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Hacia Una Historia De Lo Imposible: La Revolución Haitiana Y El “Libro De Pinturas” De José Antonio Aponte

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Hacia Una Historia De Lo Imposible: La Revolución Haitiana Y El “Libro De Pinturas” De José Antonio Aponte HACIA UNA HISTORIA DE LO IMPOSIBLE: LA REVOLUCIÓN HAITIANA Y EL “LIBRO DE PINTURAS” DE JOSÉ ANTONIO APONTE. by Juan Antonio Hernández Licenciado en Letras, Universidad Central de Venezuela, 1994 Master of Arts, University of Pittsburgh, 2000 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by Juan Antonio Hernández It was defended on 12, 13, 2005 and approved by Alejandro de la Fuente, Associate Professor, History Jerome Branche, Associate Professor, Hispanic Languages and Literatures Gerald Martin, Mellon Professor, Associate Professor, Hispanic Languages and Literatures John Beverley, Full Professor, Hispanic Languages and Literatures ii Copyright © by Juan Antonio Hernández 2005 iii HACIA UNA HISTORIA DE LO IMPOSIBLE: LA REVOLUCIÓN HAITIANA Y EL “LIBRO DE PINTURAS” DE JOSÉ ANTONIO APONTE. Juan Antonio Hernández, PhD University of Pittsburgh, 2005 In its first two sections, this dissertation offers a discussion of contemporary debates about the Haitian Revolution (1791-1804), its relation to Western Modernity, and its immediate consequences in the Caribbean of the early 19th century. The argument begins with an extended critique of Modernity Disavowed (2004) and its theorizations of cultural “hybridity” and “alternative modernities” as a model for understanding the Revolution and the possibilities it opens up. Fischer’s perspective does not give sufficient attention to the political and cultural practices of the insurgent masses of slaves. To do so requires criticizing the prevalent distinctions between tradition and modernity or between the “pre-political” and “the political” in the most influential historical representations of the Revolution (CLR James, Genovese, Buck- Morss, etc). Following Alain Badiou’s reflection on the notion of “event”, the second part also interrogates the underlying historicism of some of these representations. These two sections function as a general background for a third, final one, which focuses on a historical document that is one of the most important expressions of the social imaginaries created by the Haitian Revolution in the Caribbean. This document is the record of the interrogation of José Antonio Aponte, a free black artisan, who lived and worked in Havana between the final decades of 18th century, and the first years of the 19th who was accused, in 1812, of being the mastermind behind a conspiracy against slavery and colonialism in Cuba. The iv center of the interrogation by the authorities was a cultural artifact of his own described as a “libro de pinturas” or book of paintings. This artifact –regarded by the authorities as the main evidence against Aponte- was clearly influenced by the Haitian Revolution and contained a vast amount of images that seems to be a kind of visual history of Africans and African descendants, including the leaders of the Haitian Revolution Toussaint, Christophe and Dessalines. Part 3 studies the description of some