The Inventory of the Maya Deren Collection #515
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The Journey of Vodou from Haiti to New Orleans: Catholicism
THE JOURNEY OF VODOU FROM HAITI TO NEW ORLEANS: CATHOLICISM, SLAVERY, THE HAITIAN REVOLUTION IN SAINT- DOMINGUE, AND IT’S TRANSITION TO NEW ORLEANS IN THE NEW WORLD HONORS THESIS Presented to the Honors College of Texas State University in Partial Fulfillment of the Requirements for Graduation in the Honors College by Tyler Janae Smith San Marcos, Texas December 2015 THE JOURNEY OF VODOU FROM HAITI TO NEW ORLEANS: CATHOLICISM, SLAVERY, THE HAITIAN REVOLUTION IN SAINT- DOMINGUE, AND ITS TRANSITION TO NEW ORLEANS IN THE NEW WORLD by Tyler Janae Smith Thesis Supervisor: _____________________________ Ronald Angelo Johnson, Ph.D. Department of History Approved: _____________________________ Heather C. Galloway, Ph.D. Dean, Honors College Abstract In my thesis, I am going to delve into the origin of the religion we call Vodou, its influences, and its migration from Haiti to New Orleans from the 1700’s to the early 1800’s with a small focus on the current state of Vodou in New Orleans. I will start with referencing West Africa, and the religion that was brought from West Africa, and combined with Catholicism in order to form Vodou. From there I will discuss the effect a high Catholic population, slavery, and the Haitian Revolution had on the creation of Vodou. I also plan to discuss how Vodou has changed with the change of the state of Catholicism, and slavery in New Orleans. As well as pointing out how Vodou has affected the formation of New Orleans culture, politics, and society. Introduction The term Vodou is derived from the word Vodun which means “spirit/god” in the Fon language spoken by the Fon people of West Africa, and brought to Haiti around the sixteenth century. -
Eat Like a Republican and You Won't Get AIDS
TRANSMISSIONS: THE JOURNAL OF FILM AND MEDIA STUDIES 2017, VOL.2, NO. 1, PP. 150-160. Andrzej Pitrus Jagiellonian University Eat like a Republican and you won’t get AIDS - a conversation with Barbara Hammer Andrzej Pitrus: In 2009 I had the honor to speak to Jonas Mekas. Many people consider him the father of American avant-garde. Do you agree? Barbara Hammer: I don’t agree. Should I tell you why? Yes, sure. I think Jonas Mekas did a lot to contribute to avant-garde film in the United States and internationally, but in terms of American avant-garde, I think we have to look to Maya Deren, and even before – to James Sibley Watson, his Fall of the House of Usher in 1928. His Lot in Sodom was shown,—I was shocked to read this—in Times Square in 1933 without any censorship at all. Before Mekas there were many American experimental filmmakers, but he was a person promoted their works. Of course I asked Jonas: “Do you feel more Lithuanian or American?” He answered “No, I’m not American, I’m from New York. When I go outside the city, I’m a foreigner again.” I also asked him for his definition of experimental film and he said: “There’s no such thing! Scientists make experiments, I don’t really believe that there’s something like experimental film”. It was a difficult conversation in a way. I wonder if you agree with him? I definitely think there’s something like experimental film. In Sanctus (1990), which is composed of moving x-rays of a human body that Dr. -
Vodou and Political Reform in Haiti: Some Lessons for the International Community
VODOU AND POLITICAL REFORM IN HAITI: SOME LESSONS FOR THE INTERNATIONAL COMMUNITY JOHN MERRILL The record of attempts by developed nations to promote democracy in the developing world is, at best, uneven. Foreign efforts to build democracy in places as diverse as Somalia and Vietnam have failed, in part because of developed nations' inability to understand traditional culture and religion. These foreigners have bypassed traditional local cultures in their designs for political reform, missing opportunities to lash reforms onto structures familiar to the people of the region. Today, the political potential of religious and cultural institutions remains largely untapped. Haiti, a chronic example of this problem, may provide the international community an opportunity to change its approach to intervention. Through- out Haiti's turbulent