DOCSLIB.ORG

Daughters You Could Not Burn Alex Terrell University of Maine, [email protected]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Daughters You Could Not Burn Alex Terrell University of Maine, Tiara.Terrell@Maine.Edu The University of Maine DigitalCommons@UMaine Electronic Theses and Dissertations Fogler Library 5-2018 Daughters You Could Not Burn Alex Terrell University of Maine, [email protected] Follow this and additional works at: https://digitalcommons.library.umaine.edu/etd Part of the Creative Writing Commons Recommended Citation Terrell, Alex, "Daughters You Could Not Burn" (2018). Electronic Theses and Dissertations. 2887. https://digitalcommons.library.umaine.edu/etd/2887 This Open-Access Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. THE DAUGHTERS YOU COULD NOT BURN By Alex Terrell B.A. Middle Tennessee State University, 2014 A THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts (in English) The Graduate School The University of Maine May 2018 Advisory Committee: David Kress, Associate Professor of English & Director of Creative Writing, Advisor Gregory Howard, Associate Professor of English Ryan Dippre, Associate Professor of English & Associate Director of Composition Margo Lukens, Professor of English & Director of Academic Programs in Innovation Engineering © 2017 Alex Terrell ii THE DAUGHTERS YOU COULD NOT BURN By Alex Terrell Thesis Advisor: Dr. David Kress An Abstract of the Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (in English) May 2018 This thesis is a collection of eight original stories that explore the intersection of the Black female body and magical realism. This work uses fiction as a means to explore such issues as Blackness, Woman- ness, Witch-ness, birth, death, mothers, sisters, southern space and the vagina as both a force of destruction and construction. From a research perspective, the thesis is in conversation with the African American Oral Tradition of storytelling using elements of southern folklore and myth as a motif. This includes legends of the “boo-hag” from the Gullah region, haints, and the “loup garou” from New Orleans. Other themes present are themes of sexuality, sexual awakening, wounding, healing, goddesses as a reflection of woman, silence, silencing, water, flight as escape and identity. The central question this thesis seeks to ask is: Why aren’t Black woman represented in magical realism spaces? This work is an attempt at providing a space for the Black feminine to exist in a fictional space outside of the master-slave cultural narrative. This thesis also seeks to ask and answer questions about Black masculinity and how Black Masculinity is seen in relation to the Black female body. DEDICATION For Idalene, Geneva, Alberta, Teresa and all of the other women in my family both living and dead. iii ACKNOWLEDGEMENTS I’d like to thank my committee members, Dave, Greg, Ryan, and Margo for agreeing to serve on my committee and for reading this weird creature of fiction. I’d like to thank Dave for asking me “Why magic?” so that I could answer “Because we are magical.” I’d like to thank Greg for telling me my writing should be out in the world. Thanks to Nick for reading draft upon draft upon draft of everything and being such a generous reader. To Shelby and Kris for reminding me that writing is solitary work, but that you don’t have to do it alone. iv TABLE OF CONTENTS DEDICATION ................................................................................................................................................ iii ACKNOWLEDGEMENTS ........................................................................................................................... iv LIST OF FIGURES ......................................................................................................................................... vi CRITICAL INTRODUCTION…………………………….…………………………………………….................................1 1. IN WHICH WE ARE SHAPESHIFTERS………………………………………………………………………………..8 Black Dog...............…………………………………………………………………………………………………………………8 All Skinfolk Ain’t Kinfolk ...................................................................................................................... 25 2. IN WHICH WE ARE INSIDE THE VAGINA .................................................................................. 41 When All He Wanted Was Warmth and Room ................................................................................. 41 Ophelia in Ecstasy ................................................................................................................................. 59 3. IN WHICH WE ARE FAMILIARS ..................................................................................................... 78 The Last Mujina .................................................................................................................................... 78 The Absconding Swarm ...................................................................................................................... 103 4. IN WHICH WE ARE IN THE SKY .................................................................................................. 121 Immortals……. ...................................................................................................................................... 121 Queen of Heaven ............................................................................................................................... .130 BIBLIOGRAPHY ...................................................................................................................................... ..141 BIOGRAPHY OF THE AUTHOR ............................................................................................................ 