African Diaspora
The study of cultures in the African Diaspora is relatively
young. Slavery and the trans-Atlantic slave trade brought numerous
Africans, under forced and brutal conditions, to the New World. Of
particular interest to many recent historians and Africanists is the
extent to which Africans were able to transfer, retain, modify or
transform their cultures under the conditions of their new
environments. Three main schools of thought have emerged in scholarly
discussion and research on this topic. Some argue that there are no
significant connections between Africans and African American
communities in the Americas. Others argue that Africans retained
significant aspects of their cultures. Similar to this argument, some
have argued that Africans, responding to their new environments,
retained and transformed African cultures into new African-American
ethnic units.
Detailed research done on slave communities in Surinam, South
Carolina and Louisiana allow us to look deeper into the stated
arguments. Having recently addressed the same issues using Colonial
South Carolina as a case study, I will focus largely on some of the
arguments and conclusions drawn from this study. The evidence from
South Carolina, Louisiana and Surinam supports the second and third
arguments much more than the first. The third argument, that of
cultural transformation, is the argument I find to be most valid.
John Thornton's analysis of this issue is extremely helpful.
He addresses the "no connections" arguments in chapters 6, 7 and 8. He
outlines the claims made by scholars Franklin Frazier, Stanley Elkins,
Sidney Mintz and Richard Price. Frazier and Mintz believe that the
extreme trauma and disruption experienced by Africans during the
process of enslavement and the middle passage minimized the
possibility that they maintained aspects of their cultures in the new
world. They argue that this process "had the effect of traumatizing
and marginalizing them, so that they would became cultural receptacles
rather than donors" (152).
Mintz and Price have argued the slave trade had the effect of
"permanently breaking numerous social bonds that had tied Africans
together..." (153). Another element of the "no connections" argument
claims that Africans did not receive enough associational time with
each othe...
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... capacity. The use of poison as a form of rebellion is
visible in both the examples from Colonial South Carolina and Jamaica.
Cases of death by poison in Colonial South Carolina leading up to the
Stono Rebellion led to its inclusion in the Negro Act of 1740. The Act made poisoning a felony punishable by death.
In conclusion, both significant African retentions and
transformations took place in the early European settlement of the
Americas. More recently, there has been a tendency to overemphasize or
even romanticize the "Africanisms." While acknowledging "Africanisms"
did make their way into the Americas, I find the evidence from
accounts of early slave cultures and the Anthropological background
provided by Thornton on cultural transformation and change persuasive
in suggesting the formation of Afro- American rather than
"Afro-centric" communities. This approach to the slavery and the slave
era is relatively young and will have to be developed. A conclusion
that is clear after studying works of Peter Wood, Gwendolyn Hall and
Richard Price, is that the early arguments suggesting no connection of
African heritage to the Americas are entirely invalid.
The civil rights movement may have technically ended in the nineteen sixties, but America is still feeling the adverse effects of this dark time in history today. African Americans were the group of people most affected by the Civil Rights Act and continue to be today. Great pain and suffering, though, usually amounts to great literature. This period in American history was no exception. Langston Hughes was a prolific writer before, during, and after the Civil Rights Act and produced many classic poems for African American literature. Hughes uses theme, point of view, and historical context in his poems “I, Too” and “Theme for English B” to expand the views on African American culture to his audience members.
In this poem, it is simply asking what would happen to our dreams if they were pushed to the side. Throughout the poem, it gives possible vivid solutions that we can picture. With such solutions being, “Dry up like a raisin in the sun”, “Does it stink like rotten meat?”, or even “Does it explode”. This imagery allows for the reader to gain a better perception of what their personal dreams have amounted or are currently amounting to. While readers can connect on a personal level, they can also sense the self-expression put into the poem. As Hughes wrote about the raisins it really makes you think because raisins originally start off as grapes which then lose their juice and become raisins. Well when Hughes wrote “Dry up like a raisin in the sun” it’s saying that it is even drying up more than it already is which means his dream is that much more difficult to obtain. It’s that much more difficult to obtain due to the color of his skin. This goes back to the Harlem Renaissance movement and inequality throughout America.
