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Caribbean culturess research paper
Thesis statement on african culture in the caribbean
Caribbean culturess research paper
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The ocean is what connects the people of the Caribbean to their African descendants in and out of time. Through the water they made it to their respective islands, and they, personally, crafted it to be temporal and made it a point of reference. The ocean is without time, and a speaker of many languages, with respect to Natasha Omise’eke Tinsley’s Black Atlantic, Queer Atlantic. The multilingualism of the ocean is reminiscent that there is no one Caribbean experience. The importance of it indicates that the Afro-Caribbean identity is most salient through spirituality. It should come to no surprise that Erzulie, a Haitian loa, is a significant part of the migration of bodies in Ana Maurine Lara’s Erzulie’s Skirt. Ana Maurine Lara’s depiction …show more content…
The bodies passed through water, which in what Natasha Omise’eke Tinsley says is the first thing that she remembers about the Black Atlanatic (Tinsley 191). It is important to note that, as she states, “the Black Atlantic has always been the Queer Atlantic” (Tinsley 191). Often times, queerness is erased from the African identity, but it is very much apart of it. Queerness is prevalent in the Afro-Caribbean identity on many levels; one of the most significant ones, in context of spirituality being, its presence in the voodoo religion which holds roots on the African continent. The people who survived the Middle Passage built relationships with people of the same sex. Tinsley stated that they would use terminology such as “mi mati,” which translated to “my girl” (Tinsley 192). The Atlantic brought a mix of people together who became empathetic of each other due to shared experience. There were many different people, who shared an …show more content…
In the introduction, Erzulie says that she fought with Ogun, a Yoruba orisha, on behalf of Micaela, a character that Miriam becomes close to. Loa’s are the intermediaries between the God, the creator of everything, and people. Erzulie is not just an intemediary, one of her representations, Erzulie-Freda (Dayan: 6), is the lover of Ogun, but her sexuality is fluid. She crosses lines of both the feminine and masculine which is important to Miriam’s and the identity of every Afro-Caribbean. This indicates that the Afro-Caribbean identity is also one that includes queerness. Erzulie’s sexuality is first presented when she states that many people, both men and women, will marry her and dedicate things to her (Lara: XV). She proves that queerness is not out of the self identifying as Afro-Caribbean; this is also salient in
In Brent Hayes Edwards essay, “ The Use of Diaspora”, the term “African Diaspora” is critically explored for its intellectual history of the word. Edward’s reason for investigating the “intellectual history of the term” rather than a general history is because the term “is taken up at a particular conjecture in black scholarly discourse to do a particular kind of epistemological work” (Edwards 9). At the beginning of his essay Edwards mentions the problem with the term, in terms of how it is loosely it is being used which he brings confusion to many scholars. As an intellectual Edwards understands “the confusing multiplicity” the term has been associated with by the works of other intellectuals who either used the coined or used the term African diaspora. As an articulate scholar, Edwards hopes to “excavate a historicized and politicized sense of diaspora” through his own work in which he focuses “on a black cultural politics in the interwar, particularly in the transnational circuits of exchange between the Harlem Renaissance and pre-Negritude Fran cophone activity in the France and West Africa”(8). Throughout his essay Edwards logically attacks the problem giving an informative insight of the works that other scholars have contributed to the term Edwards traces back to the intellectual history of the African diaspora in an eloquent manner.
The events of Chinua Achebe’s novel Things Fall Apart and the film Sugar Cane Alley detail the lives of a fictionalized Nigerian village and sugar cane harvesters in remote Martinique, respectively, during similar time periods of the 1900s. Both works contain explicit references to Christianity, and how the imposition of religion and white culture have negatively affected the African characters. European religious practice was used as a means of pacifying as well as terrifying the Umuofian people and the inhabitants of Sugar Cane Valley.
The opening of the novel places the reader not in Falola's shoes as a child, but rather as an adult scholar attempting to procure information from his own family. This proves easier said than done as Falola takes us through the process of obtaining specific dates in a society that deems them irrelevant. By examining the difficulty that Falola has in this seemingly simple task, the reader begins to understand the way in which time and space are intertwined and weighed in Africa. This concept of "connections between words, space, and rituals" encompasses the way that Africans perceive the world around them - as a series of interrelated events rather than specific instances in time (Falola 224). This approach also stems from the concept that the family unit, the village, and the elders come before the individual in all instances, making a detail such as a birthday unimportant when it comes to the welfare of the whole. Introducing the reader to the complexities of African conventions, Falola expands their minds and challenges them to view the forthcoming narrative with untainted eyes.
His identity was very twofold: African and English. For instance, Equiano had not just one African name, “Olaudah Equiano”, but a second English one as well. Equiano interchanged his African name with the name he was given by his master, “Gustavas Vassa”. In daily life Equiano used these two names, but the fact that Equiano takes the time to include both of these names in the title of his narrative shows that even his primary way of identifying himself – his name – was bicultural. This dichotomy of Equiano’s cultural identification may suggest that he does not fully participate in his African identity and he therefore cannot be a true representative of their humanity. If Equiano considers himself to be just as African as he is English, is his assimilation into European culture demonstrating the humanity of black
The Root of It: Deconstructing Creole Identity in Crossing the Mangrove. “I like to repeat that I write neither in French nor in Creole. I write in Maryse Conde,”1 (“Liaison dangereuse,” 2007) is a statement that could not be less accurate for the Guadeloupean writer. Writing in French is especially problematic for post-colonialist Francophone authors; using the language of the colonizer while attempting to dismantle cultural and linguistic hierarchy seems to be an act of futility. To be sure, Conde, the author of Crossing the Mangrove, apparently writes in the French language, but she capably deconstructs the notion that a language must be necessarily tied to the culture and history it traditionally represents.
