Caribbean identity is informed by the condition of being islands and also by its sociopolitical conditions of colonialism, (e)migration, and pluralism. The uncertainty of not being grounded to the specificity of place is in conflict with generalized notions of nation and cultural identity. As people migrate, they create shifting identities following the process of addition and flux that has characterized the region. Cultural identity and migration are central issues in songs, which play a key role of lending continuity to culture and reconstructing symbols.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
221 p, Rodney was disturbed by the inability of intellectuals to share common cause with the masses, thus ensuring that they would be unable to contribute to uplifting their talents or participate in the growth of the nation. Guyana and the Caribbean were subject to sugar and slave traffic that constituted cheap labor for the plantations and buttressed the capitalist-industrial system. A significant byproduct of that system was the master-slave relationship; a no-less iniquitous consequence was an active racism. Thus, social inequality became the heritage of Guyanese and Caribbean history.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
316 p., Demonstrates how the lambada —a genre of electric guitar-based dance music consolidated in the port city of Belém, Pará in the 1970s— makes audible a history of mobile, cosmopolitan connections that transcend and transgress the boundaries of the Amazon region proper. These submerged "translaterai" links with the circum-Caribbean and the Brazilian Northeast challenge hegemonic constructions of Belém as a provincial outpost or pocket of exclusion "at land's end."
The dry Caribbean is a place in Colombia where some black communities have lived since decolonization. The text tackles the pedagogical sense of the Catedra de Estudios Afrocolombianos. The historical, territorial, juridical, educative, and organizational contextualization is followed by the emphasis in the necessity of creating a cultural production policy based on the black communities' life.
152 p., Sheds light on the importance of orality as it is embedded in the cultural traditions of the Colombian Caribbean. Examines the different ways in which orality is manifested and produced in Colombian popular culture and literature. Also explores the dynamics of "primary orality," in which orality compensates for the absence of knowledge or usage of a written alphabet, and "secondary orality," in which orality is sustained by a technological device, in this case the cassette.
164 p., Explores four contemporary novels and a film that rely heavily on photographic and mass-media images to illuminate, articulate, and critique modern-day Black urban existence: Patrick Chamoiseau's Texaco (1997), Chris Abani's Graceland (2004), John Edgar Wideman's Fanon , Paulo Lins' Cidade de Deus (1997), and Fernando Meirelles' 2002 film adaptation of Lins' novel City of God . Chapters examine the ways in which photographic and/or mass-media images are used as narrative tropes or devices for representing the material conditions of an emerging slum existence. The author argues that each text reveals a preoccupation with the rise of global urbanism and visual culture as new types of discursive spaces--new kinds of "texts"-- that shape not only the real life of black people, but also the literary landscape of Black writing across the globe.
There are 38.9 million blacks in the United States. According to the 2000 census there are 75.9 million citizens of Brazil who would be classified as African American in the U.S. Since there are only 91.3 million Brazilian whites, who dominate the country, one wonders why so many blacks are living in poverty in favelas (slums).
The Web site will also feature facts on Afro-Brazilians; Brazilian events taking place in the United States and Brazil; updates on Brazilian politics; and the upcoming World Cup and the Olympic Games. Afro-Brazilian.com will also feature articles from noted Brazilian and African American reporters across the United States. According to MercoPress, an independent online news agency, Afro-Brazilians represent the largest ethnic group in Brazil, making up more than 49 percent of the population. Afro-Brazilians have a cultural influence on Brazil that spans from cuisine, literature, sports and art, among others. Some of the little known facts on Afro-Brazilians include: * African culture has been instrumental in the development of Brazilian cuisine. Feijoada, Brazil's staple dish, was developed by African slaves * Blacks and pardos have a low representation on Brazilian television. In 1996 Taís Araujo was the first and only Black actress to be featured as a protagonist in a telenovela
This spring, Professor [Henry Louis Gates Jr.] returns to PBS with "Black in Latin America," a new four-part, four hour series. Focusing on six Latin American countries - Haiti, the Dominican Republic, Cuba, Brazil, Mexico and Peru - the series explores the influence of the African diaspora on Latin America. On his journey. Gates discovers a shared legacy of colonialism, slavery and people marked by African roots. In his new series. Gates sets out on a quest to discover how Latin Americans of African descent live now, and how their countries acknowledge - or deny - their African past.