When reading the literature of Langston Hughes, I cant help but feeling energetically charged and inspired. Equality, freedom, empowerment, renaissance, justice and perseverance, are just a taste of the subject matter Hughes offers. He amplifies his voice and beliefs through his works which are firmly rooted in race pride and race feeling. Hughes committed himself both to writing and to writing mainly about African Americans. His early love for the “wonderful world of books” was sparked by loneliness and parental neglect. He would soon lose himself in the works of Walt Whitman, Paul Laurence, Carl Sandburg and other literary greats which would lead to enhancing his ever so growing style and grace of oeuvre. Such talent, character, and willpower could only come from one’s life experiences. Hughes had allot to owe to influences such as his grandmother and great uncle John Mercer Langston - a famous African American abolitionist. These influential individuals helped mold Hughes, and their affect shines brightly through his literary works of art.
There are currently 150 million Afro-descendants in Latin America who make up nearly 30 percent of the region’s population (Congressional Research Service, 2005). Out of the fifteen Latin American nations that have recently adapted some sort of multicultural reform, only three give recognize Afro-Latino communities and give them the same rights as indigenous groups (Hooker, 2005). Indigenous groups are more successful than afro-descendent groups in gaining collective rights and development aid from international NGO’s. Collective rights important because are closely related to land rights and can become a tool to fight descrimination .I will attempt to uncover the causes for the discrepancy. This study relies heavily on ethnographic research on post-colonial ideas of race in Latin America and I will attempt to connect race and power structures in environmental decision-making by interviews with national decision-makers, NGO representatives and both black and indigenous communities .
In this poem Hughes writes “I am the Negro bearing slavery’s scars / I am the Negro, servant to you all” (20-31), these lines state that he understands that his ancestors too had to fight for chang...
This image is the author’s perspective on the treatment of “his people” in not only his hometown of Harlem, but also in his own homeland, the country in which he lives. The author’s dream of racial equality is portrayed as a “raisin in the sun,” which “stinks like rotten meat” (Hughes 506). Because Hughes presents such a blatantly honest and dark point of view such as this, it is apparent that the author’s goal is to ensure that the reader is compelled to face the issues and tragedies that are occurring in their country, compelled enough to take action. This method may have been quite effective in exposing the plight of African-Americans to Caucasians. It can be easily seen that Hughes chooses a non-violent and, almost passive method of evoking a change. While Hughes appears to be much less than proud of his homeland, it is apparent that he hopes for a future when he may feel equal to his fellow citizens, which is the basis of the “dream” that has been
This country, especially the southern United States, was built using African slave labor. Africa slaves were not allowed to be educated. All most every African slave could not read or write because it was against the law to educate slaves for over 200 years. The master/slave relationship caused assimilation to be very difficult. Values and convictions were formed during those years and are still evident to this day (Parrillo, 2009).
The contradiction of being both black and American was a great one for Hughes. Although this disparity was troublesome, his situation as such granted him an almost begged status; due to his place as a “black American” poet, his work was all the more accessible. Hughes’ black experience was sensationalized. Using his “black experience” as a façade, however, Hughes was able to obscure his own torments and insecurities regarding his ambiguous sexuality, his parents and their relationship, and his status as a public figure.
In 1960, the American sociologist Paul Goodman published his seminal work, Growing Up Absurd: Problems of Youth in the Organized Society. Having observed that, since World War II, there had been an increasing rise in juvenile delinquency – especially amongst white, middle-class, educated males – Goodman set out to study both the source and forms of delinquency. Simply put, he wanted to understand why and how young men were rebelling not just from the previous generation but from society as a whole. Goodman ultimately posited that having been frustrated by an increasingly bureaucratic and corporate culture, the only way for these young men to begin forging their personal identities was to reject the very middle-class culture and values from which they had emerged. Goodman then discovered that many of these young men began to find solace and freedom, to quote Allen Ginsberg, “by dragging themselves through negro hipster streets.” These middle-class young men – or what Goodman would ultimately label as “the white negroes” – found for themselves an entirely new cultural frontier by embracing what they felt to be the only free space available: within the bosom of black culture. The fact middle-class, white males listening to “black music” would hardly raise an eyebrow today only serves as a testament to the enduring power of blackness as a cultural trope. Whether it be jazz in the 1950s or hip-hop at the turn of the century, white youth have continued to find avenues of self-expression and self-formation through what Toni Morrison calls an Africanist presence.