history, foreign attempts to influence its political dynamic invariably have been unsuccessful. Some initiatives have succeeded briefly but have failed over the longer term, in part because foreigners or Haitian elites who sought to control the nation's political behavior routinely have misunderstood, ignored, trivialized, or suppressed fundamental tenets of tra- ditional Haitian culture. Policies conceived first in Paris during the colonial era, then at the Vatican, later in Washington during the U.S. Marine occupation of 1915-1934, and most recently by the United Nations, have all tended to provoke internal friction and exacerbate social divisions, making stable gov- ernance and political development even more elusive. But the history of foreign initiatives in Haiti need not necessarily determine the outcome of the current attempt by the international community to con- tribute to Haiti's recovery and rehabilitation. -
The Blood of the Land: Haitian Vodou
THE BLOOD OF THE LAND: HAITIAN VODOU Michael S. VanHook International Strategic Alliances The Blood of the Land: Haitian Vodou 2 THE BLOOD OF LAND: HAITIAN VODOU Michael S. VanHook, International Strategic Alliances Copyright © 2020 by Michael S. VanHook All rights reserved. This resource is provided to give context and essential background information for those persons with an interest in serving the people of Haiti. It is made available without charge by the publisher, ISA Publishing Group, a division of International Strategic Alliances, Inc. Scanning, uploading, and electronic sharing is permitted. If you would like to use material from this book, please contact the publisher at [email protected]. Thank you for your support. ISA Publishing Group A division of International Strategic Alliances, Inc. P.O. Box 691 West Chester, OH 45071 For more information about the work of International Strategic Alliances, contact us at [email protected]. For more information about the author or for speaking engagements, contact him at [email protected]. The Blood of the Land: Haitian Vodou 3 THE BLOOD OF THE LAND: HAITIAN VODOU Michael S. VanHook, International Strategic Alliances INTRODUCTION 4 HISTORY 6 Transformed by Cruelty 7 Bois Caïman 9 Independent Isolation 11 “A Goat Without Horns” 15 Occupied Vodou 18 “The Principle Slave of Satan” 24 Summoning the Spirits 25 THEOLOGY 31 Haitian Vodou is a polytheistic religion 31 The Loas 31 Haitian Vodou is a syncretic religion 40 Vodou is an animistic religion 44 Haitian Vodou is magic 45 The Blood of the Land: Haitian Vodou 4 PRACTICES 53 The Priesthood 53 Ceremonies and Rituals 55 Black Magic 61 REVERBERATIONS 63 Fatalism 63 Christian Mission 65 Personal Note 70 GLOSSARY 72 BIBLIOGRAPHY 78 Resources 78 Images 80 AUTHOR 84 The Blood of the Land: Haitian Vodou 5 Chapter 1 INTRODUCTION Tanbou bat nan raje, men se lakay li vin danse – The drum is beaten in the grass, but it is at home that it comes to dance. -
Ogrady My Attraction to the Surrealists
for Simone Leigh & Performa’s conference on Black Surrealism SKETCHY THOUGHTS ON MY ATTRACTION TO THE SURREALISTS* © Lorraine O’Grady, 2013 O'Grady taught a course on Futurism, Dada and Surrealism at SVA for 20 years but had not written of the movements' effect on her work. These rough notes made for a conference presenter indicate why she loved their methodologies more than their art. **** Well, I taught the European Dadas and Surrealists at SVA for several years before making my own work. I loved the artists in those groups — especially Tzara and Duchamp, Ernst and Breton. Perhaps I was looking for a deeper understanding of my experience than the rational language of Western culture could give. But later I felt those artists were after something different than other Surrealists I loved more. like Aimé Césaire, the Martinican poet. like the Cuban painter Wifredo Lam. and like the New York filmmaker Maya Deren. It seemed as if the Europeans missed the boat by leaving the project at “play,” albeit serious. As if they’d been content just to flip the bird at their parents, at the repressive and false rationality of the West. But if, instead of merely picturing rationality’s opposite, they had pushed on to image a truer composite of both sides, perhaps they could have created that “changed life” they yearned for. Of course this is impossible. No * Unpublished first draft, for Simone Leigh’s presentation at the Performa Institute conference, Get Ready for the Marvelous: Black Surrealism in Dakar, Fort-de-France, Havana, Johannesburg, New York City, Paris, Port-au-Prince, 1932-2013. -
