Commenting on the sanctity of the family, the president delivers a clear message in the song, "Pap Divoce," for which his cabinet has already delivered an entertaining video. [Mickey] has taken note of the disposition of the nation's young in regard to Haiti's current state and delivered a very club friendly response in the melodious "Non, non, non". Presidential advisor Wyclef Jean makes a bullet-riddled entrance in "Men nou" that should have dedicated supporters either rushing for shelter or the nearest ballot box. Djazz La Vol. 5 is probably the very best effort this talented drummer/producer has ever released.
480 p., This dissertation examines the role of the Haitian Revolution and Haiti's national history in the construction of Black Internationalism and Black Atlantic intellectual culture in the first half of the twentieth century. The author argues for the centrality of Haiti in the genesis of Black internationalism, contending that revolutionary Haiti played a major place in Black Atlantic thought and culture in the time covered. Suggests viewing the dynamics between the Harlem Renaissance, Haitian Indigenism, and Negrtude and key writers and intellectuals in terms of interpenetration, interindepedence, and mutual reciprocity and collaboration.
"Haiti's New Bad Boy President," "Carnival King is New Leader of Haiti" are just two of the headlines in local and national news. Many Haitians here in the U.S. feel that the newspapers are making a spectacle of the election of Michael "Sweet Mickey" [Michael Martelly] to the highest political office in Haiti, the Presidency. Martelly beat his opponent Lady Mirlande Manigat, 67.57 percent to 31.74 percent but in accordance with the electoral process complaints can be filed up until April 16 when the votes will be closed. His flamboyant attire and sometimes raucous performances endeared him to some but distanced him from others. At first, his notoriety as an entertainer made it almost impossible for him to be accepted into a party to declare his political aspirations and to be thought of as a viable candidate.
Who are they? [Raoul Peck] works primarily with an ensemble made up of [Sarah]'s family and members of the infamous TonTon Macoute. It's these men operating outside civilian and military law, who imbue "The Man By The Shore" with its thick taste of dread and fear. For it quickly becomes obvious that they can threaten, maim, even kill anyone at anytime for the least of slights. Janvier (Jean Michel Martial), the chief of the Macoutes here, wields unbridled power, making him one of the most fearsome screen villians in recent times. "The Man By The shore" combines the terror of the Duvalier regime and Haiti's natural beauty in a gripping story. Audiences may leave questioning whether it's better to remember or to forget!
"I think it's a joke," Miami-based Haitian business woman and [Jean-Bertrand Aristide] supporter Lucie Tondreau told The Times. "These same people talking about they are representing the industrial class are the ones that are paying people 68 U.S. cents a day for 17 hours of work. These are the same people who have just fired over 300 poor people without indemnity. These are the same people who over the years in Haiti have refused to pay taxes, electricity, who have not invested in the infrastructure, in the schools of Haiti, and today they are coming here talking about democracy?," Tondreau wondered. "He" (Aristide) "was at the basis of reinforcement of polarization," said [Apaid]. "He was prone to keep our country divided. He knew our mentality and rather than try to correct it he was accentuating it while making deals behind the palace door with the very people he was attacking. So there was a hypocrisy in it and it's just traditional political behavior. We want to go beyond that." While Apaid described the current situation in Haiti as slow with a lot of problems but moving in the right direction, Tondreau described Haiti as a place where people have no right to demonstrate without being killed. "We need the duly elected president back in Haiti," said Tondreau.
637 p., Utilizes perceptions and attitudes towards the Haitian Revolution as a means to resituate party conflict and the boundaries of American nationalism in the Early Republic. The concept of nationalism is utilized in both the shaping of political culture and in the institutional formation of the state. As a result, the Haitian Revolution generated contradictory factional responses between the Federalists and Democratic-Republicans to the emergence of revolutionary abolitionism in the Atlantic. On a more popular level, the ordeal of Haiti engendered a fear of black militant abolitionism that hardened American attitudes towards the possibility of further slave emancipation in the United States.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
276 p, The history of Haiti throughout the twentieth century has been marked by oppression at the hands of colonial and dictatorial overlords. But set against this "day for the hunter" has been a "day for the prey," a history of resistance, and sometimes of triumph. With keen cultural and historical awareness, Gage Averill shows that Haiti's vibrant and expressive music has been one of the most highly charged instruments in this struggle—one in which power, politics, and resistance are inextricably fused.
Explores such diverse genres as Haitian jazz, troubadour traditions, Vodou-jazz, konpa, mini-djaz, new generation, and roots music. He examines the complex interaction of music with power in contexts such as honorific rituals, sponsored street celebrations, Carnival, and social movements that span the political spectrum.
333 p., Examines both historical and contemporary attempts by the people of Ouidah, Benin Republic in West Africa and in the Caribbean country of Haiti to confront and reconcile their relationship via the transatlantic slave trade. Oral and visual narrative have been central to this process as people represent, reflect and interpret a past that is fraught with gaps, silences and erasures. Proposes that the process of remembrance mirrors a traditional rites of passage whereby one lives as part of a community, dies to the past and then is reborn anew in the community. Both Ouidahans and Haitians now occupy a liminal space--an exilic space--in which they struggle to remember a past that was for many years repressed and suppressed.
