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Haitian Historical and Cultural Legacy
Haitian Historical and Cultural Legacy A Journey Through Time A Resource Guide for Teachers HABETAC The Haitian Bilingual/ESL Technical Assistance Center HABETAC The Haitian Bilingual/ESL Technical Assistance Center @ Brooklyn College 2900 Bedford Avenue James Hall, Room 3103J Brooklyn, NY 11210 Copyright © 2005 Teachers and educators, please feel free to make copies as needed to use with your students in class. Please contact HABETAC at 718-951-4668 to obtain copies of this publication. Funded by the New York State Education Department Acknowledgments Haitian Historical and Cultural Legacy: A Journey Through Time is for teachers of grades K through 12. The idea of this book was initiated by the Haitian Bilingual/ESL Technical Assistance Center (HABETAC) at City College under the direction of Myriam C. Augustin, the former director of HABETAC. This is the realization of the following team of committed, knowledgeable, and creative writers, researchers, activity developers, artists, and editors: Marie José Bernard, Resource Specialist, HABETAC at City College, New York, NY Menes Dejoie, School Psychologist, CSD 17, Brooklyn, NY Yves Raymond, Bilingual Coordinator, Erasmus Hall High School for Science and Math, Brooklyn, NY Marie Lily Cerat, Writing Specialist, P.S. 181, CSD 17, Brooklyn, NY Christine Etienne, Bilingual Staff Developer, CSD 17, Brooklyn, NY Amidor Almonord, Bilingual Teacher, P.S. 189, CSD 17, Brooklyn, NY Peter Kondrat, Educational Consultant and Freelance Writer, Brooklyn, NY Alix Ambroise, Jr., Social Studies Teacher, P.S. 138, CSD 17, Brooklyn, NY Professor Jean Y. Plaisir, Assistant Professor, Department of Childhood Education, City College of New York, New York, NY Claudette Laurent, Administrative Assistant, HABETAC at City College, New York, NY Christian Lemoine, Graphic Artist, HLH Panoramic, New York, NY. -
L'islam Des Terres Cuites
culture EXPO Avec «Terre d’Islam», l’Ariana, à Genève, enthousiasme par une plongée thématique dans sa collection. L’islam des terres cuites SAMUEL SCHELLENBERG A voir. ien de tel qu’une grande exposition pour décou- Musée de l’Ariana, vrir ses propres collections. A Genève, le Musée de 10 av. de la Paix, l’Ariana vient d’en faire l’expérience: ces dernières Genève, jusqu’au R années, il a passé au crible quelque 700 pièces de 31 août, ma-di 10h- céramiques disséminées dans ses dépôts, dont le point 18h, ¤ 022 418 54 50, commun est l’islam. «C’est une pratique aussi intéressan- ville-geneve.ch/ariana te qu’exigeante. Nous avons vraiment pu faire le point sur ce que nous avons», sourit la conservatrice Anne-Claire Mais aussi. Schumacher, clairement ravie des résultats de l’exercice. Parmi les nombreuses Ils comprennent non seulement une grande présentation activités organisées en d’environ 400 pièces – bols, aiguières, vases, pichets, car- marge de l’exposition, reaux et... tessons! –, à découvrir depuis hier, mais aussi un notons des visites imposant catalogue et d’innombrables activités à vivre commentées les di jusqu’au 31 août. Avant une grande exposition sur la pote- 2 mars, 6 avril, 4 et rie suisse en 2017, c’est la deuxième fois que l’Ariana, insti- 18 mai, 1erjuin et tution de la Ville spécialisée dans la céramique, sort de ses 31 août à 11h (et à 15h réserves un pan entier de sa collection – le premier exerci- en anglais les 2 mars et ce datait de 2006 et concernait la faïence italienne. -
Spring 2021 CLACS Course Descriptions
Spring 2021 CLACS Course Descriptions The Center for Latin American and Caribbean Studies (CLACS) is pleased to share its Spring 2021 course offerings. Course details including the instruction mode for the courses listed below are outlined in this document. Course registration begins Monday, December 7, 2020. Graduate-level courses at CLACS are open to graduate students from all schools at New York University and doctoral students in the Inter-University Doctoral Consortium. Advanced undergraduate students at New York University may apply for some graduate-level courses. CLACS offers a Master’s Degree in Latin American and Caribbean Studies as well as joint programs with Global Journalism, Museum Studies, Law, and Library