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The Construction of Blackness in Honduran Cultural Production

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University of New Mexico UNM Digital Repository Spanish and Portuguese ETDs Electronic Theses and Dissertations 9-10-2010 The onsC truction of Blackness in Honduran Cultural Production A. Erin Mason-Montero Follow this and additional works at: https://digitalrepository.unm.edu/span_etds Recommended Citation Mason-Montero, A. Erin. "The onC struction of Blackness in Honduran Cultural Production." (2010). https://digitalrepository.unm.edu/span_etds/1 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Spanish and Portuguese ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. THE CONSTRUCTION OF BLACKNESS IN HONDURAN CULTURAL PRODUCTION BY ERIN AMASON MONTERO B.A., Spanish and Psychology, California Lutheran University, 1996 M.A., Latin American Studies, University of New Mexico, 2001 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Spanish and Portuguese The University of New Mexico Albuquerque, New Mexico July, 2010 THE CONSTRUCTION OF BLACKNESS IN HONDURAN CULTURAL PRODUCTION BY ERIN AMASON MONTERO ABSTRACT OF DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Spanish and Portuguese The University of New Mexico Albuquerque, New Mexico July, 2010 © 2010, Erin Colleen Amason Montero iv DEDICATION I dedicate my work to the past and present generations of my family: Diane and Katiya. My mother Diane Clare (1942-2005) taught me to value knowledge, but unfortunately she could not see me graduate. My daughter Katiya Clare was born in 2007, the year in which I started to write my dissertation, and the hope for a happy future with my precious daughter was what served as my inspiration to finish. v ACKNOWLEDGEMENTS During my studies I had the pleasure of meeting many people who helped me realize my goals: I thank Miguel López whose insight and knowledge encouraged me to develop my subject; Kimberle López for her amazing editing skills and dedication to helping me improve my writing abilities; and finally Eleuterio Santiago-Díaz for being my academic mentor and an invaluable source of knowledge. I would like to express my sincere gratitude for the inspiration that Donaldo Urioste has provided me. As my undergraduate Spanish professor at California Lutheran University to my dissertation committee reader, he has accompanied me throughout the entire academic journey. Words cannot express how grateful I am for the help that James Rangno has given me during the last 12 years. From the very moment we met, his confidence in my abilities never wavered. Whenever I felt discouraged with my dissertation, he was always there to motivate me, and without his presence, it would have been so easy to become desanimada. I also would like to thank Mary Hanner and Debbie Hanner Tandon for their continued interest in my work, and my father Terry for tutoring me so I didn‟t fail algebra. Finally, I would like to recognize some of people that I worked with during grad school who helped make the process so enjoyable: Jenny Dumont, Mary Copple, Martha Hurd and Kate Merrill. Your irreverent sense of humor will be missed. vi THE CONSTRUCTION OF BLACKNESS IN HONDURAN CULTURAL PRODUCTION by Erin Amason Montero B.A., Spanish and Psychology, California Lutheran University, 1996 M.A., Latin American Studies, University of New Mexico, 2001 Ph.D., Spanish and Portuguese, University of New Mexico, 2010 ABSTRACT This dissertation investigates how marginalized communities of Afro-Hondurans are represented in literature and cinematic productions of non-black writers and film producers. Despite the efforts of the dominant Honduran community to suppress or alter the image of Afro-descendants, a small handful of Ladinos, or individuals of a mixed indigenous and Spanish background, have chosen to explore the Afro-Honduran image in their works. Chapter I, “Through the Eyes of Another: Racial Identity in Honduras,” discusses the Honduran search for national identity during the twentieth and twenty-first centuries. After experiencing periods of political and economic instability, the Honduran government began to promote ancient Mayan and Lencan civilizations in order to define the Honduran population. As a result, the Garífuna, West Indian and Miskito people, all Afro-descendant groups living in Honduras, were often not seen as part of the national imaginary. While many Hondurans did not question these exclusionary practices, others did in the form of cultural production. Chapter II, “Literary Creation of the Afro-Descendant Subject in Honduran Poesía Negroide,” affirms that the work Antología de poesía negra (1962), compiled by Claudio vii Barrera, is a clear example of the poesía