The Journal of the Vodou Archive Table of Contents
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Empire, Racial Capitalism and International Law: the Case of Manumitted Haiti and the Recognition Debt
Leiden Journal of International Law (2018), 31, pp. 597–615 C Foundation of the Leiden Journal of International Law 2018 doi:10.1017/S0922156518000225 INTERNATIONAL LEGAL THEORY Empire, Racial Capitalism and International Law: The Case of Manumitted Haiti and the Recognition Debt ∗ LILIANA OBREGON´ Abstract Before 1492, European feudal practices racialized subjects in order to dispossess, enslave and colonize them. Enslavement of different peoples was a centuries old custom authorized by the lawofnationsandfundamentaltotheeconomiesofempire.Manumission,thoughexceptional, helped to sustain slavery because it created an expectation of freedom, despite the fact that the freed received punitive consequences. In the sixteenth century, as European empires searched for cheaper and more abundant sources of labour with which to exploit their colonies, the Atlantic slave trade grew exponentially as slaves became equated with racialized subjects. This article presents the case of Haiti as an example of continued imperial practices sustained by racial capitalism and the law of nations. In 1789, half a million slaves overthrew their French masters from the colony of Saint Domingue. After decades of defeating recolonization efforts and the loss of almost half their population and resources, Haitian leaders believed their declared independence of 1804 was insufficient, so in 1825 they reluctantly accepted recognition by France while being forced to pay an onerous indemnity debt. Though Haiti was manumitted through the promise of a debt payment, at the same time the new state was re-enslaved as France’s commercial colony. The indemnity debt had consequences for Haiti well into the current century, as today Haiti is one of the poorest and most dependent nations in the world. -
American Religion
1 BONUS CHAPTER ANTHROPOLOGY OF AMERICAN RELIGION America’s Silicon Valley might seem like the least likely place in the country to search for religion: liberal demographics and secularization theory would predict that upwardly mobile, technology-oriented people such as those concentrated in northern California are among the least religious Americans. That may indeed be true, or it may be more accurate to say that the religion of Silicon Valley’s computer professionals is unconventional and adapted to their middle class lifestyle and their technological worldview. Accordingly, Stef Aupers finds an assortment of “technopagans” among these modern skilled computer programmers, who “conceive of the act of programming as magical” (2009: 153). Noting first that “pagans are more active on the Internet than other religious groups” (156), Aupers follows Erik Davis’ (1995) definition of technopaganism as a “small but vital subculture of digital savants who keep one foot in the emerging technosphere and one foot in the wild and wooly world of Paganism…. They are Dionysian nature worshippers who embrace the Apollonian artifice of logical machines.” The magic of educated computer professionals, though, is not “magic as a ritual” but rather “the mystery of intangible, opaque, digital technology,” in which “the personal computer is sometimes the object of mystical speculations” (Aupers 2009: 161). Ironically but profoundly, computer technology is both vanishingly small and vanishingly large: it embraces the wonders of microprocessors and whirling electrons as well as the globe-spanning scope of the World Wide Web. More, “the Internet can no longer be understood in a mechanical way since it ‘grows’ and ‘behaves’ in an organic fashion”; indeed, “the Internet actualizes an ancient holistic claim about the universe: like in the cosmos as a whole, everything and everyone is ‘connected’” (161). -
The Journey of Vodou from Haiti to New Orleans: Catholicism
THE JOURNEY OF VODOU FROM HAITI TO NEW ORLEANS: CATHOLICISM, SLAVERY, THE HAITIAN REVOLUTION IN SAINT- DOMINGUE, AND IT’S TRANSITION TO NEW ORLEANS IN THE NEW WORLD HONORS THESIS Presented to the Honors College of Texas State University in Partial Fulfillment of the Requirements for Graduation in the Honors College by Tyler Janae Smith San Marcos, Texas December 2015 THE JOURNEY OF VODOU FROM HAITI TO NEW ORLEANS: CATHOLICISM, SLAVERY, THE HAITIAN REVOLUTION IN SAINT- DOMINGUE, AND ITS TRANSITION TO NEW ORLEANS IN THE NEW WORLD by Tyler Janae Smith Thesis Supervisor: _____________________________ Ronald Angelo Johnson, Ph.D. Department of History Approved: _____________________________ Heather C. Galloway, Ph.D. Dean, Honors College Abstract In my thesis, I am going to delve into the origin of the religion we call Vodou, its influences, and its migration from Haiti to New Orleans from the 1700’s to the early 1800’s with a small focus on the current state of Vodou in New Orleans. I will start with referencing West Africa, and the religion that was brought from West Africa, and combined with Catholicism in order to form Vodou. From there I will discuss the effect a high Catholic population, slavery, and the Haitian Revolution had on the creation of Vodou. I also plan to discuss how Vodou has changed with the change of the state of Catholicism, and slavery in New Orleans. As well as pointing out how Vodou has affected the formation of New Orleans culture, politics, and society. Introduction The term Vodou is derived from the word Vodun which means “spirit/god” in the Fon language spoken by the Fon people of West Africa, and brought to Haiti around the sixteenth century. -
