The African heritage hypothesis posits that the substantial African ancestry of Puerto Ricans explains why this group is less segregated from African-Americans than non-Hispanic whites. This pattern is unlike that of other Hispanic groups, who have been found to be highly segregated from African-Americans but modestly segregated from whites. The research presented here shows that Dominicans, another Hispanic group with substantial African ancestry, are also less segregated from African-Americans than whites. Dominicans, therefore, also appear to be conforming to the African heritage thesis by residing in neighborhoods with greater proximity to African-Americans than whites.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
322 p., Kweh-kweh is an African Guyanese pre-wedding ritual system that emerged among African slaves in Guyana and historically functioned as a medium for music-centered matrimonial instruction for soon-to-be-married couples. The ritual is executed on the eve of a wedding ceremony and encompasses music, dance, proverbial speech, and a plethora of ritual practices that allow participants to chide, praise, and instruct the bride and groom and their nations (relatives, friends, and representatives) on matters of marriage. However, kweh-kweh performances also reveal embedded values of the Guyanese community, such as what it means to be a "real man" or a "proper woman." African Guyanese hold conflicting views on kweh-kweh, but at the onset of a wedding, they devise ways to celebrate kweh-kweh, a "pagan" ritual they also regard "our culture." This work demonstrates how African Guyanese manipulate the kweh-kweh ritual, their religious values, and themselves to articulate the complex of their identities, particularly racial and gendered identities.
Eastern Caribbean nationals will feel at home, as their region's music seems to dominate the lineup. Brother Marvin, Singing Sandra and Crazy are all from T&T. Each offering a different style of delivery, they represent calypso's many flavors. To add to that element, ADLIB Steel Orchestra will add instrumentation to the islands' unique genre. Winners of last year's steel band and calypso competitions at the West Indian-American Day Carnival Association's Labor Day gala on Eastern Parkway in Brooklyn, the 30-member, 11-year-old group promises youth from 7 years old to deliver the beat. St. Paul's J.O.B. Young Adult Choir represents New York in drama, song and dance. Traditional island-style Christmas carols are promised by Charles Dougherty and Circle of Friends Caribbean ensemble.
Yvonne J. Graham, CEO of the Caribbean Women's Health Association, discussed the health disparities that continue to plague racial and ethnic groups in the New York City metropolitan area at the Brooklyn-based group's annual benefit reception. The CWHA's chief mission is to respond to problems affecting immigrants from the Caribbean region.
"The CBC and CARICOM pledged to strengthen their relationship in a structured manner," said Dr. Ralph Gonsalves, the St. Vincent and the Grenadines prime minister and former CARICOM chairman. The congressman said if the next Conference on the Caribbean is held in New York, it would enable greater participation from the Congressional Black Caucus (CBC) and the Caribbean diaspora in New York, which has the greatest concentration of Caribbean nationals in the U.S.
287 p., With a focus on cultural memory, this dissertation investigates French Caribbean women's plays and their performance at Ubu Repertory Theater, a pioneering French-American theatre in New York. After a theoretical introduction and a historical chapter investigating slavery and its remembrance in the Francophone Caribbean, each chapter is divided into two sections, the first examining the play, and the second its production at Ubu. The author relies on theories of collective memory and cultural trauma to read Ina Césaire's Fire's Daughters, Maryse Condé's The Tropical Breeze Hotel, and Gerty Dambury's Crosscurrents as plays that dramatize a link between the past (the Middle Passage, slavery, and sexual relations between enslaved women and white men) and present-day behaviors, attitudes, and pain. It is argued that these plays work to revise problematic practices of remembrance in France and the Antilles. These practices dissociate slavery from its local context; make the trauma of enslaved women's rape a secret; divide Antilleans of different races, ethnicities, genders, and social classes; and associate resistance almost exclusively with Haiti. In a second section of each chapter, the production and reception of these plays at Ubu are examined.
Latin Americans of African descent, often referred to as Afro-Latinos, synchronized their African traditions with Latin culture, creating enduring African roots throughout Latin America. For example, Cuba's Santeria religious tradition traces its roots to Nigeria's Yoruba. Mofongo, Puerto Rico's savory fried plantain dish, is of West African origin. And the Dominican Republic's signature sound, merengue, developed from strong African rhythms. Today, New York City is the home of most of the United States' 4 million Afro-Latinos. In addition to being the center of Puerto Rican and Dominican culture in the country, New York City is also where Afro-Latinos from throughout the Diaspora reside.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
304 p, Contents: pt. 1. Gender, work, and residence. Early-twentieth-century Caribbean women: migration and social networks in New York City / Irma Watkins-Owens ; Where New York's West Indians work / Suzanne Model ; West Indians and the residential landscape of New York / Kyle D. Crowder and Lucky M. Tedrow -- pt. 2. Transnational perspectives. Transnational social relations and the politics of national identity: an eastern Caribbean study / Linda Basch ; New York as a locality in a global family network / Karen Fog Olwig -- pt. 3. Race, ethnicity, and the second generation. "Black like who?" Afro-Caribbean immigrants, African Americans, and the politics of group identity / Reuel Rogers ; Growing up West Indian and African American: gender and class differences in the second generation / Mary C. Waters ; Experiencing success: structuring the perception of opportunities for West Indians / Vilna F. Bashi Bobb and Averil Y. Clarke ; Tweaking a monolith: the West Indian immigrant encounter with "Blackness" / Milton Vickerman ; Conclusion: Invisible no more? West Indian Americans in the social scientific imagination / Philip Kasinitz
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.
Mayor Bloomberg issued a proclaimed Sunday May 29th, 2005 HAITIAN PARADE DAY which took place along Nostrand Avenue in Brooklyn, New York, where earlier this year a section of that same street had been renamed in honor of Toussaint Louverture.
