[By the way [Anthony Morgan], in another University publication you're quoted as saying: "I think the bigger issue is how little we know about the history and historical contributions of Jamaicans." Well, the issue is way bigger than Jamaica; it's a "race" issue, targeting and ridiculing Black people, all of whom are people of African descent, sons and daughters of slaves.] So those students, froshers, "...were just having fun," eh? There was "nò mal-intent?" according to director [Michel Patry]. Surely they could've found another and more interesting and humanly innocuous way to have (even more) fun. The blackface skit is a sad cliché, it's passé, plus it's not funny. Except for [White] people as they seek ways to fulfill their final stage of life: their pursuit of happiness, by any means. It serves us right; it's the 'house divided' maxim. We are fractured from pulling in so many directions. We lack cohesion and the essential elements that hold people together to secure a strong !foundation. We've long cut the ties that bind, so it's very easy for people to have their way with us.
Speaking of "audacity of hope," [Marcus Mosiah Garvey] burst upon the global scene at a time when the vast majority of Africans suffered under the boot of white supremacy either through ruthless, exploitative and humiliating forms of European colonialism or segregation/apartheid in the Diaspora. As his life's commitment, the Jamaican-bom national was determined to use his extraordinary gins as a visionary, orator and organizer to uplift the African race and propel Black people to their rightful place in the forefront of civilization. To achieve his goal, however, he had to find a way to "keep hope alive." One of Garvey's greatest gifts was his keen appreciation of the role that symbols play in inspiring, uplifting and motivating disadvantaged and oppressed people. There was hardly a more daunting challenge than finding a way to give hope to the ethnically disparate and virtually universally despised sons and daughters of Africa. Never one to be discouraged by the difficulty of the task, Garvey boldly declared that he would give Black people a vision of a "government," men of "big affairs and a "flag!"
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.
Garvey identified the root causes of President Obama's plight in 1922 when he wrote: A terrible mistake was made between 40 and 50 years ago when Black men were elected to legislative assemblies all over the country, especially in the southern states and even at the national capital when representatives of this race occupied seats in Congress. Following his retirement in 2010, he embraced his passion for politics and human behavior and immersed himself into his new writing career which culminated in two books: A New Perspective on Race-related Problems in Corporate American Companies (Outcast Publishing) and Whom God Has Blessed Let No Man Curse (Infinity Publishing).