142 v LIST OF FIGURES Figure 1. Girl in protest .................................................................................................................. 2 Figure 2. Angela Bassett portraying Madame Marie Laveau on American Horror Story ........... 2 vi “SHE DONE MESSED WITH THE WRONG WITCH”: A CRITICAL INTRODUCTION Somos las nietas de las brujas que no pudiste quemar. I came across this picture (see Figure 1) on social media. Women were championing the saying as a war cry against the forces of systemic oppression. They’d translated it into English and then transmitted it across the world to get women into formation, as Beyoncé would say. However, I was more struck by the fact that this saying was in a language I could only partially understand. Among these words, there was only one that stood out to me: brujas. Witches. Since I was younger, I’ve had a fascination, maybe even an obsession, with witches. I’ve seen every television show and movie about them. Read dozens of books, both fictional and informational, about them. You could say, I’ve acquired a literacy with witches and witchcraft as a focal point. We’ve been regaled by images of Sabrina the teenage witch and the sassy sister-witches from Charmed on television. Maybe for some the word “witch” conjures images of Harry Potter’s Hermoine and her big hair. What’s more, witches have been synonymous in popular culture with white women who have an air of mystery about them. These women are meddlesome, beautiful, and always using their powers for good. But these witches are a far cry from the archetypal witch-crone figure. They don’t have warts on the end of their noses or hooked chins. Regardless, they subvert the myth of the witch and the woman. They pushed back against the archetype of the witch in favor of a more progressive vision of woman. Robert Rapley writes of the archetype: [witches] were usually old women, village women – as most people lived in villages – often cantankerous old women without men left to protect them, poor widows, wrinkled with old age, with the hooked nose and pointed chin of a person without teeth. (4) 1 Figure 1: Girl in protest Figure 2: Angela Bassett portraying Madame Marie Laveau in American Horror Story 2 This is the image of witches most people encounter, but this is a tradition of witches with its origins in European thought. Historically, Black women have not been portrayed as “witches” but rather as Voodoo practitioners and conjure women. The image of the conjure woman was “born in the antebellum south, a kind of mediation between African religious and spiritual customs and Christianity” (Stanley 150). She arose out of slavery and the slave’s hope for better times to come. Stanley writes: If Christianity offered the African slaves salvation and peace in the next world, then the conjure woman represented immediate benefits. She functioned as hope within their present conditions. (150) The conjure woman as a vessel for hope has been replaced in popular culture with fake bones and dime-store Hoodoo. Never mind that the differences between Hoodoo and Voodoo far outnumber their similarities. I say all of this to say that Black women are never “witches,” but rather a strange marriage of the African traditions slaves brought with them to America and the forcing of Christianity onto them by their oppressors. You will never find a Black witch in film and literature, lest she be from Louisiana and she be Creole, lest she be a voodoo priestess. These Black witches are never found in affluent communities. A shining example of this is in Ryan Murphy’s American Horror Story where he introduces mainstream media to one of its most notable Black witches. In the third season of
Load more

Recommended publications
  • The Synagogue of Satan
    THE SYNAGOGUE OF SATAN BY MAXIMILIAN J. RUDWIN THE Synagogue of Satan is of greater antiquity and potency than the Church of God. The fear of a mahgn being was earher in operation and more powerful in its appeal among primitive peoples than the love of a benign being. Fear, it should be re- membered, was the first incentive of religious worship. Propitiation of harmful powers was the first phase of all sacrificial rites. This is perhaps the meaning of the old Gnostic tradition that when Solomon was summoned from his tomb and asked, "Who first named the name of God?" he answered, "The Devil." Furthermore, every religion that preceded Christianity was a form of devil-worship in the eyes of the new faith. The early Christians actually believed that all pagans were devil-worshippers inasmuch as all pagan gods were in Christian eyes disguised demons who caused themselves to be adored under different names in dif- ferent countries. It was believed that the spirits of hell took the form of idols, working through them, as St. Thomas Aquinas said, certain marvels w'hich excited the wonder and admiration of their worshippers (Siiinina theologica n.ii.94). This viewpoint was not confined to the Christians. It has ever been a custom among men to send to the Devil all who do not belong to their own particular caste, class or cult. Each nation or religion has always claimed the Deity for itself and assigned the Devil to other nations and religions. Zoroaster described alien M^orshippers as children of the Divas, which, in biblical parlance, is equivalent to sons of Belial.