Sciences. Learn more here. Undergraduate students are encouraged to consider the major or minor in Latin American Studies administered jointly by CLACS and the Department of Spanish and Portuguese Languages and Literatures. Find details here. Language Courses (page 3): Elementary Haitian Kreyòl I Elementary Haitian Kreyòl II Haitian Kreyol in Context Elementary Quechua I Elementary Quechua II Intermediate Quechua II Graduate Seminars (page 6): Introduction to Latin American and Caribbean Studies II: Hemispheric and Postcolonial Perspectives Audible Geographies: Sound and RacialiZation in the Americas Feminist & Indigenous Pedagogies Bordering the Americas Government & Politics of Latin America Human Rights in Latin America Violent Energies: Extractivism and Women’s Struggle in the Americas Slavery, Colonialism, and Revolution in the Caribbean Latin American Theatre 1 Internship Seminar Reading & Research Independent Study Undergraduate Courses (page 10): Queer Activisms Race and Caste Latin American Body Genres Latina Feminist Studies Language in Latin America Asylum in Crisis For More Information Please email CLACS Admin Aide Johana Morales for any permission codes to register at [email protected]. -
Art Works Grants
National Endowment for the Arts — December 2014 Grant Announcement Art Works grants Discipline/Field Listings Project details are as of November 24, 2014. For the most up to date project information, please use the NEA's online grant search system. Art Works grants supports the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and the strengthening of communities through the arts. Click the discipline/field below to jump to that area of the document. Artist Communities Arts Education Dance Folk & Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Page 1 of 168 Artist Communities Number of Grants: 35 Total Dollar Amount: $645,000 18th Street Arts Complex (aka 18th Street Arts Center) $10,000 Santa Monica, CA To support artist residencies and related activities. Artists residing at the main gallery will be given 24-hour access to the space and a stipend. Structured as both a residency and an exhibition, the works created will be on view to the public alongside narratives about the artists' creative process. Alliance of Artists Communities $40,000 Providence, RI To support research, convenings, and trainings about the field of artist communities. Priority research areas will include social change residencies, international exchanges, and the intersections of art and science. Cohort groups (teams addressing similar concerns co-chaired by at least two residency directors) will focus on best practices and develop content for trainings and workshops. -
Haitians: a People on the Move. Haitian Cultural Heritage Resource Guide
DOCUMENT RESUME ED 416 263 UD 032 123 AUTHOR Bernard, Marie Jose; Damas, Christine; Dejoie, Menes; Duval, Joubert; Duval, Micheline; Fouche, Marie; Marcellus, Marie Jose; Paul, Cauvin TITLE Haitians: A People on the Move. Haitian Cultural Heritage Resource Guide. INSTITUTION New York City Board of Education, Brooklyn, NY. Office of Bilingual Education. ISBN ISBN-1-55839-416-8 PUB DATE 1996-00-00 NOTE 176p. AVAILABLE FROM Office of Instructional Publications, 131 Livingston Street, Brooklyn, NY 11201. PUB TYPE Books (010) Guides Classroom Teacher (052) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS *Cultural Awareness; Cultural Background; Diversity (Student); Ethnic Groups; Foreign Countries; Haitian Creole; *Haitians; History; *Immigrants; Inservice Teacher Education; *Multicultural Education; Resource Materials; Teaching Guides; Teaching Methods; Urban Schools; *Urban Youth IDENTIFIERS Haiti; New York City Board of Education ABSTRACT This cultural heritage resource guide has been prepared as a tool for teachers to help them understand the cultural heritage of their Haitian students, their families, and their communities in order to serve them better. Although Haiti became an independent country in 1804, the struggle of its people for justice and freedom has never ended. Many Haitians have left Haiti for political, social, and economic reasons, and many have come to the larger cities of the United States, particularly New York City. This guide contains the following sections: (1) "Introduction"; (2) "Haiti at a Glance"; (3) "In Search of a Better Life";(4) "Haitian History"; (5) "Haitian Culture"; (6) "Images of Haiti"; and (7)"Bibliography," a 23-item list of works for further reading. (SLD) ******************************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. -
