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Gullah Womanism in the Creative Works of African American Women

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Gullah Womanism in the Creative Works of African American Women i OOMAN’S WUK: GULLAH WOMANISM IN THE CREATIVE WORKS OF AFRICAN AMERICAN WOMEN by JUDITH LYNN STRATHEARN B. S. Rochester Institute of Technology, 1993 B.A., Metropolitan State College of Denver, 2004 M.A., University of Colorado at Boulder, 2008 A dissertation submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of English 2017 ii This dissertation entitled: Ooman’s Wuk: Gullah Womanism in the Creative Works of African American Women written by Judith Lynn Strathearn has been approved for the Department of English Adam F. Bradley (Committee Chair) Michael J. Preston (Committee Member) Date The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. iii ABSTRACT Strathearn, Judith Lynn (Ph.D., English) Ooman’s Wuk: Gullah Womanism in the Creative Works of African American Women Dissertation directed by Associate Professor Adam F. Bradley “Ooman’s Wuk: Gullah Womanism in the Creative Works of African American Women” investigates Gullah history and culture as a usable past for modern African American female artists. This project explores the history of rice production and the vital but under-discussed role of women that led to the African retentions still at work on the Sea Islands of South Carolina and Georgia. By exploring the often disavowed female roles, this dissertation argues that once acknowledged, the Gullah woman’s role as ‘keepa a da kulca’ formulates a Gullah womanism or a form of cultural and community activism that is found in the daily lives of the female descendants of Africans living on the Sea Islands. I argue that the novels of Gloria Naylor and Paule Marshall as well as Julie Dash’s film Daughters of the Dust reveal the ways in which African American women utilize Gullah cultural practices, folklore, and language and through their creative productions reshape and extend women-centered discourses. iv ACKNOWLEDGEMENTS The Gullah people believe that the dead, the living, and the unborn coexist; perhaps that is also true of the process of creating a dissertation. To Terence Miller and Nancy Strathearn, thank you for looking down on me from above. To my Mom, Nancy Costello, my father-in-law, Bill Strathearn and Sister Ann thank you for your encouragement and love on the ground. I hope this makes you all proud. I would like to thank my committee for their support through this process and each person has given me something special to take as I move on to the next chapter. Adam Bradley, my committee chair, who challenged me and pushed me to complete this project. Without your honesty and tireless reading, I would never have been able to finish the last legs of this journey. I met Ed Rivers on the day of my comprehensive exam because he offered to take someone’s place at the last minute and it was a wonderful chance meeting. Thank you for sharing my love of all things Gullah. Cheryl Higashida, thank you for always offering valuable feedback and lots of additional pieces to read and consider for my project. David Jackson, much thanks for coming on board to be my fifth reader and for keeping me calm over the last days of writing. Lastly, to Mike Preston. From the first day I met you, I knew you were someone I wanted to work with on my Gullah project. Little did I know that meant hours of conversation about life, love, family, and sometimes chatting about work. I am honored to be your official last student at CU…and yes, I finally put a staple on it and finished this thing. I am eternally grateful to the women who have become life-sustaining friends over the many years it took to get to this place. My sisters from other misters, Shawnette Lee and Andrea Schliessman, thank you for being “as close as ten toes in a sock” and for giving me a lifetime of wonderful memories. Saying “thank you” is not enough to Professor Jacquelyn Benton. It was your teaching that introducing me to Gullah. The trips we have taken and the conversations we have had over the last fifteen years inspire my work. Your presence in my life has shown me how to be a scholar, an educator, and a lady all at the same time. Completing this journey would not have been possible without my fellow grad student, Jessica Bornstein who toughed it out with me, juggled school, teaching, and family with me, and without our lunch dates, I don’t think I would have survived. Thank you, ladies for being there for me – anytime, anywhere. Lastly, I dedicate this dissertation to my family. To my children, Matthew, Gregory, and Lauren, I hope this shows you if you really want something, just go and get it - no matter how long it takes. To my husband, Mike, who for over twenty years has never been too far ahead or too far behind but always walked side-by-side with me on this journey. Thank you for believing in me when I didn’t believe in myself. You are the great love of my life. “Tengky” to you all. v CONTENTS INTRODUCTION: WHO DAT GULLAH? 