    [Show full text]
  • Witch Hunting
    LE TAROT- ISTITUTO GRAF p resen t WITCH HUNTING C U R A T O R S FRANCO CARDINI - ANDREA VITALI GUGLIELMO INVERNIZZI - GIORDANO BERTI 1 HISTORICAL PRESENTATION “The sleep of reason produces monsters" this is the title of a work of the great Spanish painter Francisco Goya. He portrayed a man sleeping on a large stone, while around him there were all kinds of nightmares, who become living beings. With this allegory, Goya was referring to tragedies that involved Europe in his time, the end of the eighteenth century. But the same image can be the emblem of other tragedies closer to our days, nightmares born from intolerance, incomprehension of different people, from the illusion of intellectual, religious or racial superiority. The history of the witch hunting is an example of how an ancient nightmare is recurring over the centuries in different forms. In times of crisis, it is seeking a scapegoat for the evils that afflict society. So "the other", the incarnation of evil, must be isolated and eliminated. This irrational attitude common to primitive cultures to the so-called "civilization" modern and post-modern. The witch hunting was break out in different locations of Western Europe, between the Middle Ages and the Baroque age. The most affected areas were still dominated by particular cultures or on the border between nations in conflict for religious reasons or for political interests. Subtly, the rulers of this or that nation shake the specter of invisible and diabolical enemy to unleash fear and consequent reaction: the denunciation, persecution, extermination of witches.
    [Show full text]
  • Atlantic Slavery and the Making of the Modern World Wenner-Gren Symposium Supplement 22
    T HE WENNER-GREN SYMPOSIUM SERIES CURRENT ANTHROPOLOGY A TLANTIC SLAVERY AND THE MAKING OF THE MODERN WORLD I BRAHIMA THIAW AND DEBORAH L. MACK, GUEST EDITORS A tlantic Slavery and the Making of the Modern World: Wenner-Gren Symposium Supplement 22 Atlantic Slavery and the Making of the Modern World: Experiences, Representations, and Legacies An Introduction to Supplement 22 Atlantic Slavery and the Rise of the Capitalist Global Economy V The Slavery Business and the Making of “Race” in Britain OLUME 61 and the Caribbean Archaeology under the Blinding Light of Race OCTOBER 2020 VOLUME SUPPLEMENT 61 22 From Country Marks to DNA Markers: The Genomic Turn S UPPLEMENT 22 in the Reconstruction of African Identities Diasporic Citizenship under Debate: Law, Body, and Soul Slavery, Anthropological Knowledge, and the Racialization of Africans Sovereignty after Slavery: Universal Liberty and the Practice of Authority in Postrevolutionary Haiti O CTOBER 2020 From the Transatlantic Slave Trade to Contemporary Ethnoracial Law in Multicultural Ecuador: The “Changing Same” of Anti-Black Racism as Revealed by Two Lawsuits Filed by Afrodescendants Serving Status on the Gambia River Before and After Abolition The Problem: Religion within the World of Slaves The Crying Child: On Colonial Archives, Digitization, and Ethics of Care in the Cultural Commons A “tone of voice peculiar to New-England”: Fugitive Slave Advertisements and the Heterogeneity of Enslaved People of African Descent in Eighteenth-Century Quebec Valongo: An Uncomfortable Legacy Raising
