour sunset picnic performance by the Luminae Trio in the historic setting of the Dyckman Farmhouse Museum garden. Bring your own picnic (and blanket and chairs and bug spray, etc.) to enjoy during the concert. The garden is “Leave No Trace” so be sure to clean up what you brought in.

Free admission; donations gratefully accepted.
The Washington Heights-based Luminae Trio is excited to present a diverse selection of works that draw from a wide range of musical styles and influences. Featuring Beethoven and Jennifer Higdon, two composers from distinct backgrounds, the program shares moments of both great excitement and deep intimacy.

The Luminae Trio is composed of two WHCO members, Jacob Nordlinger (cello) and Elizabeth Wright (violin), alongside fellow uptowner Jestin Pieper (piano). It is the group’s unified vision not only to share chamber music as a means of communication and expression, but also to illuminate the works of lesser-known and underrepresented composers and make this music known.

For more info about the Luminae Trio and the release of their upcoming album, visit www.luminaetrio.com