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Zora Neale Hurston and the Creation of an African-American Transcultural Identity

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Zora Neale Hurston and the Creation of an African-American Transcultural Identity Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Summer 8-7-2012 Foot Tracks on the Ocean: Zora Neale Hurston and the Creation of an African-American Transcultural Identity Patricia Coloma Penate Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Coloma Penate, Patricia, "Foot Tracks on the Ocean: Zora Neale Hurston and the Creation of an African- American Transcultural Identity." Dissertation, Georgia State University, 2012. https://scholarworks.gsu.edu/english_diss/91 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. FOOT TRACKS IN THE OCEAN: ZORA NEALE HURSTON AND THE CREATION OF AN AFRICAN-AMERICAN TRANSCULTURAL IDENTITY by PATRICIA COLOMA PENATE Under the Direction of Elizabeth J. West ABSTRACT This project focuses on African American and Afro- Hispanic literature and folklore. Specifical- ly, I employ Fernando Ortiz’s theory of transculturation. Ortiz makes the case that a new Afro- Cuban identity is created with the intermingling of African, Spanish and native inhabitants of Cuba. Using Ortiz’s critical framework as the foundation of my study, I undertake a new critique of Zora Neale Hurston’s portrayal of African American identity. Analyzing Hurston’s work through the model of transculturation, I examine the parallel between her work and that of Lydia Cabrera, a Cuban ethnographer whose work represents Afro-Cuban identity as a transcultural one. Establishing this comparison, I reflect on the similarities and differences among their strate- gies of representing Transculturation in African- based identities. I look at their works from a womanist lens to analyze how their female anthropologist status influenced their folkloric por- trayals and how they enacted a political agenda that emphasized female agency. I also analyze the oral aesthetic of their texts; in my opinion, Hurston and Cabrera reproductions of the spoken are ways to represent transcultural dialogue. Finally I compare their ethnographic studies of the African- based spiritual systems of Santeria and Voodoo. INDEX WORDS: African American folklore, Afro-Cuban folklore, Zora Neale Hurston, Lydia Cabrera, Fernando Ortiz, Melville Herskovits, Marvelous real, Santeria, Voodoo, Womanism, Transculturation , and Anthropology FOOT TRACKS ON THE OCEAN: ZORA NEALE HURSTON AND THE CREATION OF AN AFRICAN- AMERICAN TRANSCULTURAL IDENTITY by PATRICIA COLOMA PENATE A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the College of Arts and Sciences Georgia State University 2012 Copyright by Patricia Coloma Penate 2012 FOOT TRACKS ON THE OCEAN: ZORA NEALE HURSTON AND THE CREATION OF AN AFRICAN-AMERICAN TRANSCULTURAL IDENTITY by PATRICIA COLOMA PENATE Committee Chair: Elizabeth J West Committee: Michele B Reid- Vazquez Cassandra White Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University August 2012 iv To those whose tracks have shared mine, who have accompanied me in the path: To my mother, Bernardi, and my father, Adolfo, My siblings, Africa, Maria, Julio and Marta, To my family and friends here and across the ocean, To my ancestors, who guide me, Without all of you there won’t be a path… To Zora and Lydia, While tracing your tracks, I found mine. v ACKNOWLEDGEMENTS I am grateful for the support of more than a few sources, persons and institutions to bring this dissertation forward. I discovered Zora Neale Hurston during my fourth year at la Universidad Complutense de Madrid and decided that I wanted to write my dissertation about her. In order to accomplish it I needed to come to the U.S. to have a better understanding of her culture, so I have to thank the exchange between Georgia State University and Universidad Complutense de Madrid that allowed me to come to Atlanta to pursue my dream. Writing about African Ameri- can literature and folklore would have been impossible without the help of wonderful professors and a magnificent dissertation committee: Dr. Kameelah Martin, my first professor of African American literature, her teaching of African spirituality changed my life forever. This disserta- tion would be impossible without her help. Dr. Elizabeth West, who has guided me through this process: her way of thinking and passion for knowledge and justice, has greatly influence my intellectual politics. Dr. Michele Reid-Vazquez, a reader of my dissertation: her historical and cultural teachings about Latin America have expanded and challenged my perspective. And to