    [Show full text]
  • Sorcerer”? Find 18 Synonyms and 30 Related Words for “Sorcerer” in This Overview
    Need another word that means the same as “sorcerer”? Find 18 synonyms and 30 related words for “sorcerer” in this overview. Table Of Contents: Sorcerer as a Noun Definitions of "Sorcerer" as a noun Synonyms of "Sorcerer" as a noun (18 Words) Associations of "Sorcerer" (30 Words) The synonyms of “Sorcerer” are: magician, necromancer, thaumaturge, thaumaturgist, wizard, witch, black magician, warlock, diviner, occultist, sorceress, enchanter, enchantress, magus, medicine man, medicine woman, shaman, witch doctor Sorcerer as a Noun Definitions of "Sorcerer" as a noun According to the Oxford Dictionary of English, “sorcerer” as a noun can have the following definitions: A person who claims or is believed to have magic powers; a wizard. One who practices magic or sorcery. GrammarTOP.com Synonyms of "Sorcerer" as a noun (18 Words) A person with dark skin who comes from Africa (or whose ancestors black magician came from Africa. Someone who claims to discover hidden knowledge with the aid of diviner supernatural powers. enchanter A sorcerer or magician. enchantress A woman who is considered to be dangerously seductive. A conjuror. magician He was the magician of the fan belt. GrammarTOP.com magus A sorcerer. medicine man Punishment for one’s actions. medicine woman Punishment for one’s actions. A person who practises necromancy; a wizard or magician. necromancer Dr Faustus a necromancer of the 16th century. occultist A believer in occultism; someone versed in the occult arts. In societies practicing shamanism one acting as a medium between shaman the visible and spirit worlds practices sorcery for healing or divination. sorceress A woman sorcerer.
    [Show full text]
  • Sane Magic Item Prices
    Introduction • Consumables are items that are used some set Have you ever wondered how much an item truly costs? amount of times (usually once) and then are gone. Have you been wanting to find or craft an item but aren’t • Combat Items are items that primarily make the sure how it fits in to the grand scheme of things? Did you user better at killing things. Some also have other ever look at sovereign glue and say to yourself, “There is killing-unrelated effects, but these are not the no way that glue is worth 500,000 gp when Sentinal shield primary source of their utility. is worth 500gp”. Well you are in luck because this guide • Noncombat Items are items that primarily make is for you. the user better at solving problems in a killing- Brainstorming with the Giant In the Playground, /r/ unrelated manner. Some also make the user better DnDNext, and EnWorld forums, Saidoro has put together at killing things, but this is not the primary source a set of tables that break down the costs, reasons for the of their utility. costs, and DMG page to find the item. • Summoning Items are items that summon creatures to kill things or solve problems for you. • Gamechanging Items are items that can have major DM Preface effects on the way the players engage with the world Your world need not sell the magic items for the prices or that can resculpt the campaign world in some given below. Your world does not even need to sell the major way all on their own.