Interview with Frisner Augustin—3/24/1982 East 96Th Street, East Flatbush, Brooklyn, New York
Interview with Frisner Augustin—3/24/1982 East 96th Street, East Flatbush, Brooklyn, New York Frisner’s Life in Haiti L: This is an interview with Frisner Augustin, Master Drummer from Haiti. First, I just want to get the facts—the day that you were born, where you were born… F: Okay, the day I born is one, three, forty-eight, right? So, I born in Port- au-Prince. But my mother born in Port-a-Prince, but my grandmother born in Jacmel. L: Is that your mother’s mother? F: My grandmother, yeah. But my father born in Port-au-Prince, but, you know, my father’s father born in Léogane. I come from two parent, you know, two pärent—parent or pärent, I don’t know. Because, you know, English is not my language. But in my country they speak Creole. But everybody try to speak French. You’re supposed to go to school to speak French. But my parent don’t have any money to push me very good in big school, and I try to learn by some friend. But, in Haiti, my father, you know, time I got to be about six years old, and my father left my mother, and, you know, my mother can’t help me to push me in school. Okay, I got all my parent, my uncle play drum and be travel lot. He go to St. Thomas, St. Croix, Puerto Rico, and New York and go back to Haiti, St. Vincent and go back to Haiti. And soon I grow up, I say, I want to learn how to play drum. -
Black Brooklyn Renaissance Digital Archive Sherif Sadek, Akhnaton Films
Black Brooklyn Renaissance (BBR) Digital Archive About the Digital Archive CONTENTS This digital archive contains 73 discs, formatted as playable DVDs for use in compatible DVD players and computers, and audio CDs where indicated. The BBR Digital Archive is organized according to performance genres: dance, music, visual art, spoken word, community festival/ritual arts, and community/arts organizations. Within each genre, performance events and artist interviews are separated. COPYRIGHT Black Brooklyn Renaissance: Black Arts + Culture (BBR) Digital Archive is copyright 2011, and is protected by U.S. Copyright Law, along with privacy and publicity rights. Users may access the recordings solely for individual and nonprofit educational and research purposes. Users may NOT make or distribute copies of the recordings or their contents, in whole or in part, for any purpose. If a user wishes to make any further use of the recordings, the user is responsible for obtaining the written permission of Brooklyn Arts Council (BAC) and/or holders of other rights. BAC assumes no responsibility for any error, omission, interruption, deletion, defect, delay in operation or transmission, or communications line failure, involving the BBR Digital Archive. BAC feels a strong ethical responsibility to the people who have consented to have their lives documented for the historical record. BAC asks that researchers approach the materials in BBR Digital Archive with respect for the sensibilities of the people whose lives, performances, and thoughts are documented here. By accessing the contents of BBR Digital Archive, you represent that you have read, understood, and agree to comply with the above terms and conditions of use of the BBR Digital Archive. -
Reglas De Congo: Palo Monte Mayombe) a Book by Lydia Cabrera an English Translation from the Spanish
THE KONGO RULE: THE PALO MONTE MAYOMBE WISDOM SOCIETY (REGLAS DE CONGO: PALO MONTE MAYOMBE) A BOOK BY LYDIA CABRERA AN ENGLISH TRANSLATION FROM THE SPANISH Donato Fhunsu A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature (Comparative Literature). Chapel Hill 2016 Approved by: Inger S. B. Brodey Todd Ramón Ochoa Marsha S. Collins Tanya L. Shields Madeline G. Levine © 2016 Donato Fhunsu ALL RIGHTS RESERVED ii ABSTRACT Donato Fhunsu: The Kongo Rule: The Palo Monte Mayombe Wisdom Society (Reglas de Congo: Palo Monte Mayombe) A Book by Lydia Cabrera An English Translation from the Spanish (Under the direction of Inger S. B. Brodey and Todd Ramón Ochoa) This dissertation is a critical analysis and annotated translation, from Spanish into English, of the book Reglas de Congo: Palo Monte Mayombe, by the Cuban anthropologist, artist, and writer Lydia Cabrera (1899-1991). Cabrera’s text is a hybrid ethnographic book of religion, slave narratives (oral history), and folklore (songs, poetry) that she devoted to a group of Afro-Cubans known as “los Congos de Cuba,” descendants of the Africans who were brought to the Caribbean island of Cuba during the trans-Atlantic Ocean African slave trade from the former Kongo Kingdom, which occupied the present-day southwestern part of Congo-Kinshasa, Congo-Brazzaville, Cabinda, and northern Angola. The Kongo Kingdom had formal contact with Christianity through the Kingdom of Portugal as early as the 1490s. -