Anthology Film Archives 104
242. Sweet Potato PieCl 384. Jerusalem - Hadassah Hospital #2 243. Jakob Kohn on eaver-Leary 385. Jerusalem - Old Peoples Workshop, Golstein Village THE 244. After the Bar with Tony and Michael #1 386. Jerusalem - Damascus Gate & Old City 245. After the Bar with Tony and Michael #2 387. Jerusalem -Songs of the Yeshiva, Rabbi Frank 246. Chiropractor 388. Jerusalem -Tomb of Mary, Holy Sepulchre, Sations of Cross 247. Tosun Bayrak's Dinner and Wake 389. Jerusalem - Drive to Prison 248. Ellen's Apartment #1 390. Jerusalem - Briss 249. Ellen's Apartment #2 391 . European Video Resources 250. Ellen's Apartment #3 392. Jack Moore in Amsterdam 251, Tuli's Montreal Revolt 393. Tajiri in Baarlo, Holland ; Algol, Brussels VIDEOFIiEEX Brussels MEDIABUS " LANESVILLE TV 252. Asian Americans My Lai Demonstration 394. Video Chain, 253. CBS - Cleaver Tapes 395. NKTV Vision Hoppy 254. Rhinoceros and Bugs Bunny 396. 'Gay Liberation Front - London 255. Wall-Gazing 397. Putting in an Eeel Run & A Social Gathering 256. The Actress -Sandi Smith 398. Don't Throw Yer Cans in the Road Skip Blumberg 257. Tai Chi with George 399. Bart's Cowboy Show 258. Coke Recycling and Sheepshead Bay 400. Lanesville Overview #1 259. Miami Drive - Draft Counsel #1 401 . Freex-German TV - Valeska, Albert, Constanza Nancy Cain 260. Draft Counsel #2 402, Soup in Cup 261 . Late Nite Show - Mother #1 403. Lanesville TV - Easter Bunny David Cort 262. Mother #2 404. LanesvilleOverview #2 263. Lenneke and Alan Singing 405. Laser Games 264. LennekeandAlan intheShower 406. Coyote Chuck -WestbethMeeting -That's notRight Bart Friedman 265. -
Note Sul Choreocinema Di Maya Deren
Vito Di Bernardi “A continuous awakening movement”. Note sul choreocinema di Maya Deren Interrotta dalla morte prematura, la breve carriera di cineasta di Maya Deren (1917-1961) appare attraversata dalla visione di un cinema posseduto dalla danza e concepito come una coreografia di immagini in movimento. Il termine “posseduto” usato qui in senso ovviamente metaforico – può la danza infatti possedere il cinema? – ci riconduce ad un fatto reale e concreto, quello della iniziazione della cineasta al vudù haitiano e alla trance religiosa, un’esperienza da lei definita con lo splendido ossimoro di «bianca oscurità» 1. La sua ricerca spirituale e artistica di una «trance vissuta» e non «recitata» – per usare le catego- rie care a Michel Leiris 2 – segnò in maniera pervasiva un percorso artistico in cui cinema, danza e rito s’incontrarono sul terreno comune delle relazioni tra mondo visibile e invisibile. La psicanalisi, il surrealismo, l’antropologia, le filosofie orientali, furono per Deren tutti passaggi fondamentali perla costruzione di una lingua cinematografica altra, non convenzionale, che faceva un «uso creativo della realtà» e che soprattutto operava una «manipolazione del tempo e dello spazio» 3. I film di Maya Deren, pioniera del cinema americano d’avanguardia, sono il risultato diunosti- le antinaturalistico e antinarrativo. Il suo è un cinema che quando ha per oggetto la danza, come in A Study in Choreography for Camera (1945), Ritual in Trasfigured Time (1946), The Very Eye of Night (1952-55), non cerca mai di rappresentarla, raccontarla, documentarla. Questi film sono per molti ver- si concettuali, posseggono una qualità danzante e si potrebbero accostare a ciò che William Forsythe avrebbe molti anni dopo chiamato - riferendosi all’arte digitale – «oggetti coreografici», luoghi alterna- tivi dove persiste visibilmente l’organizzazione dei principi coreografici 4. -
Estudio Iconológico Del Filme Experimental at Land (Maya Deren, 1944)
