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.
Works like Wheatley's and [Harriet Jacobs]' remind us how important it is to document our history with authenticity. History tells us of the need to write our own stories in our own words, for accuracy, for validation. And this is exactly why writers like Maya Angelou, Gwendolyn Brooks, Poet Laureate Rita Dove, Alice Walker and Louise Bennett Coverly (Jamaica) have revolutionized the written word and established themselves as role models for all of us. Positive images. Pulitzer Prize winner Alice Walker uses the word "womanist" in her works to refer to the liberation of black women. Through her famous novel "The Color Purple" and other works, she has revolutionized literature in the New World and given great insights into the traditions, beliefs, history, and values of people of African ancestry. The central theme in all of her work becomes the flower of hope that grows out of all despair. Black women writers have created for us a window to the world through which we can make real-life connections. From them we have received portraits in courage and a validation of ourselves. Their words constantly remind us that hope is eternal and that beauty can rise from adversity, as is so aptly expressed in the poignant declaration by Maya Angelou, the first female to read at a U.S. presidential inauguration, "And still I rise."
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.
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 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.
Here in Florida, Caribbean people may not celebrate with Junkonoos, but with their cousins the Mocko Jumbies. All over South Florida the Kwuya or stilt dance has become quite popular and includes the participation of children as well. This ritual dance is especially popular among Trinidadians. A newly-formed parang group, the Punto Finale, is testimony to the enduring appeal of Caribbean Christmas celebrations even when one is miles away from home. Led y Ruby Limare, with Dr. Dawn Batson as one of the 12 members, this group has been serenading South Floridians with lively Spanish-style Christmas music that has been part of the season's celebrations in Trinidad for centuries. Kwanzaa, which means first fruits of harvest, is a celebration that many Caribbean people can relate to because of its Afro-Centric base and its focus on family life, self-reliance, and culture. Although Kwanzaa begins the day after Christmas, its celebrations embraces this age-old tradition of Christmas day.
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.
They continued to avoid the racially-motivated behavior of many in the Cuban population in South Florida. In fact, the Caribbean (black?) organizers of the carnival care so little that they were happily prepared to give away the carnival's culture-driven economic and social enterprise to the Cuban community, even if the Cubans didn't really want anything to do with it, like Jewish Miami Beach and WASP downtown didn't. Does this mean that the huge economic infusion that was offered to other communities for acceptance is going to be realized by the people in Opa-Locka? Because, suddenly, it's as if some people belatedly became a little blacker; after all, they're home, they claim, to Opa-Locka. Yeah, right. The carnival organizers have some cojones, if not much sense of appropriateness. They outdid themselves in their fantasizing (but then, that's carnival). They opted for Hialeah and tried to hitch their wagon to Mayor Penelas' new coattail. Somebody needed to remind them of some of the politics involved. Seems Mayor Alex and Mayor [Raul Martinez] `don't tek tea', as we say in the Caribbean. Probably something to do with Alex backing the candidate who ran against Raul. Next stop, Hialeah City Hall. The rest, they say, is history.
The fall season is always a kickoff for months of celebrations. From Rosh Hashanah to Columbus Day to Veteran's Day and of course Thanksgiving fall becomes a season of celebrations. And Caribbean folk in their usual creative manner fit their traditions and celebrations right into the thick of things. "Ethnic Brides is all about acknowledging the rich heritage of our African and cosmopolitan background, of mixing traditional with contemporary to make one's wedding memorable, exciting and rich in heritage," says Jacqui Scott, who hosted the event. Especially thought provoking was the poem "Dat bumpy Head Gal", inspired by her real-life experience where she was criticized by some members of the Jamaican public for wearing her "chiney bump" hairstyle on television.
Recipients of the fellowships, funded by the International Development Research Center in Canada, are Lester Wilkinson of Trinidad and Tobago; Margaret Brito of Barbados; and Jamaicans Diana Thorburn, Lisa Ann Taylor and Charles Edwards. The cultural studies initiative is the UWI's response to the perceived need to address the issue of Caribbean development and an acknowledgment that leadership in the region can only be as good as the critical analytical performance of those responsible for developmental planning. Ms. Brito is in the second year of an M.Phil. program at the UWI's Cave Hill Campus in Barbados. Her research will examine the economic potential of Barbados' cultural manifestations such as its popular music, dancer, theater and religion.
At a recent conference in Martinique, entitled "36 hours for the Caribbean", that focused on better means of cooperation between French West Indian departments and their independent neighbors, Martiniquan lawyer Alain Manville spoke about "Law, judicial practices and human traffic in the Caribbean." "France wishes to maintain her Caribbean departments in a state of indifference towards their natural environment," said Mr. Manville. "For Nearly 10 years one has witnessed a complicity between the Prefecture of Martinique and the French embassy of St. Lucia to deny visas to nationals from St. Lucia and Dominica and when these visas are accorded, the time taken is exorbitant and stay periods are reduced to a minimum," says Mr. Manville.