these images as a form of “political theology” concerned with articulating a genealogy for a form of statehood, suspended problematically between the teleology of modernity and a different, non-Western form, of historical teleology. v “The Haitian Revolution thus entered history with the peculiar characteristic of being unthinkable even as it happened. (…) If some events cannot be accepted even as they occur, how can they be assessed later? In other words, can historical narratives convey plots that are unthinkable in the world within these narratives take place? How does one write a history of the impossible?” Michel Rolph-Trouillot “… emancipatory politics always consists in making seem possible precisely that which, from within the situation, is declared to be impossible” Alain Badiou vi ÍNDICE 1.0 PRIMERA PARTE: “¿MODERNITY DISAVOWED?”: LA REVOLUCIÓN HAITIANA Y LA TRADICIÓN DOMINANTE DE LA MODERNIDAD. ................ 17 1.1 EL PROYECTO DE MODERNITY DISAVOWED. LA “CIUDAD LETRADA”, LA CUESTIÓN DEL ESTADO Y DEL PROCESO REVOLUCIONARIO HAITIANO. EL USO DE LAS CATEGORÍAS “HIBRIDEZ” Y HETEROGENEIDAD”.................................................................................................. 17 1.2 “TRANSCULTURACIÓN DESDE ABAJO” E “IDIOMA DUAL DE LA REBELIÓN”. ASPECTOS DEL PENSAMIENTO POLÍTICO “KONGO”EN LA REVOLUCIÓN HAITIANA: EL “REY CONQUISTADOR” Y EL “REY HERRERO”. LOS SILENCIOS DE MODERNITY DISAVOWED EN TORNO A SANS SOUCI Y EL PROYECTO POLÍTICO “BOSSAL” DURANTE LA REVOLUCIÓN HAITIANA. ............................................................................................ 37 1.3 MODERNITY DISAVOWED Y LAS TESIS DE EUGENE GENOVESE SOBRE LA REVOLUCIÓN HAITIANA........................................................................ 59 1.4 LA “CONTRACULTURA DE LA MODERNIDAD”: EL ATLÁNTICO NEGRO DE PAUL GILROY Y EL PROYECTO DE FISCHER................................. 62 1.5 STELLA, PRIMERA NOVELA HAITIANA, EN MODERNITY DISAVOWED. DOS COMENTARIOS SINTOMÁTICOS DE FISCHER EN TORNO A EL REINO DE ESTE MUNDO Y EL SIGLO DE LAS LUCES DE ALEJO CARPENTIER. “CONSTITUSYON SÉ PAPIÉ, BAYONET SÉ FER”: LAS PRIMERAS CONSTITUCIONES HAITIANAS EN EL PROYECTO DE MODERNITY DISAVOWED........................................................................................... 68 2.0 SEGUNDA PARTE: HISTORIZANDO EL EVENTO HAITIANO.................... 78 vii 2.1 PRINCIPALES DEBATES EN LA HISTORIOGRAFÍA DE LA REVOLUCIÓN. IMPORTANCIA ECONÓMICA DE LA COLONIA DE SAINT DOMINGUE DURANTE EL SIGLO XVIII. HETEROGENEIDAD DE LA POBLACIÓN ESCLAVIZADA. LA VIOLENCIA DEL RÉGIMEN ESCLAVISTA. PRÁCTICAS DE RESISTENCIA: LA REFLEXIÓN SOBRE EL CIMARRONAJE EN LAS DIVERSAS ESCUELAS HISTORIOGRÁFICAS. ......................................... 78 2.2 LA CUESTIÓN DEL CIMARRONAJE Y EL DEBATE SOBRE LAS CAUSAS DE LA REVOLUCIÓN HAITIANA. “PETIT” Y “GRAND MARRONAGE”. LA REBELIÓN DE MACKANDAL Y LA REPRESENTACIÓN DEL CIMARRONAJE. VODÚ Y CIMARRONAJE. .................................................... 92 2.3 LA INSURRECCIÓN DE AGOSTO DE 1791: COMPLEJIDAD DE SU CONTEXTO SOCIO-POLÍTICO. DIVERSAS “CONSPIRACY THEORIES” ESGRIMIDAS PARA NEGAR LA AUTONOMÍA POLÍTICA DE LOS ESCLAVOS REBELDES. LA SUPUESTA“IMPOSIBILIDAD” DE LA ACCIÓN AUTÓNOMA DE LOS ESCLAVOS Y LA “ENCICLOPEDIA DE LA SITUACIÓN”. LA CUESTIÓN DEL EVENTO Y BOIS CAIMAN. DEBATE CON PETER HALLWARD Y SU ARTICULACIÓN DE LA TEORÍA DEL EVENTO PARA PENSAR LA REVOLUCIÓN HAITIANA.................................................................... 