Dr. Cassandra White, the most recent add to my committee, her anthropological training, enthu- siasm and dedication has helped me navigate the foreign anthropological discourse. I am also thankful to professors Dr. Carol Marsh-Lockett and Dr. Mary Zeigler, who have also been great sources of knowledge. I am very grateful for the economic and social support that the Modern and Classical Lan- guages department at GSU has granted me. The people in this department, Dr. Fernando Reati, Dr. Oscar Moreno, Dr. German Torres, Melissa Skye, Tim Jansa, among other, have become my family in Atlanta. The Latin American Association at GSU has also helped me providing two grants. My family and friends, Martha, Esperanza, Pamela, Lourdes, Kristen, Galina, Eleanor, vi Shauna, Agnel, Giovanna and Elisa, among others, have provided the emotional support that I needed through all this process. The dream I had when I first came to Atlanta has come true, not only in this dissertation, but also in the larger implications that this experience has meant for me. vii TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................. v INTRODUCTION: FOOT TRACKS ON THE OCEAN: ZORA NEALE HURSTON AND THE CREATION OF AN AFRICAN AMERICAN TRANSCULTURAL IDENTITY. ................................................................................... 1 CHAPTER ONE: THE SPY-GLASS OF ANTHROPOLOGY: HURSTON AND CABRERA’S ANTHROPOLOGICAL TOOLS OF AUTHORITY. .......................... 9 1.1 The “exotic” and the familiar. .............................................................................. 15 1.2 Lydia Cabrera’s search for a mythical past. ...................................................... 29 1.3 What she heard and saw- Cabrera’s modes of authorship. .............................. 32 1.4 Hurston and Cabrera’s methods of authorial representation. ....................... 42 CHAPTER 2: AN ACT OF BECOMING: THE TRANSCULTURAL IDENTITY.46 2.1 Exploring the past and its influences in the present. ......................................... 50 2.2 Transculturation and Acculturation: A Debate. .............................................. 56 2.3 Hurston’s and Cabrera’s Views of Transculturation. ....................................... 62 2.4 The Transcultural Space: the Ideology Within. ................................................. 67 2.5 Transculturation from Within ............................................................................. 78 CHAPTER THREE: THE FRONT PORCH AND LA FUENTE VIVA: ORALITY AS A TRANSCULTURAL DISCOURSE. ................................................................... 81 3.1 Anthropology and writing the oral. ..................................................................... 83 viii 3 .2 Transculturative Discourse. ................................................................................ 95 3.3 Verbalizing and Constructing Memory. ............................................................. 97 3.4 The power of nommo. ....................................................................................... 102 3.5 Orality and the feminine. .................................................................................... 106 3.6 Orality. ................................................................................................................. 111 CHAPTER FOUR: CROSSING THE BRIDGE- AFRICAN- BASED SPIRITUALITIES ARTICULATING THE MARVELOUS REAL. ...................... 113 4.1 Sacred Spaces....................................................................................................... 118 4.2 The Supernatural and the Marvelous Real....................................................... 123 4.3 Crossing the Bridge: Accessing the Marvelous Real........................................ 129 4.4 Communicating with the Marvelous real.......................................................... 142 4.5 Safe Spaces: Women Speaking Their Life Forces. ........................................... 146 CONCLUSION: THE PERSONAL IS POLITICAL . AND FEMALE TOO .... 152 5.1 Losing the Self in the Group: The Personal is Political… and Female Too. 154 5.2 Foot Tracks on the Ocean. .................................................................................. 162 AFTERTHOUGHT. ..................................................................................................... 169 BIBLIOGRAPHY. ........................................................................................................ 170 1 INTRODUCTION: FOOT TRACKS ON THE OCEAN: ZORA NEALE HURSTON AND THE CREATION OF AN AFRICAN AMERICAN TRANSCULTURAL IDENTITY. Caminante, son tus huellas el camino
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