AFRICANDO Arts and Culture Festival, a collaboration between the Foundation for Democracy in Africa and Miami-Dade County, is a one-day event that will feature contemporary African, Afro-American, Caribbean & Afro-Latino cultures. MDCC and the Black Heritage Museum will display masks, statues and murals from the Caribbean, South America, Brazil and Cuba. A special "Children's Activities Village" will feature traditional African and Caribbean folk tales, puppet shows, African mask and instrument making, African textile weaving, Miami Metrozoo's exotic animal show and more. The festival, which is the closing event for AFRICANDO 2001, will be promoted in Africa, AFRICANDO organizers say. A trade delegation from Miami and Washington, D.C., will conduct trade seminars promoting the conference and festival in Nigeria, Mali, Ghana, Senegal, South Africa, Botswana, Zimbabwe, Kenya and Tanzania.
The daytime workshops will be complemented by evening community programs held at the Historic Lyric Theatre, 819 NW Second Avenue in Overtown. On Monday, June 18 at 5:30 p.m. a special "Maroon Double Feature" film showing will celebrate the Pan African spirit of resistance with a presentation of "Maluala" by Cuban filmmaker Sergio Giral and "Quilombo" by Brazilian filmmaker Carlos Diegues. Both have become modern classics. Based on historical fact, these powerful dramas depict the struggle of those who dared to escape from slavery and establish independent, fiercely defended Maroon communities. Time will be allowed for discussion after the films. June 19 is officially celebrated in several states as "Juneteenth," commemorating that date in 1865 when the last of the enslaved African American population in East texas received word of the Emancipation Proclamation at the end of the Civil War. Because "No one was really free until everyone was free," this date, shortened by custom over the years to "Juneteenth." was considered the true end of the institution of slavery in the United States.
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Gazing at the amalgam of rich Caribbean artistic expression - bold colors intertwining on canvas, delicately woven wire sculptures, sheer pieces of cloth with intricate handmade designs - one might think she was roaming the corridors of the Metropolitan Museum of Art or the prestigious Guggenheim rather than viewing the one-bedroom Harlem apartment of Caribbean art dealer Anderson Pilgrim. "One of the reasons that Caribbean art has yet to penetrate the New York scene is that it has yet to be fully explored even among Caribbeans", Pilgrim said. "Because of the colonization of the Caribbean islands, and the stifling post-colonial effects, many native Caribbeans didn't begin to explore their abilities until the 1970s, which was a period of real artistic revolution on the islands". A few of the artists he represented were medal winners at the prestigious Biennial Caribbean Festival, held in the Dominican Republic and featuring artists from the Caribbean and Countries in Central America which border the Caribbean.
"They were walking toward me on the street, then they pulled up their locks, shook them back in, and smiled," she recalled, with a laugh. "I shook my locks at them, too. They would go, 'Yo!' And I'd say, 'Yo!' It was fun to get that type of acknowledgement. It showed how we are connected as Africans. There's nothing that can make that go away." [Russo], she added, also discussed now Cubans might benefit from a more open relationship with the U.S.A., even though it may change Cuba's moral character. While [Linda Jennings] hopes better communication is achieved through the blockade's elimination, she is worried that America's dominant influence would alter Cuba's innocence. It seems like today, in our communities, the lack of material items makes Black people feel inferior. Cubans don't, seem to have that problem, Jennings said. Black people have propelled themselves to a more material, individualistic society, which has made too many of them forget who they truly are to themselves. Having seen Cuba's society in person I don't understand why a Cuban would want to defect here."
"Black in Latin America" (NYU Press), by Henry Louis Gates, Jr.: This spring, Henry Louis Gates, Jr. produced a four-episode series for PBS tracing the legacy of the slave trade in six Caribbean and Latin American countries. "Black in Latin America" is the book companion to the television series of the same title.
We must continue to support one another for the future of our community. We need to see more African American leaders coming into the Haitian community, not just during election time but throughout the year. We need to see more solid commitment on the part of the Haitian community also to join different causes in the African American community. These are the only ways we can overcome in this struggle for equality. If we continue to treat our political interests as separate entities, we will never get to partake of the ftuits of democracy. Concerned citizens and political officials in both communities need to let people know that we don't have a Haitian/African American problem. I would hope that the Haitian community can realize that just because Mr. Duke, an African American, was defeated by Mr. [Joe Celestin], a Haitian, that Haitians are not "better" or "tougher" or "stronger" than the African American community. Likewise, the African American community needs the growing Haitian vote in the future. Haitian and African American people are one race, living through different cultural lifestyles. It's okay to have different lifestyles, as long as we respect each others' differences, without animosity or violence. For instance, the Latin community is comprised of Spanish-speaking people from different countries: Cuba, Colombia, Puerto Rico, Guatemala, Nicaragua, etc. Does anyone think that these groups are in complete harmony with one another? The answer is no. The different Spanish-speaking groups do not like one another that much but, in reality, when it comes to standing up for a common cause you see them marching side by side, taking pictures with each other and voting for each other.
The irony of the black man with his top off - such as almost any black music star you care to mention - is that it doesn't say to me: "Look at this wonderful black man with his six-pack." We were never wanted for our minds, which was why it was illegal to teach slaves to read. We were flesh, a commodity, labour. As today's black man shows off his pride and joy, the modern billboard becomes the equivalent of yesteryear's slave stocks. The tragedy with the flesh doesn't end there. Too many of us are impressed by a black fascism which fails to question the oppressive power structures of idealised family structures or the obsession with genes, blood and national pride.
"[Daniel Beauxhomme] comes from the lighter skin mixed class," said Kevin Johnson, who plays Daniel. "It's the story of two different people from two different worlds falling in love. Fate brings them together and fate takes them apart. It's similar to `Romeo and Juliet.'" "In Haiti, it's very confusing. It's fuzzier than here (the United States). A lot of it has more to do with money and name than this," said Shirley Julien, who is Haitian. "And that's what the musical focuses on. Ti Moune means `little orphan' in the play. But, in Haiti it means `little person.' That drives the theme more because she doesn't have a real name. In Haiti every little kid is called ti moune." "I don't think that there is that much of a difference," said Julien, who is also the musical's choreographer. "It's just highlighted more. The division is put on us and we accept it. It's up to us to say `I don't believe this' and take time to learn about Haitians, Jamaicans and Trinidadians. Our commonalities are so much stronger and deep inside of us."
One group of Black immigrants have become involved in the economic and political life of Miami, and their power is being felt in North Dade. I call this the New Haitian Revolution. It began on many fronts. I remember listening to some Black American men laughing-at Haitians because family members would pool their money to buy a home. Multiple families would live in the house, and then the families would pool together and buy another house. Eventually, all of the Haitian families would own a home. I wonder what those same Black men are saying now, when Haitians now own homes and their detractors are still renting. This was the start of a quiet new Haitian revolution. Haitians working together to improve their economic fortunes - a method employed by other successful immigrant groups such as Jews and Cubans. The revolution took place quietly, but it is now clear that there is a new power group in this community. Haitians have started successful medical practices, radio stations, law firms, and other businesses. They have taken over the politics of the City of North Miami, and are one of the new power groups being courted by anyone running a county wide race.