    [Show full text]
  • Beneath the Spanish Moss: the World of the Root Doctor Jack G
    Western Kentucky University TopSCHOLAR® DLTS Faculty Publications Library Technical Services 3-31-2008 Chapter One: Beneath the Spanish Moss: The World of the Root Doctor Jack G. Montgomery Jr. Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/dlts_fac_pub Part of the Other Religion Commons, Science and Technology Studies Commons, and the Technology and Innovation Commons Recommended Repository Citation Montgomery, Jack G. Jr., "Chapter One: Beneath the Spanish Moss: The orldW of the Root Doctor" (2008). DLTS Faculty Publications. Paper 3. http://digitalcommons.wku.edu/dlts_fac_pub/3 This Other is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in DLTS Faculty Publications by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. Chapter One: Beneath the Spanish Moss: The World of the Root Doctor History is the version of past events that people have decided to agree upon. Napoleon Bonaparte (1769-1821) The thing always happens that you really believe in; and the belief in a thing makes it happen. Frank Lloyd Wright, architect (1869-1959) For many of us growing up in the 1960s rural South, the world of ghosts, witches and magic was never far away. Grandparents and parents often told hair-raising stories of mysterious happenings and eerie events as a form of entertainment, as children sat entranced in wide-eyed amazement. The idea of a ghost or witch out there in the dark filled many a night with excitement and wonder. In many homes, the sense of the presence of a beloved, deceased family member was often noted with comfort and the reassurance that we would someday “meet on that golden shore.” In this era, before the Internet and television’s mindless absorption of our free time, we often felt we could sense that which was unseen, and provided we didn’t make too much of a fuss about it, we were free to believe in the miraculous without fear of rebuke or censure.
    [Show full text]
  • Tools Paving Products Catalog
    TOOLS & PAVING PRODUCTS CATALOG www.rginc.com 408-287-1400 SQUEEGEES We carry: This is used for 2 ft, 3 ft and 4 ft applying/spreading squeegees pavement sealer. Each squeegee assembled with a 6ft handle. This is used for Squeegee broom applying/spreading pavement sealer. This item is assembled with a 5ft handle. Crack filler V-shaped squeegee: Cold push Cold pull Hot push Hot pull Used to level out and compact the crackfiller. This item is assembled with a 5ft handle. Cold Hot Replacement blades : 2 FT 3 FT 4 FT V shape Hot V shape * Please call or check website for current pricing BROOMS The safety orange bristle is perfect for street crews, 16” Orange street construction & other broom demanding worksites. This item is assembled with a 5ft handle . This dual purpose broom 24” street broom w/ has a shaped steel blade scraper for scraping up caked dirt & residue. This item is pre-assembled with a 5 ft handle. This #30 gauge wire street broom is used for 16” wire broom scarifying oil spots and sweeping heavier debris. This item is pre-assembled with a 6ft handle. Natural fiber palmyra. 24” sealcoat broom This item is used for applying sealcoat to ensure a textured finish. This item is assembled 36” sealcoat broom with a 6ft fiberglass handle. * Please call or check website for current pricing BRUSHES Used to tack edges with Tack brush w/handle liquid emulsion. This item is assembled with a 5ft handle. Used to tack edges with Tack brush liquid emulsion. SHOVELS Multi purpose tool, used on paving jobs to move Square shovel around asphalt RAKES We sell This light weight tool is complete rakes used for leveling asphalt.
    [Show full text]
  • Continuing Conjure: African-Based Spiritual Traditions in Colson Whitehead’S the Underground Railroad and Jesmyn Ward’S Sing, Unburied, Sing
    religions Article Continuing Conjure: African-Based Spiritual Traditions in Colson Whitehead’s The Underground Railroad and Jesmyn Ward’s Sing, Unburied, Sing James Mellis Guttman Community College, 50 West 40th St., New York, NY 10018, USA; [email protected] Received: 10 April 2019; Accepted: 23 June 2019; Published: 26 June 2019 Abstract: In 2016 and 2017, Colson Whitehead’s The Underground Railroad and Jesmyn Ward’s Sing, Unburied, Sing both won the National Book Award for fiction, the first time that two African-American writers have won the award in consecutive years. This article argues that both novels invoke African-based spirituality in order to create literary sites of resistance both within the narrative of the respective novels, but also within American culture at large. By drawing on a tradition of authors using African-based spiritual practices, particularly Voodoo, hoodoo, conjure and rootwork, Whitehead and Ward enter and engage in a tradition of African American protest literature based on African spiritual traditions, and use these traditions variously, both as a tie to an originary African identity, but also as protection and a locus of resistance to an oppressive society. That the characters within the novels engage in African spiritual traditions as a means of locating a sense of “home” within an oppressive white world, despite the novels being set centuries apart, shows that these traditions provide a possibility for empowerment and protest and can act as a means for contemporary readers to address their own political and social concerns. Keywords: voodoo; conjure; African-American literature; protest literature; African American culture; Whitehead; Ward; American literature; popular culture And we are walking together, cause we love one another There are ghosts at our table, they are feasting tonight.