HAI 3930 Pa Bliye 1804, Jean Casimir (2004)
HAI 3930 Pa bliye 1804, Jean Casimir (2004) Could Haitians have produced a better result in the past 200 years? Haitian history far more successful than the scholars acknowledge Haitian history has progress in it even if the elites [nèg anwo yo] have not yet realized it When Haiti was a “wealthy Nation” and was called “Saint-Domingue” its workers were as “poor as Job and more miserable than dogs” (17) When the Revolution ended in 1804, the nation was formed of a population of moun vini, - first generation people, or the children of first generation people. (24) Conflict between farmers abitan and the elite gwo zouzoun Forced labor in a plantation gives rise to a desire to destroy the plantation; there is never a desire to improve the plantation (29) Captive workers are like “tools that speak” (30) The indigenous army [lame natifnatal] joined forces with the rebel runaways rebèl mawon yo to make 1804 possible (32). mawon ~ maroon, escaped slave... mawonnaj ~ n. fleeing, hiding out; custom of forming community of escaped slaves mawonnen ~ to thieve, pilfer bal mawon ~ stray bullet mawonyè ~ n. looter, marauder; fugitive, runaway (Freeman/Laguerre 2000) No economic system had ever grouped 200, 300 or 500 people together to produce merchandise prior to the slave trading of African peoples. The sale of Africans lavant Nèg nwè is preceded and followed by the angaje brasewo [Panama Canal; Cuban sugar industry; today the Dominican Republic, Florida citrus industry...] Trans-frontier human traffic continues with the boat-people bòtpipòl (36) 1 In the slavery period a highly diverse group of slaves lived isolated on plantations in rural areas. -
Syllabus for Haitian Creole 1131, Spring 2015, UF Silabis Pou Kreyòl
Syllabus for Haitian Creole 1131, Spring 2015, UF Silabis pou Kreyòl Ayisyen Teaching Assistant Alexandra Cenatus Email: [email protected] Coordinator: Ben Hebblethwaite, [email protected] Office hours: M &W: 1:00-2:00pm Office location: Grinter Hall, Room 338 Class website: Canvas Equal rights statement: All activities in this class are open to all persons with non-discrimination with respect to race, creed, color, religion, age, disability, sex, sexual orientation, marital status, national origin, political opinions or affiliations. Class objectives: Our objective is to help develop your proficiency in speaking, reading, writing and listening in Haitian Creole. Our goal is to accomplish this in a classroom setting where communicative, form-focused and meaningful activities activate learning. In addition to the instruction of Haitian Creole, the instruction of Haitian culture, society and especially music (konpa, rasin, twoubadou, rap, raga,levanjil, vodou tradisyonèl, etc.) are an important part of the class experience. Course structure: This class is structured after the team-based-learning (TBL) strategy. Teams will be formed during the first week of the semester. Each team will have their own team folder, where scores of the team Readiness Assessment Test (tRAT, see below for more information) and other assignments will be recorded. Grade distribution: The course itself is divided into seven modules, combining grammar and discussions. Each module will contain specific learning objectives for that module and readings that will enable you to reach these objectives. Each module will follow a sequence known as the Readiness Assurance Process. Readiness Assurance Process (RAP) The RAP is an integral piece of the TBL Strategy. -
Haiti's History
