Pub Date : 2022-04-03DOI: 10.1080/00086495.2022.2068853
Rachel Bolle-Debessay
THE GENRE ‘DUB POETRY’ APPEARED IN THE early 1970s. The term refers to a type of AfroCaribbean (originally Jamaican) and black British poetry which is performancebased but can be presented in different formats: a dub poem can be performed live or studio-recorded, with or without music; it can also appear without the performance, in a print version. It is in the interplay of all these different versions that the aesthetic of dub poetry is best understood. It is represented by the work of pioneering poets such as Oku Onuora, Mutabaruka, Michael “Mikey” Smith, Jean “Binta” Breeze, Lillian Allen, Yasus Afari, Levi Tafari, Benjamin Zephaniah, and Linton Kwesi Johnson (hereafter LKJ). It emerged within a Caribbean community where social injustices shaped a consciousness and a militancy expressed in a variety of artistic forms, such as literature, music, and the visual arts. In the history of its criticism, the work of an early generation of writers and critics, such as Edward Kamau Brathwaite, Mervyn Morris and Stewart Brown, and scholars such as Kwame Dawes and Lloyd Bradley, played an important role in developing a narrative of music’s role and place in the development of this poetry.1 In academic studies concerned specifically with dub poetry, the work of David Bousquet, Eric Doumerc, Christian Habekost, Bartosz Wójcik and more recently David Austin has advanced interesting debates on the aesthetic of dub poetry.2 Yet, in these different academic works on that poetic practice, a discussion on the impact of music on the poetics of dub poetry is still inadequate. Although dub poetry is illustrated in the work of several poets as mentioned above, the Jamaica-born, UK-raised LKJ is an important pioneer in the tradition – as reflected in his achievement in becoming the second living poet, and the only black one, to be published in the Penguin Modern Classics series in 2002. His poetic style shows experimentations that contributed greatly
{"title":"Low Frequencies and Poetic Innovations","authors":"Rachel Bolle-Debessay","doi":"10.1080/00086495.2022.2068853","DOIUrl":"https://doi.org/10.1080/00086495.2022.2068853","url":null,"abstract":"THE GENRE ‘DUB POETRY’ APPEARED IN THE early 1970s. The term refers to a type of AfroCaribbean (originally Jamaican) and black British poetry which is performancebased but can be presented in different formats: a dub poem can be performed live or studio-recorded, with or without music; it can also appear without the performance, in a print version. It is in the interplay of all these different versions that the aesthetic of dub poetry is best understood. It is represented by the work of pioneering poets such as Oku Onuora, Mutabaruka, Michael “Mikey” Smith, Jean “Binta” Breeze, Lillian Allen, Yasus Afari, Levi Tafari, Benjamin Zephaniah, and Linton Kwesi Johnson (hereafter LKJ). It emerged within a Caribbean community where social injustices shaped a consciousness and a militancy expressed in a variety of artistic forms, such as literature, music, and the visual arts. In the history of its criticism, the work of an early generation of writers and critics, such as Edward Kamau Brathwaite, Mervyn Morris and Stewart Brown, and scholars such as Kwame Dawes and Lloyd Bradley, played an important role in developing a narrative of music’s role and place in the development of this poetry.1 In academic studies concerned specifically with dub poetry, the work of David Bousquet, Eric Doumerc, Christian Habekost, Bartosz Wójcik and more recently David Austin has advanced interesting debates on the aesthetic of dub poetry.2 Yet, in these different academic works on that poetic practice, a discussion on the impact of music on the poetics of dub poetry is still inadequate. Although dub poetry is illustrated in the work of several poets as mentioned above, the Jamaica-born, UK-raised LKJ is an important pioneer in the tradition – as reflected in his achievement in becoming the second living poet, and the only black one, to be published in the Penguin Modern Classics series in 2002. His poetic style shows experimentations that contributed greatly","PeriodicalId":35039,"journal":{"name":"Caribbean Quarterly","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41269913","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/00086495.2022.2073070