The TPS designation for Haiti will remain in effect through July 22, but Haitian nationals who have continuously resided in the U.S. since Jan. 12, 2010 must file their applications for TPS no later than Jan. 18. Failure to submit the required applications with any required fees and the biometrie fee, or a properly documented fee waiver request, will result in the rejection of the application. TPS was granted to Haitians following the devastating earthquake of Jan. 12, 2010, which claimed over 200,000 lives in Haiti.
"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.
In 1996, the colleges and universities of America yielded thousands of graduates, 27% of them black, and of those, 12% were of Caribbean descent. These young Caribbean graduates are a unique entity. They represent a conglomerate of knowledge that could be utilized in America or in the Caribbean. Each year, a new group of Caribbean graduates faces an interesting dilemma: to build a life in the country that has educated them or to build a life in the country that holds their heritage, culture, and traditions. Should a young man from Jamaica who has come to the U.S. to become a doctor not go back to Jamaica at the end of his schooling armed with and American degree and better his own country? Should the young woman from Belize with a B.S. in biology from Cornell not return to Belize and put her knowledge to work for the betterment of her country?
Dominicans fete late, and even after three nights of nonstop music there must be upwards of 4,000 people waiting to hear the last band. As Haiti's most famous kompa group - Tabou Combo - takes the stage, exhaustion is dispelled by their relaxed "C'est Tambou", an invitation to a dancing-at-dawn session which continues long after the sun has climbed into the sky. The Haitians in the press box break into spontaneous dance, some straying on-stage; couples slip into each others' arms, moving in effortless elegance, and Dominica's minister of tourism, Norris Prevost, inquires whether this is not the best party I've ever seen. Haiti's Magnum Band with St. Lucian Luther Francois on sax blasted away the wee-hours fatigue with flowing funk and konpa over vodou rhythms and soaring lyrical soukous guitar. It was nearly 7:30 a.m. when Guadeloupe's Taxi Creole ended a tight, driving set which drew on zouk, salsa, merengue, beguine, reggae, jazz and funk.
Jamaica is doing so well that it was not even in the top 14 nations receiving the most deportees in 2009. Instead, for the Caribbean region, the top three nations receiving the most deportees last year, were the Dominican Republic, Cuba and Haiti. Mexico continued to lead the deportees statistics table. Mexican nationals accounted for 86 percent of the 613,003 aliens apprehended in 2009. The next leading countries were Guatemala, Honduras, El Salvador, China, and Brazil. A total of 393,000 foreign nationals were removed from the United States last year, the seventh consecutive record high. Of that number, 128,000 were known criminal aliens.
"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".
The reception to the idea was favorable. In 1994, further discussions were held with Mexico, Columbia and Venezuela and with Argentina and Chile. The response was positive and to further support the idea, the ambassadors of the Latin American countries who were accredited to Jamaica, and Spain's ambassador, formed the Group of Latin America and the Caribbean as a forum for exchanging ideas and considering financial participation by their governments. In 1994, the Latin American-Caribbean Centre was created to facilitate economic, trade, research and cultural ties between the Caribbean and Latin America. The center's fundamental objective is to build strong commercial, cultural and academic ties between the Caribbean and Latin American regions and among the Caribbean countries. According to Ms. Insanally, "Economic development is one of the principal objectives of LACC. Expanding trade, investment, and tourism between the Caribbean and Latin American countries will generate income and employment, as well as stimulate technological modernization and international competitiveness. Academic and cultural development are important ends in themselves, and they also stimulate business relationships, and vice versa."
The Mystic Revelation of Rastafari, a group of Nyabinghi ceremonial drummers founded by the legendary Count Ossie in the 1950s, is not only making its New York debut but is raising the curtain on the Lincoln Center for the Performing Arts' "Caribbean Roots: Caribbean Routes" festival. Chris Combette, who has been collaborating with Mungal Patasar on several tracks for his new album, opened the show with his beautiful fusion of Caribbean styles - samba, salsa, soca, bossa nova, reggae and zouk sweeping over the auditorium like warm waves. Based in French Guiana, bordering Brazil, Combette has soaked up the melodies of the region, while his lyrics address the nostalgia or alienation of the immigrant, and racist murder in the metropole. Beneath his sinuous, sometimes ethereal music lurked incisive Kwéyol irony and melancholy metaphors. It was left to Kali and his banjo to bring down the curtain on the festival with his brilliant reworking of Martiniquan traditional music, mazurk, biguine, chouval bwa, gwo ka (from Guadeloupe) with reggae, funk and jazz. It was good to hear St. Lucian Luther François, one of the Caribbean's foremost contemporary composers and sax players, adding punch to this excellent band and the finale of a significant festival for Caribbean music.