MONOGRÁFICO MISCELÁNEA Eikón Imago e-ISSN: 2254-8718 MISCELÁNEA Estudio iconológico del filme experimental At Land (Maya Deren, 1944) Carmen Vitaliana Vidaurre Arenas1 Recibido: 04/06/2018 / Aceptado: 27/10/2018 / Publicado: 15/11/2018 Resumen: El estudio iconológico de At Land (Maya Deren, 1944) permite identificar las tradiciones iconográficas que en el cortometraje se recuperan, algunos de los significados, elementos culturales e ideologías, con los que los componentes visuales se relacionan, y contribuye a hacer evidente la coherencia argumental del filme, que ofrece concepciones específicas del espacio-tiempo y de la identidad. En esta película el ajedrez adquiere una semántica metafórica relevante, unida a la práctica de un montaje creativo y a la recuperación de tópicos de representación de lo femenino en el arte y la cultura, provenientes de un contexto mítico-religioso. La lectura de los escritos teóricos de Deren y el análisis de la narración visual, desde esta perspectiva de estudio, nos brindan también argumentos para separar la obra de la cineasta, de algunos de los movimientos y tendencias del arte y la cinematografía con los que diversos críticos han identificado la producción fílmica de esta directora vanguardista. Palabras clave: At Land, Maya Deren, iconología, cine. [en] Iconological Study of the Experimental Film At Land (Maya Deren, 1944) Abstract: The iconological analysis of At Land (Maya Deren, 1944) allows us to identify iconographic traditions that are recovered in the short film, as well as some of the meanings, aspects of culture and ideologies related to these visual elements. Such a reading reveals the consistency of the argument of the film's plot-one that offers specific concepts of space-time and identity. -
Film As a Subversive Art Transcript
Film as a Subversive Art Amos Vogel and Cinema 16 DIALOGUE TRANSCRIPT EXT. WASHINGTON SQUARE PARK, NEW YORK AMOS VOGEL You know, there’s something I call visual sensibility. A sensibility for form, shape, abstract images. And this is really what made me love these very odd films: surrealist films, abstract films, and many other types. All kinds of avant- garde films. I was very taken by them. I always felt that if I have this sensibility, obviously I’m not unique, and I would think that there would be other people who would like to see these films too. So out of this came the idea of Cinema 16 – to have a film society, a film club, where these films would be shown, and thereby do something about the independent cinema in America. Looking back at that whole period, I feel I succeeded in doing that. And that gives me great pleasure. TITLES: FILM AS A SUBVERSIVE ART: AMOS VOGEL AND CINEMA 16 INT. VOGEL APARTMENT, NEW YORK AMOS VOGEL You know, when I think back at how somebody like me came to this whole idea of Cinema 16, this membership club, I have to go back to when I was really a kid in Vienna, because both my parents were quite conscious in their being political. I arrived at the notion of, “Yes, it would be a good idea for the Jews – you know, Hitler was already in power in Germany, so I had an idea of what the Nazis were like – it might be a good idea for the Jews to live again in a country in which they’d already lived, namely in Palestine.” So I joined a socialist-Zionist youth club in Vienna, and spent several years with them. -
Avant-Garde Sinema Üzerine
SİNEMA KİTAPLIĞI AVANT-GARDE SİNEMA ÜZERİNE Bu eser http://genclikcephesi.blogspot.com tarafından yayınlanmaktadır. http://genclikcephesi.blogspot.com 1 İÇİNDEKİLER: Önsöz Jonas Mekas’ın Manifestosu Avant Garde Sinema İçin Bir Genelleme Çalışması Avant Garde Üzerine Önsözümsel Bir Deneme Sanat Sineması ve Avangarda Genel Bakış Avant Garde Sinemada Kübik Açı Avant Garde Sinemada Soyut Film Çalışmaları Avant Garde Sinemada Gerçeküstücü Göz Luis Bunuel ve Gerçeküstücü Sinema Düşler ve Sinema Bunuel Düşler ve Sinema 1929-1933 Arasında Luis Bunuel ve Gerçeküstücülük Un Chıen Andalou-Endülüs Köpeği Gerçeküstücülük ve Gerçeküstücüler L’Age D’or-Altın Çağ 1930’larda Avant Garde Sinemanın Durumu Avangard’da Yeni Dalga Avangard’da Psikodrama “Yeraltı” Üzerine Andy Warhol Sinemasına Kısa Bir Değini Avangard’ın Klasikleşmiş Yönetmenleri İçin Düşümler A.B.D Avant Garde Sineması Amerika’da Yeraltı ‘Öncü’leri ve ‘Canyon’ Grubu Son Değini Babında Ek I: Bazin'in Kurgunun Tarihsel Gelişimine Yönelik Görüleri ve Eisenstein'ın Kurgusuna Minimal bir değini http://genclikcephesi.blogspot.com 2 I. BÖLÜM AVANT-GARDE SİNEMA ÜZERİNE GENELLEME ÖNSÖZ DİYELİM Kİ SADECE GERÇEKLİĞİN SINIRLARINI DENİYORDUM. NELER OLACAĞINI MERAK ETTİM. HEPSİ BU: SADECE MERAK. JIM DOUGLAS MORRISON, 