P. Monnin
{"title":"O Stories: Birth and Rebirth – A Certain History of Women","authors":"P. Monnin","doi":"10.1080/00086495.2022.2073070","DOIUrl":"https://doi.org/10.1080/00086495.2022.2073070","url":null,"abstract":"","PeriodicalId":35039,"journal":{"name":"Caribbean Quarterly","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49004326","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/00086495.2022.2068852
Humphrey A. Regis
IN THE WORLD OF CARIBBEAN MUSIC, ESPECIALLY since the 1970s, there appear to have been two contrasting conceptions of the constituents of the universe, the essential interaction that involves these constituents, and the ultimate condition toward which the constituents and interactions propel the universe. One conception envisions these constituents as individuals within collectives and communal relationships; the other conceives of them as realisers of the self. The first views the ultimate condition as a ‘coming together’ of the constituents in what a particular Caribbean musician calls “Oneness”; the other regards the ultimate condition as the result of the assertion of the visions of one camp in a universe that includes itself and others. The first view appears to come to life in the lyrics of two of the most popular songs in Africa and in the region. One of these songs is “Wonderful World, Beautiful People” from the late 1960s, which exhorts:
{"title":"Cheikh Anta Diop’s Southern Cradle of Culture","authors":"Humphrey A. Regis","doi":"10.1080/00086495.2022.2068852","DOIUrl":"https://doi.org/10.1080/00086495.2022.2068852","url":null,"abstract":"IN THE WORLD OF CARIBBEAN MUSIC, ESPECIALLY since the 1970s, there appear to have been two contrasting conceptions of the constituents of the universe, the essential interaction that involves these constituents, and the ultimate condition toward which the constituents and interactions propel the universe. One conception envisions these constituents as individuals within collectives and communal relationships; the other conceives of them as realisers of the self. The first views the ultimate condition as a ‘coming together’ of the constituents in what a particular Caribbean musician calls “Oneness”; the other regards the ultimate condition as the result of the assertion of the visions of one camp in a universe that includes itself and others. The first view appears to come to life in the lyrics of two of the most popular songs in Africa and in the region. One of these songs is “Wonderful World, Beautiful People” from the late 1960s, which exhorts:","PeriodicalId":35039,"journal":{"name":"Caribbean Quarterly","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45049326","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/00086495.2022.2068845
Nathan H. Dize
THE fin-de-siècle HAITIAN POET MASSILLON COICOU SAW poetry as a way to reflect on the past. In his 1892 collection Poésies nationales,1 Coicou dedicates individual poems to events, historical figures, and his literary forebears with poems entitled “Toussaint-Messie”, “Vertières”, “A Toussaint-Louverture”, “A Pétion”, “A Christophe”, “A Oswald Durand”, as well as others, all composed in alexandrine verse. Among the titles dedicated to Haiti’s founding fathers there is one glaring absence: no poem carries the name of Jean-Jacques Dessalines. At a glance, the Haitian bard’s omission may appear as a disavowal of the ideas that Dessalines has come to represent, such as anti-colonialism or the ethno-national unity inscribed by Haiti’s first leader in articles 12–14 of his 1805 Constitution.2 A closer look at the poems reveals that one of Coicou’s primary poetic concerns in Poésies