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Trans-Atlantic Circulation of Black Tropes: Èsù and the West African Griot As Poetic References for Liberation in Cultures Of

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Trans-Atlantic Circulation of Black Tropes: Èsù and the West African Griot As Poetic References for Liberation in Cultures Of Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2012 Trans-Atlantic circulation of black tropes: Èsù and the West African griot as poetic references for liberation in cultures of the African diaspora Jean-Baptiste Meunier Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Comparative Literature Commons Recommended Citation Meunier, Jean-Baptiste, "Trans-Atlantic circulation of black tropes: Èsù and the West African griot as poetic references for liberation in cultures of the African diaspora" (2012). LSU Doctoral Dissertations. 2971. https://digitalcommons.lsu.edu/gradschool_dissertations/2971 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]. TRANS-ATLANTIC CIRCULATION OF BLACK TROPES: ÈSÙ AND THE WEST AFRICAN GRIOT AS POETIC REFERENCES FOR LIBERATION IN CULTURES OF THE AFRICAN DIASPORA 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 Comparative Literature by Jean-Baptiste Meunier Licence, Université Lyon 2 – 2005 Master, Université Lyon 2 –2008 August 2012 Pour Karim ii ACKNOWLEDGEMENTS It is a real honor to thank those who have made this dissertation possible. I would like to express my deepest appreciation to my committee chair, Professor Pius Ngandu Nkashama for his guidance and for his support during this adventure. I have been fortunate to have you as an advisor, as you gave me freedom to explore while carefully guiding my steps. I would also like to thank the members of my dissertation committee. I owe my deepest gratitude to Dr. Adelaide Russo. You are a true mentor and you have showed us that one should always fight for what you believe is right. I am grateful to Dr. Joyce Jackson for her advices, her smile and her warmth. I know your office’s door was always open to us. It would have been impossible to write this without the support of Dr. Gregory Stone. I would also like to thank Dr. Sue Weinstein for her warmth and advices over a cup of coffee at Perks. Thank you from the bottom of my heart. I would like to acknowledge Dr.Femi Euba and Dr. Tricia Rose for their support. I also extend my gratitude to the faculty and staff of the Department of French and Francophone Studies at Louisiana State University. I am grateful as well to all my capoeira teachers; Mestre Chão, Pirata Negro, Contra-Mestre Pererê, Curtis Pierre, Mestre Camaleão, Mestre Guara, Mestre Pessoa, Contra-Mestre Fabinho, Mestre João Grande, Mangangá Angola, Mestre Gulliver, Mestre Ombrinho. Axé! This work would have been impossible without the support of my family in the United States, in France, in Austria and in Senegal. Special thanks to my parents for the love and continuing support. And last but not least, many thanks to the Godmother. iii TABLE OF CONTENTS DEDICATION……………………………….………..…….………………………….………………......ii ACKNOWLEDGMENTS……………………….……...…………………………………….……...…....iii ABSTRACT……………………………………………...…………………………………………….......vi INTRODUCTION………………………………………………...…………………………………….….1 Work cited….. ………………………………………………………………………………………….....41 CHAPTER I : ÈSÙ AND THE WEST AFRICAN GRIOT: CULTURAL REFERENCES FOR THE NEW WORLD………………………………………………………………………………………….....42 1.1 Èsù, God of Fate: Its1 position in West African societies and appearance in the New World……………………………………………………………………………………...….42 1.1.1- Ifá divination system………………………………………………………….......43 1.1.1.a-Èsù and Ifá …………………………….…………..……………...….....43 1.1.1.b-The divination process…………………………………………………..46 1.1.1.c-Ashé: all permeating principle ……………………………….....……....49 1.1.2- Èsù: Agent of mediation………………………………………………………......51 1.1.2.a-Èsù: devil or divine trickster ?..................................................................51 1.1.2.b-Èsù as agent of liminality ……………………………....…………..…..54 1.1.3- Èsù in the new world……………………………………………………………...59 1.1.3.a-Èsù /Elegba ………………….……………..…………………….…......59 1.1.3.b-Èsù and magic………………………….……………………………......60 1.1.3.c-An embodiment of ambiguity …………………………………………..63 1.2 The West African Griot: An African definition of the artist?..................................................69 1.2.1-The social dimension of the griot …………………………………………………70 1.2.1.a-The griot and the caste system ………..…………………….…………..70 1.2.1.b-The functions of the griot and relations to the nobles ………...............72 1.2.1.c- Power over nobles ………………………………………..……….........74 1.2.2- Language …………...…………………………………………………………….77 1.2.2.a-Context and relation to history ……………….