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."
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.
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.
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.
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 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.