Haiti’s History 5000 BCE - 1780 5000 BCE First inhabitants, the Tainos and Arawak 300 BCE 1492 Farming villages Christopher Columbus sighted established Haiti and renamed it La Isla Española (later Anglicized as Hispaniola) 1492-1514 1697 1780 Enslaved natives, European The Treaty of Rijswijk: “Creation of Santo Became France’s most prosperous New World diseases and brutal working Domingo (Spanish Eastern Half) and Saint possession, exporting Sugar, smaller amounts of conditions (pop. 100 000-30 Dominigue (French Western Half).” Spain coffee, cacao, indigo, cotton. (2/3 of France’s 000) giving the western half after exhausting gold foreign investments) cause of soil erosion mines (European investors and landowners unconcerned or unaware of long-term consequences) 1789 - 1801 1801 L’Overture named “governor- general for life” 1791 1793 Dutty Boukman, a Jamaican-born Haitian voodoo priest, Léger Félicité Sonthonax (sent from conducted a ceremony at the Bois Caïman during which France), maintain order, abolished he prophesied that a massed rebellion would at last slavery (L’Overture agreed to fight for 1789 free the slaves of Saint-Domingue. A wild animal was French for this - http://en.wikipedia. Saint-Domingue, society deeply fragmented by sacrificed and Boukman urged them to take bloody org/wiki/Haitian_Revolution), joined colour skin, class and gender. revenge on their French oppressors. French revolution his army - Grands blancs (Elite merchants, Landowners, granted citizenship to wealthy affranchis, Europeans Royal Lineage) refused -
Course Syllabus Syllabus for Haitian Creole 1131, Fall 2017, UF
Course Syllabus Syllabus for Haitian Creole 1131, Fall 2017, UF Silabis pou Kreyòl Ayisyen Teaching Assistant: Alexandra Cenatus Email: [email protected] Coordinator: Ben Hebblethwaite, [email protected] Office hours: M & T: 10:00-11:00 am Office location: Grinter Hall, Room 338 Class website: Canvas Equal Rights Statement: All activities in this class are open to all persons with non-discrimination with respect to race, creed, color, religion, age, disability, sex, sexual orientation, marital status, national origin, political opinions or affiliations. Class Objectives: Our objective is to help develop your proficiency in speaking, reading, writing and listening in Haitian Creole. Our goal is to accomplish this in a classroom setting where communicative, form-focused and meaningful activities activate learning. In addition to the instruction of Haitian Creole, the instruction of Haitian culture, society and especially music (konpa, rasin, twoubadou, rap, raga, levanjil, vodou tradisyonèl, etc.) are an important part of the class experience. Course Structure: This class is structured after the team-based-learning (TBL) strategy. Teams will be formed during the first week of the semester. Each team will have their own team folder, where scores of the team Readiness Assessment Test (tRAT, see below for more information) and other assignments will be recorded. Required Student Resources: See Important Class Documents on Canvas. Grade Distribution: The course itself is divided into seven modules, combining grammar and discussions. Each module will contain specific learning objectives for that module and readings that will enable you to reach these objectives. Each module will follow a sequence known as the Readiness Assurance Process. -
Counternarratives of the Diaspora: Haitian Musical Performance in World Beat Markets Kevin F
University of Miami Scholarly Repository Open Access Theses Electronic Theses and Dissertations 2012-05-03 Counternarratives of the Diaspora: Haitian Musical Performance in World Beat Markets Kevin F. Mason University of Miami, [email protected] Follow this and additional works at: http://scholarlyrepository.miami.edu/oa_theses Recommended Citation Mason, Kevin F., "Counternarratives of the Diaspora: Haitian Musical Performance in World Beat Markets" (2012). Open Access Theses. 341. http://scholarlyrepository.miami.edu/oa_theses/341 This Open access is brought to you for free and open access by the Electronic Theses and Dissertations at Scholarly Repository. It has been accepted for inclusion in Open Access Theses by an authorized administrator of Scholarly Repository. For more information, please contact [email protected]. UNIVERSITY OF MIAMI COUNTERNARRATIVES OF THE DIASPORA: HAITIAN MUSICAL PERFORMANCE IN WORLD BEAT MARKETS By Kevin Francis Mason A THESIS Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Master of Music Coral Gables, Florida May 2012 ©2012 Kevin Francis Mason All Rights Reserved UNIVERSITY OF MIAMI A thesis submitted in partial fulfillment of the requirements for the degree of Master of Music COUNTERNARRATIVES OF THE DIASPORA: HAITIAN MUSICAL PERFORMANCE IN WORLD BEAT MARKETS Kevin Francis Mason Approved: Deborah Schwartz-Kates, Ph.D. Terri A. Scandura, Ph.D. Associate Professor of Musicology Dean of the Graduate School Willa Collins, Ph.D. Kate Ramsey, Ph.D. Assistant Professor of Musicology Associate Professor of History MASON, KEVIN FRANCIS (M.M., Musicology) Counternarratives of the Diaspora: (May 2012) Haitian Musical Performance in World Beat Markets Abstract of a thesis at the University of Miami. -