Sankofa Healing: a Womanist Analysis of the Retrieval and Transformation of African Ritual Dance
Georgia State University ScholarWorks @ Georgia State University Religious Studies Theses Department of Religious Studies 5-9-2015 Sankofa Healing: A Womanist Analysis of the Retrieval and Transformation of African Ritual Dance Karli Sherita Robinson-Myers Follow this and additional works at: https://scholarworks.gsu.edu/rs_theses Recommended Citation Robinson-Myers, Karli Sherita, "Sankofa Healing: A Womanist Analysis of the Retrieval and Transformation of African Ritual Dance." Thesis, Georgia State University, 2015. https://scholarworks.gsu.edu/rs_theses/48 This Thesis is brought to you for free and open access by the Department of Religious Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Religious Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. SANKOFA HEALING: A WOMANIST ANALYSIS OF THE RETRIEVAL AND TRANSFORMATION OF AFRICAN RITUAL DANCE by KARLI ROBINSON-MYERS Under the Direction of Monique Moultrie, Ph.D. ABSTRACT African American women who reach back into their (known or perceived) African ancestry, retrieve the rituals of that heritage (through African dance), and transform them to facilitate healing for their present communities, are engaging a process that I define as “Sankofa Healing.” Focusing on the work of Katherine Dunham as an exemplar, I will weave through her journey of retrieving and transforming African dance into ritual, and highlight what I found to be key components of this transformative process. Drawing upon Ronald Grimes’ ritual theory, and engaging the womanist body of thought, I will explore the impact that the process has on African-American women and their communities. -
Refiguring Masculinity in Haitian Literature of Dictatorship, 1968-2010
NORTHWESTERN UNIVERSITY Dictating Manhood: Refiguring Masculinity in Haitian Literature of Dictatorship, 1968-2010 A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF PHILOSOPHY Field of French and Francophone Studies By Ara Chi Jung EVANSTON, ILLINOIS March 2018 2 Abstract Dictating Manhood: Refiguring Masculinity in Haitian Literature of Dictatorship, 1968- 2010 explores the literary representations of masculinity under dictatorship. Through the works of Marie Vieux Chauvet, René Depestre, Frankétienne, Georges Castera, Kettly Mars and Dany Laferrière, my dissertation examines the effects of dictatorship on Haitian masculinity and assesses whether extreme oppression can be generative of alternative formulations of masculinity, especially with regard to power. For nearly thirty years, from 1957 to 1986, François and Jean-Claude Duvalier imposed a brutal totalitarian dictatorship that privileged tactics of fear, violence, and terror. Through their instrumentalization of terror and violence, the Duvaliers created a new hegemonic masculinity articulated through the nodes of power and domination. Moreover, Duvalierism developed and promoted a masculine identity which fueled itself through the exclusion and subordination of alternative masculinities, reflecting the autophagic reflex of the dictatorial machine which consumes its own resources in order to power itself. My dissertation probes the structure of Duvalierist masculinity and argues that dictatorial literature not only contests dominant discourses on masculinity, but offers a healing space in which to process the trauma of the dictatorship. 3 Acknowledgements There is a Korean proverb that says, “백지장도 맞들면 낫다.” It is better to lift together, even if it is just a blank sheet of paper. It means that it is always better to do something with the help of other people, even something as simple as lifting a single sheet of paper. -
Activating the Past
Activating the Past Activating the Past: History and Memory in the Black Atlantic World Edited by Andrew Apter and Lauren Derby Activating the Past: History and Memory in the Black Atlantic World, Edited by Andrew Apter and Lauren Derby This book first published 2010 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2010 by Andrew Apter and Lauren Derby and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-1638-8, ISBN (13): 978-1-4438-1638-0 TABLE OF CONTENTS List of Figures and Tables ......................................................................... vii Acknowledgements .................................................................................... xi Introduction .............................................................................................. xiii Andrew Apter and Lauren Derby Chapter One......................................................................................................... 1 Ekpe/Abakuá in Middle Passage: Time, Space and Units of Analysis in African American Historical Anthropology Stephan Palmié Chapter Two............................................................................................. -
Vodou, Serving the Spirits
