Identities and Communities of the Atlantic World

Not only slaves and commodities but also cultural ideas and values — as well as free people of European, African, and American descent — circulated through the eighteenth-century Atlantic world. As contacts between the Atlantic coasts of the Americas, Africa, and Europe became more frequent, and as European settlements grew into well-established colonies, new identities and communities emerged.

The term Creole referred to people of Spanish ancestry born in the Americas. Wealthy Creoles and their counterparts throughout the Atlantic colonies prided themselves on following European ways of life. Over time, however, the colonial elite came to feel that their circumstances gave them different interests and characteristics from those of their home population. Creole traders and planters increasingly resented the regulations and taxes imposed by colonial bureaucrats, and such resentment would eventually lead to revolution against colonial powers.

Not all Europeans in the colonies were wealthy. Numerous poor or middling whites worked as clerks, shopkeepers, craftsmen, and plantation managers. With the exception of British North America, white Europeans made up a minority of the population. Since European migrants were disproportionately male, much of the population of the Atlantic world descended from unions — forced or through choice — of European men and indigenous or African women. (See “Picturing the Past: Mulatto Painting.”)

Mixed-race populations sometimes rose to the colonial elite. The Spanish conquistadors often consolidated their power through marriage to the daughters of local rulers, and their descendants were among the most powerful inhabitants of Spanish America. In the Spanish and French Caribbean, as in Brazil, many masters acknowledged and freed their mixed-race children, leading to sizable populations of free people of color. Given advantages because of their fathers, some became wealthy land and slave owners in their own right.

British colonies followed a distinctive pattern. There, whole families, rather than individual men, migrated, resulting in a rapid increase in the white population. This development was favored by British colonial law, which forbade marriage between English men and women and Africans or Native Americans. In the British colonies of the Caribbean and the southern mainland, masters tended to leave their mixed-race progeny in slavery rather than freeing them, maintaining a stark discrepancy between free whites and enslaved people of color.5

Converting indigenous people to Christianity was a key ambition for all European powers in the New World. Galvanized by the Protestant Reformation and the perceived need to protect and spread Catholicism, Catholic powers actively sponsored missionary efforts. Catholic religious orders established missions throughout Spanish, Portuguese, and French colonies (see "Impact of European Settlement on the Lives of Indigenous Peoples" in Chapter 14). In Central and South America, large-scale conversion forged enduring Catholic cultures in Portuguese and Spanish colonies. Conversion efforts in North America were less effective because indigenous settlements were more scattered and native people were less integrated into colonial communities. On the whole, Protestants were less active as missionaries in this period, although some dissenters, like Moravians, Quakers, and Methodists, did seek converts among indigenous and enslaved people. (See “Individuals in Society: Rebecca Protten.”)

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Mulatto PaintingThe caption in the upper left-hand corner of this mid-eighteenth-century painting identifies the family as being composed of a Spanish father and a black mother, whose child is described as “mulatto.” The painting was number six in a series of sixteen images by the painter Jose de Alcibar, each showing a different racial and ethnic combination. The series belonged to a popular genre in the Spanish Americas known as castas paintings, which commonly depicted sixteen different forms of racial mixing. (Francisco Clapera, De Espanol, y Negra, Mulato, c. 1785. Denver Art Museum Collection. Gift of Frederick and Jan Mayer, 2011.428.4. © Denver Art Museum.)> PICTURING THE PASTANALYZING THE IMAGE: How would you characterize the relations among mother, father, and child as shown in this painting? Does the painter suggest power relations within the family? What attitude does the painter seem to have toward the family?
CONNECTIONS: Why do you think such paintings were so popular? Who do you think the audience might have been, and why would viewers be fascinated by such images?

The practice of slavery reveals important limitations on efforts to spread Christianity. Slave owners often refused to baptize their slaves, fearing that enslaved people would use their Christian status to claim additional rights. In some areas, particularly among the mostly African-born slaves of the Caribbean, elements of African religious belief and practice endured, often incorporated with Christian traditions.