Smithsonian Folklife Festival
I SMITHSONIAN FOLKLIFE FESTIVAL .J HAITI Freedom and Creativity from the Mountains to the Sea NUESTRA MUSICA Music in Latino Culture WATER WAYS Mid-Atlantic Maritime Communities The annual Smithsonian Folklife Festival brings together exemplary keepers of diverse traditions, both old and new, from communities across the United States and around the world. The goal of the Festival is to strengthen and preserve these traditions by presenting them on the National Mall, so that the traciition-bearers and the public can connect with and learn from one another, and understand cultural differences in a respectful way. Smiths (JNIAN Institution Center for Folklife and Cultural Heritage 750 9th Street NW Suite 4100 Washington, DC 20560-0953 www.folklife.si.edu © 2004 by the Smithsonian Institution ISSN 1056-6805 Editor: Carla Borden Associate Editors: Frank Proschan, Peter Seitel Art Director: Denise Arnot Production Manager: Joan Erdesky Graphic Designer: Krystyn MacGregor Confair Printing: Schneidereith & Sons, Baltimore, Maryland FESTIVAL SPONSORS The Festival is supported by federally appropriated funds; Smithsonian trust tunds; contributions from governments, businesses, foundations, and individuals; in-kind assistance; and food, recording, and cratt sales. The Festival is co-sponsored by the National Park Service. Major hinders for this year's programs include Whole Foocis Market and the Music Performance Fund. Telecommunications support tor the Festival has been provided by Motorola. Nextel. Pegasus, and Icoiii America. Media partners include WAMU 88.5 FM, American University Radio, and WashingtonPost.com. with in-kind sup- port from Signature Systems and Go-Ped. Haiti: Frcciioin and Creativity fnvu the Moiiiitdiin to the Sea is produced in partnership with the Ministry of Haitians Living Abroad and the Institut Femmes Entrepreneurs (IFE), 111 collaboration with the National Organization for the Advancement of Haitians, and enjoys the broad-based support of Haitians and triends ot Haiti around the world. -
Creole Carnival: Music Travels with Us and Within Us
Creole Carnival: Music Travels With Us and Within Us GlobalFest’s SchoolTime Performance of Creole Carnival Tuesday, April 5, 2016, 11am Zellerbach Hall, University of California, Berkeley The Cal Performances Creole Carnival Engagement Guide was written by Sabrina Klein, Armando Castellano, Melanie DeMore and Marilyn Stanley. It was edited and designed by Sabrina Klein and Rica Anderson. © Copyright 2016 Cal Performances Table of Contents How to Use This Engagement Guide............................................................................................................ 3 Your Starring Role in the Theater (theater etiquette for students) ........................................................... 4 About the Performance & Artists ................................................................................................................ 5 Artistic Concept: Music Travels With Us and Within Us ............................................................................. 7 About Carnival ............................................................................................................................................. 8 Engagement Activities (pre-performance) .................................................................................................. 9 Resources .................................................................................................................................................... 14 Acknowledgements ...................................................................................................................................