Beryl Markham’s West with the Night is a collection of anecdotes surrounding her early life growing up as a white girl in British imperialist Africa, leading up to and through her flight across the Atlantic Ocean from East to West, which made her the first woman to do so successfully. Throughout this memoir, Markham exhibits an ache for discovery, travel, and challenge. She never stays in one place for very long and cannot bear the boredom of a stagnant lifestyle. One of the most iconic statements that Beryl Markham makes in West with the Night is:
There is no other experience in history where innocent African Americans encountered such a brutal torment. This infamous ordeal is called the Middle Passage or the “middle leg” of the Triangular Trade, which was the forceful voyage of African Americans from Africa to the New World. The Africans were taken from their homeland, boarded onto the dreadful ships, and scattered into the New World as slaves. 10- 16 million Africans were shipped across the Atlantic during the 1500’s to the 1900’s and 10- 15 percent of them died during the voyage. Millions of men, women, and children left behind their personal possessions and loved ones that will never be seen again. Not only were the Africans limited to freedom, but also lost their identity in the process. Kidnapped from their lives that throbbed with numerous possibilities of greatness were now out of sight and thrown into the never-ending pile of waste. The loathsome and inhuman circumstances that the Africans had to face truly describe the great wrongdoing of the Middle Passage.
Examination into the true heart of experience and meaning, Charles Johnson’s Middle Passage looks at the structures of identity and the total transformation of the self. The novel talks about the hidden assumptions of human and literary identity and brings to view the real problems of these assumptions through different ideas of allusion and appropriation. As the novel tells Rutherford Calhoun’s transformation of un-awareness allows him to cross “the sea of suffering” (209) making him forget who he really is. The novel brings forth the roots of human “being” and the true complications and troubles of African American experiences. Stuck between posed questions of identity, the abstract body is able to provide important insight into the methods and meanings in Middle Passage.
When sixteenth and seventeenth century explorers returned to Europe from their journeys to Africa, they constructed and disseminated degrading stereotypes of African women based on the observations they had made abroad. Basing their perceptions of women off of European women’s bodies, these explorers noticed and commented on how African women’s bodies differed in many aspects—these disparities then became justifications for the differential treatment between these two groups of women. Because these African American women didn’t conform to the basic norms of womanhood that the explorers were accustomed to, they were quick to categorize them as strange, animalistic and hypersexual; their bodily forms, attire and skin color called attention to their otherness in the corporeal and social realm. Skin Deep, Spirit Strong offers a compilation of essays that document the observations made, the generalizations that were produced and the treatment that resulted from these interactions. The negative generalizations that these early European explorers made about African American women, had and to this day continue to have a significant effect on the way in which black women are viewed physically and sexually not only in the private sphere but also publicly.
Ayiti, by Roxane Gay, is a collection of fifteen short narratives about Haiti and its people, which gives the readers insights into the complex Haitian diaspora experience. The novel seeks to offer a deeper view into Haitian society and covers an array of themes such as the politics of survival, resiliency, and feminist culture in Haiti. Throughout the novel, Gay is highly critical of mainstream media because of how they depict and silo Haiti as a poor and helpless country. Haiti’s historical stance on censorship is well documented, and as a Haitian writer living in America, Gay is successful in giving agency to the voiceless by chronicling the stories of the Haitian diaspora. Ayiti explores stories that explain what it is like to be a Haitian
When I first read “We Are Ugly, But We Are Here,” I was stunned to learn how women in Haiti were treated. Edwige Danticat, who was born in Port-au-Prince, Haiti, in 1969 and immigrated to Brooklyn when she was twelve years old, writes about her experiences in Haiti and about the lives of her ancestors that she links to her own. Her specific purpose is to discuss what all these families went through, especially the women, in order to offer the next generation a voice and a future. Danticat writes vividly about events that occurred in Haiti, leading up to an assertion about the strength of Haitian women. Her essay is powerful in large part because of how she manages tone.
Gabriel, Deborah. Layers of Blackness: Colourism in the African Diaspora. London: Imani Media, 2007. Print.
In this context, Madonna’s “Vogue” video restylizes a strict, gendered physicality into a representation of the significant nuclei of cultural change within the distinct homosexual Afro-Latin community—a community which exists as an “oppositional identity” (87) in juxtaposition with the rigid definitions of appropriate gender expression. This both redefines and reinforces the
As the Hispanic Caribbean has evolved it has managed to grow and thrive beyond belief, whether one is discussing art, music or just the culture alone the Hispanic Caribbean is truly reaping the benefits of allowing themselves to be influenced by many other cultures. While the Hispanic Caribbean is thriving they are still facing the many new found struggles that come along with the territory of becoming more affluent as well as more accepting to other cultures and their beliefs. Often with the growth of large proportions comes many problems, problems also can come about when incorporating of different cultures as a whole as well as just bringing in their beliefs and mannerisms. None the less it can be argued that the struggles being faced in
Enter Mary Lefkowitz. A classical historian, she discovered the Afrocentric movement in the early 1990s. In 1996, she published Not...