    [Show full text]
  • The Folk Healer: the Mexican-American Tradition of Curanderismo
    DOCUMENT RESUME ED 270 278 RC 015 788 AUTHOR Torres, Eliseo TITLE The Folk Healer: The Mexican-American Tradition of Curanderismo. REPORT NO ISBN-9612008-1-2 PUB DATE 84 NOTE 65p.; For related document, see RC 015 789. AVAILABLE FROMNieves Press, P.O. Box 2205, Kingsville, TX 78363 ($4.95 plus postage). PUB TYPE Reports - General (140) EDRS PRICE MF01/PC03 Plus Postage, DESCRIPTORS *Cultural Background; *Folk Culture; *Hispanic American Culture; Medical Services; *Medicine; Mexican American Hi3tory; *Mexican Americans; Traditionalism IDINTIFIERS *Curanderismo; Fidencio (Nino); *Folk Medicine; Jaramillo (Don Pedrito); Mexico; Traditional Healing; Urrea (Teresa) ABSTRACT The book explains for the general reader the history and present practice of curanderismo--Mexican American folk healing practices--and gives biographical sketches of three famous nineteenth century folk healers--Don Pedrito Jaramillo, Nino Fidencio, and Teresita Urrea. Characteristics and training of curanderos,or healers, are discussed and the specialties within curanderismoare explained. Eleven common ailments and symptoms treated by curanderos, rituals used, and folk beliefs dealing with everydayoccurrences are described. Sketches of the three folk healers illustrate biographical chapters which recount legends and current practices of their followers as well as biographical information. Modern curanderosare described and their place in the Mexican American community explored. An annotated bibliography listing 10 books about curanderos is included. (LFL) *********************************************************************** Reproductions supplied by EDRS are the best thatcan be made from the original document. *********************************************************************** "PERMISSION TO REPRODUCE THIS MATERIAL HAS BEEN GRANTED BY eliAdiu,0 ..2)/t liAitulafihihAdd_____ TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC." U.S. DEPANTIAINT or EDUCATION 0Mw d Educational Research and imaroyernent ElUCATIONAL RESOURCES INFORMATION CENTER (ERIC) '4.
    [Show full text]
  • Christio-Conjure in Voodoo Dreams, Baby of the Family, the Salt Eaters, Sassafrass, Cypress & Indigo, and Mama Day
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Christio-Conjure in Voodoo dreams, Baby of the family, The alts eaters, Sassafrass, Cypress & Indigo, and Mama Day Laura Sams Haynes Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Haynes, Laura Sams, "Christio-Conjure in Voodoo dreams, Baby of the family, The alts eaters, Sassafrass, Cypress & Indigo, and Mama Day" (2002). LSU Doctoral Dissertations. 3197. https://digitalcommons.lsu.edu/gradschool_dissertations/3197 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. CHRISTIO-CONJURE IN VOODOO DREAMS, BABY OF THE FAMILY, THE SALT EATERS, SASSAFRASS, CYPRESS & INDIGO, AND MAMA DAY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Laura Sams Haynes B.A., Florida State University, 1986 M.A., Clark Atlanta University, 1995 May 2002 ©Copyright 2002 Laura Sams Haynes All rights reserved ii TABLE OF CONTENTS ABSTRACT . iv CHAPTER 1 INTRODUCTION . 1 2 CHRISTIO-CONJURE AS HISTORICAL FICTION . 32 3 CHRISTIO-CONJURE AND THE GHOST STORY . 55 4 REVOLUTIONARY CHRISTIO-CONJURE . 80 5 CHRISTIO-CONJURE ACTIVISM . 102 6 CHRISTIO-CONJURE ROMANCE AND MAGIC .