Mocko Jumbie, as it is called in the Caribbean, has been a part of the Virgin Islands culture for more than 200 years. The phrase "Mocko Jumbie" may have different meanings according to the different tribes that practices the art. "Mocko" could mean "Mock" or it could mean "Good God."
There's tendency among some reggae fans to tune out most of today's dancehall deejays, dismissing them as untalented shysters. While that's an essentially justifiable reaction, there are deejays - mostly of the conscious variety - who are worthy of our attention. One in particular is Prezident Brown. Tune out his new release - To Jah Only - and you'll deprive yourself of a relevant body of work that's likely to sway and have you listening for more of this style. To Jah Only is a neat package that adroitly intertwines the traditional with the contemporary. The title track, which leads the album, gently combines slow guitar picks with Nyabinghi drumming, amid Brown's assiduous delivery of some trusty Rasta melodies. The familiar Duppy Conqueror rhythm by Bob Marley is acquired on In This Life, and it's superimposed with a message that counsels mankind about his covetous ways. This theme is also continued with Pomps and Pride. One of the livelier tracks is Micro Chip, and Brown does a nice job keeping pace with a very demanding tempo. But the strongest is undoubtedly Faith - an instant classic that unveils Brown's versatility and true talent. His encyclopedic expressionism sets him apart from the ordinary, and he's truly one of our best links between the past and the present. [Dean Fraser]'s latest album - Retrospect - is a delightfully appetizing reminiscence of classic hits that are masterfully reproduced for everyone's listening pleasure. With 12 tracks, this album takes you back to mento, through ska, roots, and up to the present.
"We're not a Jamaican station. We're not a Trinidadian station. We're not a Bajan [Barbadian] station. We're not an African-American station," [Carl Nelson] says of his station, which broadcasts from Davie, near Fort Lauderdale. "Our target audience is the entire Caribbean [community], and that includes second-generation Caribbean Americans and people [of other nationalities] who like Caribbean-American music." Nature of service "We don't see the radio as a juke box," he says. "We're here to serve the community and just because you put some music on the radio doesn't mean you're serving the community." "Everybody who's advertised with us has reported good results," he says. "That's because they're getting a mix of people. They [reach] people from all the different islands. They get African Americans. They get whites. For them [the advertisers]it's a plus."
Today, Grace, Kennedy & Company is aggressively moving forward to meet new goals with a range of policies and programs designed to ensure its pr-eminent position in both the Caribbean and the world. These efforts include an ambitious brand "re-launch" complete with new logo, vibrant new label designs, and a new advertising campaign driven by a positioning statement reinforcing the company's pre-eminence: "Grace Foods, Genuine Caribbean Taste. Enjoyed Worldwide." While its first priority will always be towards serving the nutritional needs of its Caribbean home and "family," Grace, Kennedy & Company has now embarked on an aggressive new push into another world market, with plans to expand its sales to West Indian "expatriates" living abroad, as well as to the burgeoning number of people everywhere who desire the genuine taste of the Caribbean. Thus, the re-launch of the Grace brand, as a true "world brand" began in May of this year with this new positioning line as its corner stone. The advertising campaign, crated in conjunction with Michigan based consultants Stone & Simons Advertising, includes an overall theme, "The New Face of Grace," designed to address the brand's new logo and labeling, as well as the new "faces" around the world who are choosing Grace Foods for their "Genuine Caribbean Taste."
Each session runs for three to four weeks and involves two courses covering such topics as: English and the Caribbean Child; Arts and Culture in Trinidad and Tobago; Caribbean Dance; Caribbean History and Politics; Heritage Studies on Barbados; Caribbean Marine Environment; Gender in the Caribbean Society; Languages and Dialects of the Caribbean; and, Reggae, Rastafari and Jamaican Culture. Depending on the courses chosen, students may find themselves in Barbados, Jamaica or Trinidad and Tobago. However, Caribbean Marine Environment is a regional course which takes participants to at least two countries in the region. Accommodation is offered in the residence halls of each campus. [Summer] in any of the Caribbean islands presents a wonderful opportunity for participation in cultural activities. These include the various emancipation and independence celebrations, Crop Over (a Barbados carnival) and other festivals, including folk and popular music festivals such as Sumfest (Jamaica's largest reggae festival).