Afro-Caribbean Vodou, Serving the Spirits Vodou, Serving the Spirits Summary: Vodou (meaning "spirit" or "god" in the Fon and Ewe languages of West Africa) is a blending (syncretism) of African religious traditions and Catholicism. In the United States, Vodou religious ceremonies are often performed in private group settings where spirits manifest in devotees through posession. The term "Vodou" derives from a word meaning “spirit” or “god” in the Fon and Ewe languages of West Africa. It has come to be used as the name for the religious traditions of Haiti, which blend Fon, Kongo, and Yoruba African religions with French Catholicism. However, while Haitians themselves speak more often of “serving the spirits,” today they also use the term Vodou. Since the late 1950s, with the Haitian immigrant and refugee population increasing in the United States, these traditions of “serving the spirits” have become part of the American religious landscape. By the late 18th century, the Caribbean island of St. Domingue, or Hispaniola, of which Haiti occupies the western third, had already received considerably more African captives than Cuba or the United States would receive throughout their participation in the slave trade. Nearly half of the laborers who worked the island’s sugar plantations came from West and Central Africa. After the Haitian revolution made Haiti an independent nation in 1804, the influx of African slaves was cut off, but the large Haitian citizenry of African descent continued to develop elaborate African-inspired traditions. The Vodou gods or spirits, called lwa, are grouped into several “nations,” linked to areas and peoples in Africa. -
French Ambition and Acadian Labor in the Caribbean, 1762-1767”
401 “Empire Ex Nihilo: French Ambition and Acadian Labor in the Caribbean, 1762-1767” Christopher Hodson, Northwestern University “Lost Colonies” Conference, March 26-27, 2004 (Please do not cite, quote, or circulate without written permission from the author) At the conclusion of the Seven Years’ War in 1763, geopolitical equilibrium gave way to grotesque imbalance. Great Britain had become a leviathan, acquiring Canada, several key islands in the West Indies, Senegal in Africa, French possessions in the Mediterranean, India, and on the East Indian island of Sumatra, while crushing Gallic pretensions to the Ohio Valley. For Louis XV and his cast of ministers, utter defeat had raised the stakes of the imperial contest; Britain’s near-global dominance demanded a rapid, thorough response. The integration of France’s remaining overseas territories into a militant, economically competitive polity became the penultimate projet in a kingdom bursting with les hommes à projets.1 Draped in the rhetoric of progress, the plans that emerged from this hothouse of patriotism and personal ambition marked an extension of imperial authority unlike any France had ever seen.2 Mercifully, few of these bizarre proposals ever came to fruition. This essay, however, examines two that did. The first, a colony along the Kourou River in Guiana, failed in spectacular fashion only months after its foundation. Thousands of migrants died, and destitute survivors scattered throughout Europe and the Caribbean. The second, a smaller settlement on the northern coast of Saint Domingue, commenced early in 1764. It proved a disappointment, lapsing into obscurity over the next two years. Settlers died or filtered to greener, if equally fetid pastures in Louisiana. -
Cantos De Las Communidades Haitianas En Cuba
CANTOS DE LAS COMMUNIDADES HAITIANAS EN CUBA DANIEL MIRABEAU Los cantos de este artículo han sido recolectados con la ayuda de cantantes en Cuba, así como a partir de grabaciones comercializadas y a partir de captaciones vídeos disponibles en la toila. Las traducciones, las transcripciones musicales y las anotaciones son del autor. Las letras de canciones comprenden dos o tres entradas lingüísticas: criollo cubano, criollo haitiano y castellano. El lado criollo cubano respeta la escritura y pronunciación de las personas que ha transmitido los cantos. El lado criollo haitiano acerca a escritura contemporánea del criollo en Haití1. El lado castellano intenta acercar el sentido del texto original. Para los nombres propios y los nombres de estilos musicales, el contexto de la frase hace preferir la escritura en criollo cubano, criollo haitiano o en castellano. Dentro de la letra de canción, la parte solista figura sobre la columna de izquierda y la respuesta del coro sobre la columna de derecha, en itálico. Respecto a las partituras musicales, la voz solista y el coro se diferencian por su tipo de letra. Las microvariaciones en las repeticiones del solista son una interpretación libre del autor. Todas las transcripciones musicales de canción son voluntariamente unificadas sin alteraciones, excepto las accidentales. A cada uno de los intérpretes de transponer las partituras con arreglo a su tesitura de voz. Aparecen en este artículo los cantos interpretados por los grupos siguientes: Babul (Guantanamo), Ban Rara (Guantanamo), Cai Dijé o La Bel Kreyol2 (Camagüey), Conjunto Folklorico de Oriente (Santiago de Cuba), Cutumba (Santiago de Cuba), Galibata (Santiago de Cuba), Grupo Thompson (Santiago de Cuba), La Caridad (Palma Soriano), Lokosia (Guantanamo), Pilon de Cauto (Palma Soriano), Renacer haitiano (Ciego de Avila).