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Children of Hispaniola: Báez and Duval-Carrie— Mending the Future

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Children of Hispaniola: Báez and Duval-Carrie— Mending the Future CHILDREN OF HISPANIOLA: BÁEZ AND DUVAL-CARRIÉ—MENDING THE FUTURE BY VISUALLY EXPLORING A TURBULENT PAST AND PRESENT Mariah Morales A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2018 Committee: Rebecca L. Skinner Green, Advisor Sean V. Leatherbury © 2018 Mariah Morales All Rights Reserved iii ABSTRACT Rebecca L. Skinner Green, Advisor The goal of this thesis is to delve into the tumultuous past and present of Hispaniola and to explore the ways Haiti and the Dominican Republic have developed and coexist on this island. Each country developed a completely different social, political, linguistic, and cultural system than that of its neighbor. I am focusing on particular historic political episodes from Haiti’s Revolution (1781-1804),i the emancipation of Dominican Republic (1844),ii and slave era Louisiana, and why these events influenced two diasporan artists—Firelei Báez and Edouard Duval-Carrié—and how they are using their art to create a means for reestablishing mutual respect among their respective compatriots. This thesis will follow the path of dislocation that resulted from the booming slave trade on the Island of Hispaniola to the creolization of the new colony of Louisiana. The thesis will analyze the visual resistance of Afro- Caribbean women in 1800s Louisiana and how this resistance can inspire people of today. Artists and cultures have been embedded within globalization and creolization for centuries, even though non-Western artists such as Báez and Duval-Carrié and their cultures have remained in the periphery of the Western mindset. Having been born in the Dominican Republic and Haiti respectively, these two artists each emigrated to the United States. As diasporan artists, both engage their countries’ problems and triumphs through their artwork. Thanks to the physical and emotional distance from their countries of origin, they have a broader perspective of their island’s past and present. These descendants of Hispaniola are working to create a dialogue through their artwork on their respective countries and through discussions with other migrants i Ott, “The Haitian Revolution 1789-1804,” 3. iv about how to mend the bonds between Haiti and the Dominican Republic. Through their art they are proclaiming, “Here we are, we’ve been here for awhile, we cannot be so easily quieted or hidden… Look at us! Hear us!” They are a force that is demanding the Western world to expand its mindset by acknowledging and reconsidering its propensity to overlook the particular circumstances and problems of marginalized cultures. ii Rayford W. Logan, Haiti and The Dominican Republic (Oxford: Oxford University Press, 1968): 12. v They don’t know how much restraint we have to put on ourselves to show only a fraction of our experience. There is so much more to say and this is just the needle’s eye being allowed at this moment. We as immigrants have access to all this information, all these rich complex histories which we have no problem understanding and translating because we’re used to seeing ourselves as Other, and Other in ourselves. --- Firelei Báez vi ACKNOWLEDGMENTS This thesis would not have been possible with out the guidance and support of Dr. Rebecca L. Skinner Green and Dr. Sean V. Leatherbury, who both took the time to read through my ideas and give advice numerous times over on this expedition. With their expertise and insight I was able to explore my interests and make this thesis one of the best versions of work it could be. Dr. Skinner Green thank you for letting me pick your brain of all your knowledge and help me come up with the balance to this thesis. Also for your continued guidance in helping me see the complexities of diaspora artists and their worldview they live in. I am forever grateful for the Muratore family, friends, and peers, who all in their own way made this experience a little bit easier to handle. Thanks to my Art History, MFA cohorts who made me smile and laugh through this whole experience. To my Mama, especially, a tremendous thanks to you! I could not even fathom doing this without your love and support. You are always a constant rock for me when I need you to be! Thank you for being there to listen to my worries and telling me to keep going and follow through with my goals! Last but certainly not least I dedicate this thesis to my other huge supporter that is always with me in spirit my Nana, thank you Nana, for always being my biggest fan! vi TABLE OF CONTENTS Page INTRODUCTION ................................................................................................................ 