107 2.4 DESARROLLOS ULTERIORES DE LA INSURRECCIÓN DURANTE EL RESTO DE 1791. LLEGADA DE LOS COMISIONADOS JACOBINOS A SAINT DOMINGUE. MOVILIZACIÓN MILITAR DE LOS ESCLAVOS POR PARTE DE TODOS LOS FACTORES EN CONFLICTO.............................................................. 131 2.5 TOUSSAINT ENTRA EN EL ESCENARIO DE LA LUCHA POR EL PODER. LA VERSIÓN “LENINISTA” DEL LIDERAZGO DE LOUVERTURE ELABORADA POR CLR JAMES. EL “MAQUIAVELISMO” DE TOUSSAINT EN SU ASCENSO HACIA EL CONTROL ABSOLUTO DE SAINT DOMINGUE. LA REBELIÓN DE MOYSE Y EL PROYECTO MODERNIZADOR DE LOUVERTURE. LA EXPEDICIÓN LECLERC Y LA CAÍDA DEL “ESPARTACO NEGRO”. .......................................................................................................................... 138 2.6 ETAPA FINAL DE LA REVOLUCIÓN HAITIANA. LA RESISTENCIA CONTRA LAS TROPAS DE LECLERC. UNIFICACIÓN DE LOS INSURGENTES, viii NEGROS Y MULATOS, BAJO EL MANDO DE DESSALINES. LA “GUERRA DENTRO DE LA GUERRA”. DERROTA DE LAS FUERZAS MILITARES FRANCESAS. HACIA LA PROCLAMACIÓN DE LA INDEPENDENCIA. LA ESCOGENCIA DEL NOMBRE DE LA NUEVA NACIÓN. FRANCISCO DE MIRANDA Y LOS “INCAS DE SAINT DOMINGUE”. ............................................. 158 2.7 LA DECLARACIÓN DE LA INDEPENDENCIA ENUNCIADA POR TONNERRE. “NOIRS” COMO NOMBRE GENÉRICO PARA TODOS LOS CIUDADANOS HAITIANOS. EL ASESINATO DE DESSALINES. UN “...INACABABLE RETOÑAR DE CADENAS ...” Y EL “THERMIDOR HAITIANO. LA REPÚBLICA MULATA DEL SUR Y EL REINO NEGRO DEL NORTE. LA EVOCACIÓN HECHA, EN EL REINO DE ESTE MUNDO, DE JOSÉ ANTONIO APONTE. .......................................................................................................................... 164 3.0 TERCERA PARTE: TEOLOGÍA POLÍTICA Y “GUERRA DE RAZAS EN EL “LIBRO DE PINTURAS” DE JOSÉ ANTONIO APONTE. ...................................... 172 3.1 INTRODUCCIÓN: UN HURACÁN DE IMÁGENES EN LA HABANA, 1806-1812........................................................................................................................... 172 3.2 LA REBELIÓN DE APONTE.¿QUÉ TIPO DE ARTEFACTO ERA EL “LIBRO DE PINTURAS”? APONTE DESCRIBE EL ENSAMBLAJE DE SU LIBRO. 174 3.3 EL PRESTE JUAN ETÍOPE. REPRESENTACIÓN DE LA DEFENSA DE LA HABANA EN 1762. HOMENAJE DE CARLOS III A LOS MILICIANOS NEGROS. UN ROSTRO “DEMASIADO TRIGUEÑO”DE FELIPE V. UN CARDENAL Y UN BIBLIOTECARIO NEGROS ACOMPAÑAN AL PAPA. ELEMENTOS ETÍOPES DEL “LIBRO DE PINTURAS”. LA VIRGEN DE REGLA Y UNA POSIBLE TEOLOGÍA POLÍTICA. RETRATOS DE LOS “JACOBINOS NEGROS”. CLASIFICACIÓN PROVISIONAL DE LAS IMÁGENES DEL “LIBRO DE PINTURAS”. .............................................................................................................. 181 3.4 CHILDS Y EL LUGAR DE LOS CABILDOS DE NACIÓN EN LA REBELIÓN DE APONTE. CRÍTICA DE LA APROXIMACIÓN DE PALMIÉ: APONTE RECONOCE SU PARTICIPACIÓN DIRECTA EN LOS SUCESOS DE 1812. HURGANDO EN LOS BOLSILLOS DE UN EX-REBELDE FUSILADO. ix APONTE Y BARON DE VASTEY. EL “LIBRO DE PINTURAS” Y UNA “HISTORIA
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