negroide movement, yet unlike other manifestations of poesía negroide, the poems of this anthology exhibit a greater dependence on archetypal images of blacks. Images such as the tragic mulatta, the Jezebel and lazy black man tend to be one-dimensional constructions that create stereotypical portraits of Afro-Hondurans and as a result, do not allow for other interpretations of blackness in Honduras. Chapter III, “Blackness, Romance and National Identity in Julio Escoto‟s Madrugada: El Rey del Albor,” confirms that Julio Escoto‟s novel Madrugada (1993) proposes several Afro-descendant characters as potential “parents” to Honduran history. The plot depicts Afro-descendants in relationships, but in the end, the relationships either do not produce offspring or the offspring is killed. The novel suggests that without any surviving descendants, the future of blackness in Honduras is tenuous. Chapter IV, “The Search for a Garífuna „Homeplace‟ in the Face of Displacement: Immigration, and Nation in Cultural Production,” discusses the novel Big Banana (2001) by Roberto Quesada, the play Louvabagu (1980) by Rafael Murillo Selva Rendón and the film El espíritu de mi mamá (2002) directed by Alí Allié. These works portray Garífunas (an Afro-indigenous community) that immigrate to the United States in search of the American Dream. In the end, the dislocated Garífunas become disillusioned after questioning their identities in the racial context of the United States, and realize that after experiencing discrimination both abroad and in Honduras, the black Honduran subject perhaps does not have a “homeplace.” In conclusion, we can see that although these authors have taken the initiative to explore issues of identity and nationality through cultural production, they express viii ambivalence and confusion on how to insert the multiple racial and cultural identities of the Afro-Honduran communities into Honduran national identity. ix TABLE OF CONTENTS CHAPTER I THROUGH THE EYES OF ANOTHER: RACIAL IDENTITY IN HONDURAS ................................................................................................................ 1 Forces at Work in the Construction of National Identity: Indigeneity ......................... 2 Forces at Work in the Construction of Identity: Ladinization ...................................... 9 The Sources of Afro-Honduran Exclusion ................................................................. 10 West Indian Afro-descendants .................................................................................... 13 The Garífuna Culture .................................................................................................. 15 The Miskito People: Both Indigenous and Afro-descendant ...................................... 20 Trends of Marginalization in Literature and Cultural Production .............................. 22 Honduran Cultural Production .................................................................................... 23 CHAPTER II LITERARY CREATION OF THE AFRO-DESCENDANT SUBJECT IN HONDURAN POESÍA NEGROIDE .......................................................................... 31 Antecedents to the Honduran Poesía Negroide Movement ........................................ 31 Blackness as a Subject/Object in Honduran Poetry: A Dispute in Terminology ....... 35 The Caribbean Poesía Negroide Movement ............................................................... 36 Performing as “Black” in Poesía Negroide ................................................................ 40 Performing as a Black Woman: The Jezebel .............................................................. 44 The Image of the Mulatta ............................................................................................ 55 Constructions of Black Masculinity in Poesía Negroide ............................................ 63 ¿Nuevo Concepto de la Raza? .................................................................................... 75 CHAPTER III BLACKNESS, ROMANCE AND NATIONAL IDENTITY IN JULIO ESCOTO‟S MADRUGADA: EL REY DEL ALBOR ................................................... 78 x The Body as Territory in Madrugada ......................................................................... 82 The Rebuilding of a Nation without a Foundation ..................................................... 84 Colonial Desire and Nation ......................................................................................... 99 Miskito Possibilities .................................................................................................. 103 A New Dawn of Honduran Identity? .......................................................................
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