One of the things attracting tourists has taught us is to value the habit of preservation. We have to depend on devoted scholars and archeology diggers and always, tenacious individuals like Dr. Walter Roth. He was a medical man of German stock who moved to Guyana by way of Australia and was the moving spirit in the rise of Georgetown's museum of natural history. As a youth I made many trips to this museum and was fascinated by its presentation and displays; for instance the diorama of gold-digging operations in the far interior, the lighted fish tanks with fish such as the blood-thirsty pirai, a lifelike representation on the wall of the world's biggest freshwater fish, the arapaima, caught in Guyana. A huge live anaconda pans have all but vanished.
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.
In 1984, the association opened an expanded Historical Museum at the Miami-Dade Cultural Center in downtown Miami. This 40,000-square-foot facility includes a permanent exhibition that traces the history of South Florida and the Caribbean, a temporary exhibition gallery that features several new exhibitions each year, a theater and classroom area for variety of educational programs, and storage areas for the museum's extensive collections of artifacts and archival materials, including books, manuscripts, maps and more than one million photographs related to the region. In recent year, the Historical Museum has directed increasing attention to Miami's role as a gateway of the Americas. To explore Miami's multifaceted connections with the Caribbean and Latin America, a new program series, Miami: The Gateway City, was introduced in Spring 1999. The objective of the 12-month series is to use the museum as a central forum for public dialogue about current issues facing Miami and as a space for related artistic presentations.
It may also have helped English-speaking migrants from the Caribbean that Florida served as a broad entry point for Caribbean migrants from Cuba, Haiti, and other countries: Where an area has a strong tradition of immigration, prevailing social attitudes are not likely to be as parochial as those in traditionally closed communities. Again, this is not to minimize the difficulties that particular migrants have faced; it is to acknowledge the fairly obvious point that some communities are less impenetrable for outsiders than others. A recent study by the British Cabinet Office has found that Caribbean women constitute a significant success story at the professional level. Specifically, for the generation born between 1940 and 1959, as many as 45 percent of the black women from the Caribbean, or who are of Caribbean heritage, now hold professional or managerial jobs, as against 27.3 percent of the black men in the same category. For the generation born between 1960 and 1979, 38.1 percent of the black women with Caribbean roots are professionals or managers, in comparison with 28.6 percent of the black men. These figures warn us that gender is now a significant factor in determining the prospects of Caribbean migrants to Britain, and they highlight the need for a broader examination of the factors that determine success for those who, in Claude McKay's words, may find themselves "a long way from home."
It is not surprising that the Caribbean woman pushes her daughter toward higher education, for she sees education as the greatest tool for social mobility. Education becomes more than just a means of expanding one's realm; it is seen as an armor of protection against hostile forces, an opportunity to be successful so that no one can "tek step wid yuh." Traditionally, women have been the custodians of culture. The Caribbean woman must continuously face this question: "How can I keep the culture intact, maintain our song and dance in these changing times, this electronic age of computer, when our children are struggling against the reins of our value system and often we are so perplexed, not knowing what to do? This, then, is the most valuable lesson the Caribbean mother passes on to her daughter: how to be firm in the midst of society's pressures and remain her individual self and nurture her talents and resources to love her mate and nurture her children, even while she pursues her own dreams. The songs and dance continue.
The genesis of these carnivals carries the intent of resisting on some level, by Caribbean migrants, the otherwise alienating conditions of life in migration, to "carnivalise" these landscapes with some of the joy and space commensurate with Caribbean carnival. Indeed, Caribbean intellectual contributions have had successful impact on the development of U.S., European and African thought. Still, the Caribbean in most imaginings, and in particular to those who do not know it well, is the place of "sun and fun," a vacation land devoid of serious engagement with the world. Caribbean carnival then is the climax of all those "sun and fun" constructions. Yet, there is a history and politics to carnival - a "carnival of resistance" beyond the outer face of "carnival of tourism" - that demands exposure.
[Stephanie Balmir-Villedrouin] said the site of the village is known for its historic values to Haiti "and the idea is to create another form of attraction and give a value to the visitors when they go to the destination".
"It is a new day," [Phillip J. Brutus] told Caribbean Today. "No longer will Haitian Americans be taken for granted. We are demanding our place at the table." "We need to get Haitians involved in the process," Joseph "Billy" Louis, a spokesperson for the group, told Caribbean Today. "We need numbers in order to be taken seriously." Damian P. Gregory is a freelance writer for Caribbean Today. Caribbean Today's special focus on Haiti begins with Nick Carter's call for the nation to "re-invent" itself on page 9 and continues on page 29 with highlights of events there and in the U.S. marking Haiti's 200th Independence.
Starting last month, with the Jamaica Tourist Board's (JTB) launch of its Island Potluck Series, sisters Michelle and Suzanne Rousseau, in the 12-part series scheduled to run every other Thursday on the JTB's YouTube channels, will participate in making some the best dishes originating from the Caribbean country. The aim is to allow viewers to see the landscape of Jamaica like a dinner table, with dishes unique to each corner of the island. They will also learn about the history of the island's food, and how Jamaica's multi-ethnic mix of people contributes to a blend of foods.
"For the ones who could not afford it, he (Nettleford) used his influence to get them into different dance schools throughout the world because he valued the totality in education in every genre of dance," he added. "He supported kids who weren't able to support themselves at the tertiary level, without fanfare. Many NDTC dancers get scholarships... the company sponsors them and pays their tuition while they are away." "Most of the steps that are considered Caribbean dance were developed by the NDTC under his tutelage," he said. "Dance companies in Jamaica mirror the NDTC and there are many other groups throughout the Caribbean doing these same dances." NDTC alumni have not just branched out to form their own dance companies in Jamaica, they have also had success internationally. Two prime examples are Jackie Guy, one of Britain's leading lecturers in Afro Caribbean dance, who choreographed "The Harder They Come", and Garth Fagan, who choreographed "The Lion King".