1 CHAPTER I. HISTORICAL PERSPECTIVE ..................................................................... 7 CHAPTER II. CHILDREN OF HISPANIOLA .................................................................... 19 CHAPTER III. PERIPHERAL MODERNISM: THE MIGRANT CONNECTION ............ 40 CHAPTER IV. CONCLUSIONS .......................................................................................... 55 BIBLIOGRAPHY . ................................................................................................................ 58 APPENDIX A. FIGURES ..................................................................................................... 61 1 INTRODUCTION Time and time again the willful and resilient people of Hispaniola have triumphantly rebelled against powerful unjust tyrannies that have attempted to impose unyielding dominance over their freedoms. Hispaniola is an island infused with rich diversity and an inspirational legacy that is transfused within its native people. Two children of Hispaniola, Firelei Báez and Edouard Duval-Carrié, are contemporary Caribbean diaspora1 artists who are continuing this tradition of breaking down barriers of hate, segregation, and insularity. The past struggles and triumphs of Hispaniola and its people are brought to the fore in the artwork of Báez and Duval- Carrié. Báez depicts the history of power through resistance movements of different groups and cultures in such pieces as Sans Souci and Bloodlines (figs. 4 and 6). Edouard Duval Carrié’s works La Traversée and Crystal Explorer (figs. 7 and 8) explore historical and cultural connections between the Caribbean and Africa. To better understand what drives these two distinct artists, therefore, one must revisit the past. Although the two nations of Hispaniola have come to despise each other due to racist views and racially-driven political movements, which in turn propagate the continuing segregation between both countries, as evidenced by the Parsley War of 1937,2 there was a time when Haiti and the Dominican Republic were united in a fight against two powerful 18th century Western empires, France and Spain. Haiti and the Dominican Republic initially came together in the aftershock of the Haitian Revolution (1784-1801),3 a seminal revolution that not only caused the French empire to retreat from Haiti, but sent shivers up all Western colonial powers’ backs, and proved just how strong a repressed group could be under inhumane treatment. Through their 1 Diaspora is a term that is complex and multilayered. Scholars endeavor to understand what this term means in theory and to a people. Migrants/diaspora people are constantly moving. 2 Abby Philip, “The Bloody Origins of the Dominican Republic’s Ethnic ‘Cleansing” of Haitians” Washington Post, June 17, 2015. 3 Thomas O. Ott, The Haitian Revolution 1789-1804 (Knoxville: University of Tennessee Press, 1987), 3. 2 revolutionary efforts, Haitians first attained their own freedom from France and then aided the Dominican Republic in realizing their freedom from Spain. By successfully fighting against slavery and for their freedom, the people of these two nations have established that they were willing to work together for the rights of the voiceless and the subjugated. Although these nations are no longer allies, there are people who are picking up the torch of their ancestors in a valiant attempt to rebuild the once strong bonds. Hispaniola of today, however, continues to face many pressing challenges. In addition to the two countries being at odds with one another, the island has suffered natural disasters, exploitation by western commercialism, and droughts, all of which are exacerbated by not having a strong enough global presence. All these hurdles and more must be addressed in order for Hispaniola and its people to once again thrive. Two individuals who are currently addressing Hispaniola’s past and present problems are neither peace negotiators nor affiliated with any government. No, these two people are artists attempting to shoulder the lofty and daunting task of refocusing attention on the details of Hispaniola’s past to clarify and open pathways into a future in which the two sides reestablish respect for and trust in one another. As Caribbean diaspora artists who no longer reside in Haiti or the Dominican Republic, Báez and Duval-Carrié both continue to be deeply tethered to their respective ancestral and cultural homes, as is evident in their art. The issues with which Hispaniola grapples affects these artists regardless of their current geographical location. In response to their island’s turmoil, they are attempting to affect a positive change. Due to being situated in the diaspora, these artists are afforded a broader perspective; because they are located in the United States, they have ample opportunity to rectify the often monolithic
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