Langston Hughes was probably the most well-known literary force during the Harlem Renaissance. He was one of the first known black artists to stress a need for his contemporaries to embrace the black jazz culture of the 1920s, as well as the cultural roots in Africa and not-so-distant memory of enslavement in the United States. In formal aspects, Hughes was innovative in that other writers of the Harlem Renaissance stuck with existing literary conventions, while Hughes wrote several poems and stories inspired by the improvised, oral traditions of black culture (Baym, 2221). Proud of his cultural identity, but saddened and angry about racial injustice, the content of much of Hughes’ work is filled with conflict between simply doing as one is told as a black member of society and standing up for injustice and being proud of one’s identity. This relates to a common theme in many of Hughes’ poems that dignity is something that has to be fought for by those who are held back by segregation, poverty, and racial bigotry. The poems “Visitors to the Black Belt”, “Note on Commercial Theatre”, “Democracy”, and “Theme for English B” by Hughes all illustrate the theme of staying true to one’s cultural identity and refusing to compromise it despite the constant daily struggle it meant to be black in an Anglo centric society.
The African Blood Brotherhood for African Liberation and Redemption (ABB) was a militant black liberation group founded in 1919 by West Indian journalist Cyril Briggs. Cyril Briggs, a West Indian-born radical of mixed racial parentage living in New York. Briggs was a staunch exponent of the theory of racial separatism. The ABB was a revolutionary secret organization whose purpose and program was the liberation of African people and the redemption of the African race. It was a propaganda organization built on the model of the secret fraternity, organized in "posts." It was centered in Harlem, the ABB established local branches throughout the country.
The idea of the globalisation of Australian businesses, the process where businesses develop themselves internationally is one of the main issues in our current society. The concept of globalisation has occurred due to many factors, such as reduced trade barriers, a reduction in tariffs and quotas, new developments in technology and also new innovations in transportation technology. These factors that have caused globalisation can result in many consequences, both positive and negative. These consequences are free trade caused by a reduction in tariffs and environmental costs such as pollution caused by factories and greenhouse gasses causing global warming.
The experiences of the women of the African diaspora are as diverse as the regions they have come to inhabit. Despite the variety in their local realities, African and African-descended women across the planet share in many common experiences. Wherever they have made their homes, these women tend to occupy inferior or marginalized positions within their societies. Whether in the United States, Europe, Latin America, or even Africa itself, black women must confront what Patricia Hill Collins describes as a “matrix of domination” which has, for centuries, perpetuated their subjugation and oppression. According to Collins, a matrix of domination is a comprehensive social organization in which intersecting oppressions are created and maintained (Collins 246). Although these systems are manifested differently depending on the cultural context in which they were birthed, most have similar origins. In the cases of both Africa and the United States, the most salient factor in the development of oppressive orders is the widespread European colonization which took place from the sixteenth to mid-twentieth centuries. This historic domination of Africans and their descendants, combined with the near-universal presence of patriarchy in human cultures, have worked together to place black women among the most oppressed groups worldwide.
One of the most common mysteries in the world is the development of autoimmune diseases. An autoimmune disease is when the immune system, which usually keeps your body healthy thinks that your healthy cells are antigens and attacks them. This is irony right? It is against properties of evolution for an immune system to attack itself causing sickness and possibly death if untreated. There are about 80 different types of autoimmune diseases, which usually have periods of little to no symptoms and worsening symptoms. What particularly creates confusion in the world is the autoimmune disease, inflammatory bowel disease, which affects almost about five million people worldwide.
Thesis: The poems “Negro”, “I Too”, and “Song for a Dark Girl” by Langston Hughes was written around an era of civil inequality. A time when segregation was a customary thing and every African American persevered through civil prejudice. Using his experience, he focuses his poems on racial and economic inequality. Based on his biographical information, he uses conflict to illustrate the setting by talking about hardships only a Negro would comprehend and pride only a Negro can experience, which helps maintain his racial inequality theme.