1969. Bir şekilde ‘sinema’ adını almış olan yaşam-tarzı [evet, bir sanatın çokça ötesinde] benim için hep ‘avant garde’ ön takısıyla beraberleşip; ‘avant garde sinema’ adına bürünmüştür, ya da ters bir anlamla ben, her sinema dediğimde ve ya ondan bahsettiğimde muhakkakki avant garde olandan yani -dahası- tek olan, aslolan sinemadan bahsetmişimdir. Deneysellik sadece sinema sanatının temel taşlarının mekanik sürecinde ve sonrasında; film çekimlerinde varolan -yaşayan- bir şey miydi, elbette ki değildi, varoluş; başladığı andan itibaren, öncesi ve ölümün getireceği sonralıkla ve yaşam sürüldüğü zaman dilimi boyunca, tamamı ile ve tüm anlamıyla bir deneysellik idi zaten. -
Cinema Comparat/Ive Cinema
CINEMA COMPARAT/IVE CINEMA VOLUME IV · No.8 · 2016 Editors: Gonzalo de Lucas (Universitat Pompeu Fabra) and Albert Elduque (University of Reading). Associate Editors: Ana Aitana Fernández (Universitat Pompeu Fabra), Núria Bou (Universitat Pompeu Fabra), Xavier Pérez (Universitat Pompeu Fabra). Advisory Board: Dudley Andrew (Yale University, United States), Jordi Balló (Universitat Pompeu Fabra, Spain), Raymond Bellour (Université Sorbonne-Paris III, France), Francisco Javier Benavente (Universitat Pompeu Fabra), Nicole Brenez (Université Paris 1-Panthéon-Sorbonne, France), Maeve Connolly (Dun Laoghaire Institut of Art, Design and Technology, Irleland), Thomas Elsaesser (University of Amsterdam, Netherlands), Gino Frezza (Università de Salerno, Italy), Chris Fujiwara (Edinburgh International Film Festival, United Kingdom), Jane Gaines (Columbia University, United States), Haden Guest (Harvard University, United States), Tom Gunning (University of Chicago, United States), John MacKay (Yale University, United States), Adrian Martin (Monash University, Australia), Cezar Migliorin (Universidade Federal Fluminense, Brasil), Alejandro Montiel (Universitat de València), Meaghan Morris (University of Sidney, Australia and Lignan University, Hong Kong), Raffaelle Pinto (Universitat de Barcelona), Ivan Pintor (Universitat Pompeu Fabra), Àngel Quintana (Universitat de Girona, Spain), Joan Ramon Resina (Stanford University, United States), Eduardo A.Russo (Universidad Nacional de La Plata, Argentina), Glòria Salvadó (Universitat Pompeu Fabra), Yuri -
Resume Gerald O'grady O'grady
O'GRADY - 20 RESUME GERALD O'GRADY EDUCATION Boston College A.B . English 1949-1953 Boston College Graduate School M.A. English 1953-1954 Thesis: "The Aristotelian Concepts of Imitation in the Drama of Ben Jonson" University of Wisconsin Ph.D. English 1954-1958 Dissertation: "Piers Plowman and the Tradition of Penance" St. Antony's College, Oxford University Marshall Scholar 1958-1961 Post-doctoral work in medieval literature EMPLOYMENT University of Illinois at Champaign/Urbana Instructor, English 1961-1962 Rice University Assistant Professor, English 1962-1967 University of St. Thomas, Houston, Texas Director, Media Center 1967-1969 State University of New York at Buffalo 1967-1995 Assistant Professor, English 1967-1970 Associate Professor, English 1970-1972 Director,Center for Media Study 1972-1988 Director, Educational Communications Center 1973-1990 Harvard University, Cambridge, Massachusetts Fellow, W.E .B . Institute for Afro-American Research 1994-1995 Visiting Scholar, Department of Afro-American Studies 1994-1997 University of Texas at Austin Visiting Associate Professor English and Radio/Film/Television 1969-1970 Columbia University, School of the Arts, Visiting Faculty Associate, Graduate Film School 1970-1972 New School for Social Research Lecturer, Media 1970-1971 Hampshire College Visiting Faculty of Film, Summer 1972 New York University Visiting Faculty, Graduate Department of Cinema Studies 1972 O'GRADY - 21 HONORS AND AWARDS Rice University Outstanding Teacher on Campus, voted by members of the Senior Class 1966 Nicolas Salgo Distinguished Teaching Award 1967 Person Making the Greatest Contribution to the College System 1967 State University of New York at Buffalo Chancellor's Award for Excellent Administration 1980 New York State Department of Education Silver Medal for 20 Years of Meritorious Service in Media Education to New York State 1989 National Endowment of the Humanities Research Teacher's Fellowship 1993-1995 Harvard University, W .E.B.