…………………...…....77 1.2.2.b-Literary genres …………….……………………………………...….....81 1.2.2.c-Speech in music/musicality in speech………………….……......…......84 1.2.2.d-The power of speech………………….………………..………………..88 1.2.3- The Griot and Èsù ………………………………………………………...………90 1.2.3.a-Social mediation ………………...…………….…………………..........90 1.2.3.b-Forming/breaking boundaries…………………….……………………..94 1.2.3.c-Balancing energies …………………………….………………………..98 1.2.3.d-Obscurity/magic………………………………………….…...……….102 Work cited……………..…………………………………………………….……………….....107 CHAPTER II: GRIOTS OF THE DIASPORA: COMPARATIVE STUDY OF THE CAPOEIRISTA, THE AFRICAN AMERICAN POET AND THE RAPPER. …………………………………………...110 2.1 The Capoeirista: The Afro-Brazilian griot-warrior………………………………….………111 2.1.1- Origin and description of the game……………………………………………...112 2.1.1.a-Origin and historical development ………………….…………….......112 2.1.1.b-The game ……………………………………..………….……...….....117 2.1.2- The Capoeirista, a New World griot-warrior.. ………………………………......125 1 We will use the gender neutral pronoun “it” to describe Èsù, despite the fact that Èsù is often represented as a masculine figure. Beyond gender neutrality, the impersonal pronoun “it” denotes an understanding of Èsù as a concept or agent rather than a personified figure. iv 2.1.2.a-Relation to History ……………………………………………..….…..125 2.1.2.b-Malicia/malandragem/mandinga…………………………...….…...……..130 2.1.2.c-Exploration of duality ……………………………………………...….139 2.2 The African American Poet: On the battlefront of language………………………………..150 2.2.1- Early African American poets: The emergence of a tradition………………….. 152 2.2.1.a-The first poets …………………………………………...……….……152 2.2.1.b-Abolitionist poetry ……………………………………….………..…..156 2.2.2- From assimilation to affirmation of cultural specificity and racial pride……......162 2.2.2.a-The minstrel show and dialectical forms …………….……....………..162 2.2.2.b-Harlem Renaissance ………………………….……...………………..167 2.2.2.c-The Black Arts Movement ………….………………………..……….174 2.3 The Rapper: Urban survivor …………………………………………………………….….187 2.3.1- Afro-Diasporic aesthetics/American context..…………………………………...188 2.3.1.a-Afro-Diasporic aesthetics...………………………………………...….188 2.3.1.b-Hip hop as a response to an oppressive context...……………...……...196 2.3.2- Signifying languages/histories …………………………………………………207 2.3.2.a-Signifying: the language of confrontation ……….……………...…….207 2.3.2.b-The vernacular and the breaking down of the literacy myth.….………212 2.3.2.c-Myth/Realism ………………………….…………...…………………220 Work cited………………..……………………………………………………………………..236 CHAPTER III : SIGNIFYING: A GLOBAL CULTURAL THEORY FOR THE AFRICAN DIASPORA. ……………………………………………………………………………………………………………240 3.1 Signifying voices: African linguistic presence in the New World……….………….………241 3.1.1- Signifying: An African-American rhetorical trope…………………..……...…..241 3.1.2- Voices: In-text confrontation of oral and written cultures …………………...…257 3.2 Signifying revisions: Black intertextuality ………………………………………………....276 3.2.1- Mascons and historical revisions in capoeira ……………….………………......279 3.2.2- Literary sampling and the theme of the battlefield in African American poetry..286 3.2.3- Dead Prez: Signifying gangsta ………………………….…………………...….296 3.3 Signifying stories: The myth as history in process ………………………….……………...306 3.3.1- The myth in African oral cultures ………………….………….……………..….307 3.3.2- History as basis for myths, or myths as basis for history in capoeira…………... 313 3.3.3- Myth formation and demystification in African American poetry ……………...322 3.3.4- Gangsta: Outlaw mythology in rap ……………………………………………...334 Work cited…………………………………………...……..……………………………………354 CONCLUSION…………………………………………………………………………………………..357 VITA……………………………………………………………………………………………………..367 v ABSTRACT My dissertation, under the direction of Dr Pius Ngandu Nkashama explores the spread of African rhetorical tropes in the Atlantic world. Building on Henry Louis Gates theory of Signifying, I use the West African God of fate Èsù and the West African cultural figure of the griot as cultural referents for the persistence of African tropes in the New World and their subsequent dissemination throughout the Atlantic world. Analyzing those two West African referents and their connections to New World cultures such as Afro-Brazilian capoeira angola, hip hop and African-American poetry, I attempt to demonstrate the centrality of the trope of Signifying in the Black Atlantic world through the analysis of related concepts and through close textual analysis. Strategic dissimulation, deception and double-entendre appear as fundamental strategic rhetorical tricks that are shared both by African
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