    [Show full text]
  • 1401882258184.Pdf
    The Witch A New Class for Basic Era Games by Timothy S. Brannan Copyright © 2012 Proofreading and editing by and Jeffrey Allen and James G Holloway, DBA Dark Spire. Artists: Daniel Brannan Brian Brinlee Gary Dupuis Larry Elmore Toby Gregory Aitor Gonzalez William McAusland Bradley K McDevitt Bree Orlock and Stardust Publications Howard Pyle Artwork copyright by the original artist and used with permission. Some artwork is in the public domain. Cover art by John William Waterhouse 1 Table of Contents Table of Contents ................................................................. 2 Athamé .................................................................................78 Forward ................................................................................ 3 Broom ..................................................................................78 PART 1: INTRODUCTION ................................................... 5 Cauldron ...............................................................................78 PART 2: THE WITCH CLASS ............................................ 7 Censer ..................................................................................79 Special Restrictions (Optional) ............................................. 8 Chalice .................................................................................79 Witch ................................................................................. 9 Pentacle ................................................................................79 PART 3: TRADITIONS
    [Show full text]
  • Africana Studies Review
    AFRICANA STUDIES REVIEW JOURNAL OF THE CENTER FOR AFRICAN AND AFRICAN AMERICAN STUDIES SOUTHERN UNIVERSITY AT NEW ORLEANS VOLUME 6 NUMBER 1 SPRING 2019 ON THE COVER DETAIL FROM A PIECE OF THE WOODEN QUILTS™ COLLECTION BY NEW ORLEANS- BORN ARTIST AND HOODOO MAN, JEAN-MARCEL ST. JACQUES. THE COLLECTION IS COMPOSED ENTIRELY OF WOOD SALVAGED FROM HIS KATRINA-DAMAGED HOME IN THE TREME SECTION OF THE CITY. ST. JACQUES CITES HIS GRANDMOTHER—AN AVID QUILTER—AND HIS GRANDFATHER—A HOODOO MAN—AS HIS PRIMARY INFLUENCES AND TELLS OF HOW HEARING HIS GRANDMOTHER’S VOICE WHISPER, “QUILT IT, BABY” ONE NIGHT INSPIRED THE ACCLAIMED COLLECTION. PIECES ARE NOW ON DISPLAY AT THE AMERICAN FOLK ART MUSEUM AND OTHER VENUES. READ MORE ABOUT ST. JACQUES’ JOURNEY BEGINNING ON PAGE 75 COVER PHOTOGRAPH BY DEANNA GLORIA LOWMAN AFRICANA STUDIES REVIEW JOURNAL OF THE CENTER FOR AFRICAN AND AFRICAN AMERICAN STUDIES SOUTHERN UNIVERSITY AT NEW ORLEANS VOLUME 6 NUMBER 1 SPRING 2019 ISSN 1555-9246 AFRICANA STUDIES REVIEW JOURNAL OF THE CENTER FOR AFRICAN AND AFRICAN AMERICAN STUDIES SOUTHERN UNIVERSITY AT NEW ORLEANS VOLUME 6 NUMBER 1 SPRING 2019 TABLE OF CONTENTS About the Africana Studies Review ....................................................................... 4 Editorial Board ....................................................................................................... 5 Introduction to the Spring 2019 Issue .................................................................... 6 Funlayo E. Wood Menzies “Tribute”: Negotiating Social Unrest through African Diasporic Music and Dance in a Community African Drum and Dance Ensemble .............................. 11 Lisa M. Beckley-Roberts Still in the Hush Harbor: Black Religiosity as Protected Enclave in the Contemporary US ................................................................................................ 23 Nzinga Metzger The Tree That Centers the World: The Palm Tree as Yoruba Axis Mundi ........
    [Show full text]