"As a West Indian student, I rather prided myself not only on my spoken English - as all West Indians, at least of my generation do - but also on my French accent, which was often commended. It so happened that at a French summer school in Nice in 1947, I translated `il ne pleuvait plus' orally as `the rain had held up' and was given a clear negative finger signal by my tutor. The next speaker said `it had stopped raining' and was told to continue. I was stung, but rather annoyed (with myself) when my English buddies, after class, sided with the tutor. My problem was that I had used standard Guianese (and East Caribbean) idiom, which was not standard English. The difference lay in Caribbean English usage. That was the beginning." "I can only marvel at the number of times I came near to believing the views of others - that the work would never be finished, "Dr.Allsopp said. "It is therefore in a spirit of great thanks to God and cautious optimism that I offer this dictionary to all Caribbeans." One finds words such as "touched" (soft or spoiling in parts); "force- ripe" (precocious, usually a child); "dead house" (the house where a deceased person lived); and "deal" (to practise witchcraft of the kind that involves trading living souls or dealing with the devil).
"There was no trial. No formal accusations. They just dumped all of the prisoners like animals into a cage," [Jan Mapou] recalls. "they stripped us and then crammed 14 of us into a small cell. We had no idea if we would ever see our families again. We had no idea if we would even be alive from one second to the next." Tell no one "When I first started working with Jan Mapou and the Sosyete Koukouy, I knew very little about the meanings of the daces I was performing," says Nancy St. Leger, who is now the dance troupe's choreographer. "Mapou opened me up to the significance of each dance. He didn't want the dance troupe to perform anything we didn't understand." "What Mapou is promoting through his work is not just Haitian culture but what Haitian culture represents," says [Yves Colon]. "He keeps alive those ideas of beauty, harmony and black pride which are all a part of what Mapou believes is Haitian culture.
The term, "To run a boat," originated in the Caribbean. A group of boys or grown men would trump up whatever they had, little flour, bully beef, corn, cassava for bammy, salt pork, sugar, lime and water. Each person would bring one item and the firewood or stove would be lit. The resulting cornucopia would be most pleasing and satisfying, both to the palate and the gullet. The success would be measured by the hearty belches and the question, "So when we going to run the next boat?" Very much like the camel and its' hump. "Lord, Miss Gwen, de baby need to fatten up; mek sure him eat four bowl of porridge every day, plus two quart of milk, plus four boil eggs. Remember, a fat baby is a healthy baby." No function succeeds without plenty food, and in fact the measure of its status and success is the abundance of food that is served. Not even the dearly departed is spared. Nine days after a person dies, a wake or "nine night" is held. Just another excuse to wolf down the family's food. Other cultures burry the corpse within 24 hours, but not us, who choose to keep it until enough food can be bought to feed the ravaging hordes that are expecting to descend on the premises.
PALAS, a charity organization, has stated its mission is to recognize and honor outstanding academic performances of under privileged students residing in the Caribbean. PALAS was established in Dec. 2010 to honor the memory of Vanessa Campbell, an aspiring Jamaican artiste who was the victim of violence in Jamaica.
With many of our local elections already gone and the presidential election fast-approaching, I sat back and took a long look at the candidates that ran for the various seats. I noticed something that truly startled me. There was not one candidate of Caribbean descent in any of the many elections that took place on September 3. Although it's a sad commentary on what's happening in the Caribbean community, it is also a chance for the community to make changes for the future. So many of us are American citizens of Caribbean heritage and have all right to run for election. Caribbean-Americans could be a very influential enclave in this town, not only economically, but politically as well. Hispanic candidates turned out in droves. In practically every race there was at least one Hispanic candidate. Black Americans also managed a strong showing. Most notable, with Arthur E.
One basic but tremendously important strategy is becoming and staying involved in our daughters' education. Our girls need to be told and reminded that all professions are open to them and that they must begin from an early age to prepare for these professions. Historically, girls do not take as many math and science courses as boys do, yet many top-paying professions require these subjects. Let your daughters know that math, chemistry, physics, etc., are not boy' exclusive domain but that girls have the aptitude to do just as well in these areas. These are women whose lives speak eloquently of courage, determination and achievement. Contemporary women also provide striking examples of qualities our own daughters can emulate. Within our churches, schools and communities are countless women with stories worth sharing.
The term "world beat music" is less than a decade old. The music is a genre defined by the heads of a number of small London-based record labels who found that their records from Africa, Latin America and the Caribbean were not finding rack space. Major record stores had no obvious place for these unclassified sounds. The average listeners have not. Today the major record chains - Spec's, Best Buy, and others - have responded to buyers' demand to make available music from Africa, Cuba, Jamaica, Brazil and Latin America. Finding releases from Senegal's Kouding Cissoko or Baaba Maal is no problem. Finding the Afro-French, hip-hop sound of Les Nubians is simple; so finding the music of Nacio from Dominica, Gilberto Gil from Brazil, or Bamboleo of Cuba.