1 CHAPTER ONE: “DAYCLEAN” THE USABLE PAST OF GULLAH WOMANISM 22 CHAPTER TWO: “AX’M WEH I BIN” LITERARY LEGACIES OF GULLAH WOMANISM 81 CHAPTER THREE: “WE TELL IT FUH TRUE” GULLAH FOLKLORE & BLACK WOMEN’S FICTION 119 CHAPTER FOUR: “WE TALK’UM FUH WE” THE VOICE OF GULLAH WOMEN IN DAUGHTERS OF THE DUST 172 CONCLUSION: WHO DAT GULLAH, NOW? 214 BIBLIOGRAPHY 223 1 INTRODUCTION: WHO DAT GULLAH? Prior to 2003, I had no knowledge of Gullah. I did not know the annual trips my uncle took to Hilton Head, South Carolina brought him to a Sea Island that once was home to many Gullah people; he went there to golf with his buddies. I never knew that slaves and their descendants held on to their African traditions just a few states away from my home in Pennsylvania. I became aware of Gullah when I was taking a course on Black Women Writers with Professor Jacquelyn Benton at Metropolitan State College of Denver. In her course we read Paule Marshall’s Praisesong for the Widow. The foundational folktale in the novel is the story of Ibo Landing. Ibo Landing is the tale of a group of Ibos, who once they reached America and saw what enslavement would truly be, rebelled, and walked back to Africa. This story was told to the protagonist, Avey Johnson by her Great-Aunt Cuney every summer when Avey visited Tatem – a fictional island intended to represent one of the Sea Islands. Like Avey, who asks Aunt Cuney if the Ibos really walked on water back to Africa, I was unconvinced that there was any truth to the tale when I first read it. Perhaps the tale of Ibo Landing was just a “literary device” Marshall utilized to emphasize the “larger stakes” of her novel. The phrases “larger stakes” and “literary device” had become part of the growing academic vocabulary I was building through my English courses at Metro and I could rationalize the fictional nature of this tale through these terms. Before I read the tale of the Ibos, I assumed folklore was just a made up story intended to convey some moral; I thought of folklore as I once thought of fairy tales or Aesop’s fables. Like Avey, I silently questioned the authenticity of the folktale. In the novel, Aunt Cuney tells Avey when she questions the tale, “Did it say Jesus drowned when he went walking on the water in that Sunday school book your momma always sends with you?” (40), which silences Avey because she did believe that narrative. I too was brought up to believe that Jesus walked on water through years of Presbyterian Sunday School. I believed all the stories about Jesus, so why couldn’t I believe my African ancestors refused enslavement, left, and walked – on water - back to Africa? When I tossed the vocabulary aside and re-read the story as non-fiction, I saw a different type of strength in Aunt Cuney’s 2 voice. Through the way Marshall constructed the tale, I could hear Aunt Cuney telling the story with pride and conviction. By the time I finished the novel, like Avey, I too completely believed the folktale of Ibo Landing. After reading that single story, I was fascinated with Gullah, but I was angry as well. How could I not know about Gullah? How did I not know about a culture that kept African traditions alive? Where were the Gullah in my high school history books or in the African American history course I took at Rochester Institute of Technology in 1990? Why did I have to go back to school to learn this? What if I hadn’t gone back - would I have ever have known about this vital piece of my African American history? My anger changed to action as Professor Benton told us about the history of the Gullah people. She told us stories of her trips to many different Sea Islands and of the Penn Center on St. Helena Island. She spoke of the Penn Center grounds as a space where the history of our ancestors can be felt in the air, the buildings, the trees, and I knew I needed to go there to see the land where these stories were set – to make the stories real.
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