nationales is to sift through the legacy of civil war in Haiti that was inaugurated with Dessalines’s murder at the Pont Rouge on 17 October 1806. Instead of situating Dessalines in the titles of his poems, Coicou weaves the memory of Haiti’s first emperor throughout the collection in poems addressing Dessalines’s assassination – “Une voix sur le Pont Rouge”, “Sa Tombe”, “Exaltation”, and “Au Cimetière” – in addition to others on the theme of civil war. Chief among Coicou’s Dessalinian poems in Poésies nationales is “L’Alarme” which opposes Haitian revolutionary struggles during the civil wars waged in Haiti throughout the nineteenth century, on paper, in the halls of the government, on both sides of the island of Ayiti Kiskeya,3 and within the Haitian family. The poem begins with an eerily familiar call to arms, “Entendez-vous ce cri qui retentit: ‘Aux armes!’ / Encor l’horreur! encor du sang! encor les larmes!” (Do you hear the cry that rings out: ‘To Arms!’ / More horror! More blood! More tears!).4 In subsequent lines, the poet quickly establishes the morbid gist of the poem, revealing that the present battle cry is not ripped from the glorious, anti-colonial past, but instead rooted in the sorrow of an ongoing civil war:
海地诗人马西隆·科伊库(MASSILLON COICOU)将诗歌视为反思过去的一种方式。在他1892年的作品集《国民波西姆》中，科伊库以《杜桑-梅西》、《维蒂尔》、《杜桑-卢维杜尔》、《波西姆姆》、《克里斯托夫》、《奥斯瓦尔德·杜兰德》以及其他诗歌为主题，用亚历山大诗体创作了一些诗歌，以纪念事件、历史人物和他的文学祖先。在献给海地国父们的诗歌中，有一个明显的缺失:没有一首诗以让-雅克·德萨林的名字命名。乍一看,海地吟游诗人的遗漏可能出现否定的想法德萨林表示,反殖民主义或民族团结等着海地的第一个领袖在他1805年的文章12 - 14 Constitution.2凑近看诗,叙述Coicou主要诗歌关切之一国家是筛选内战的遗留在海地与德萨林就职的谋杀在1806年10月17日的胭脂。Coicou并没有将德萨林置于他的诗歌标题中，而是将海地第一个皇帝的记忆编织在诗集中，以描述德萨林被暗杀的诗歌——“Une voix sur le Pont Rouge”、“Sa Tombe”、“exalation”和“Au cimeti”——以及其他关于内战主题的诗歌。Coicou在《posamsies nationales》中最主要的德萨利尼诗歌是“L’alarme”，它反对海地在19世纪内战期间的革命斗争，在纸上，在政府的大厅里，在Ayiti Kiskeya岛的两边，在海地家庭内部。这首诗以一段熟悉得令人毛骨悚然的呼喊开始，“Entendez-vous ce cri qui retentit: Aux armes!”“我很高兴!”唱吧!请原谅我的手臂!(你听到那喊声了吗:“拿起武器!“更恐怖!”更多的血!眼泪!)。4在随后的诗句中，诗人迅速确立了这首诗的病态主旨，揭示了当前的战斗口号并非来自光荣的反殖民主义的过去，而是根植于正在进行的内战的悲伤:
{"title":"“Proof(s) of Memory”","authors":"Nathan H. Dize","doi":"10.1080/00086495.2022.2068845","DOIUrl":"https://doi.org/10.1080/00086495.2022.2068845","url":null,"abstract":"THE fin-de-siècle HAITIAN POET MASSILLON COICOU SAW poetry as a way to reflect on the past. In his 1892 collection Poésies nationales,1 Coicou dedicates individual poems to events, historical figures, and his literary forebears with poems entitled “Toussaint-Messie”, “Vertières”, “A Toussaint-Louverture”, “A Pétion”, “A Christophe”, “A Oswald Durand”, as well as others, all composed in alexandrine verse. Among the titles dedicated to Haiti’s founding fathers there is one glaring absence: no poem carries the name of Jean-Jacques Dessalines. At a glance, the Haitian bard’s omission may appear as a disavowal of the ideas that Dessalines has come to represent, such as anti-colonialism or the ethno-national unity inscribed by Haiti’s first leader in articles 12–14 of his 1805 Constitution.2 A closer look at the poems reveals that one of Coicou’s primary poetic concerns in Poésies nationales is to sift through the legacy of civil war in Haiti that was inaugurated with Dessalines’s murder at the Pont Rouge on 17 October 1806. Instead of situating Dessalines in the titles of his poems, Coicou weaves the memory of Haiti’s first emperor throughout the collection in poems addressing Dessalines’s assassination – “Une voix sur le Pont Rouge”, “Sa Tombe”, “Exaltation”, and “Au Cimetière” – in addition to others on the theme of civil war. Chief among Coicou’s Dessalinian poems in Poésies nationales is “L’Alarme” which opposes Haitian revolutionary struggles during the civil wars waged in Haiti throughout the nineteenth century, on paper, in the halls of the government, on both sides of the island of Ayiti Kiskeya,3 and within the Haitian family. The poem begins with an eerily familiar call to arms, “Entendez-vous ce cri qui retentit: ‘Aux armes!’ / Encor l’horreur! encor du sang! encor les larmes!” (Do you hear the cry that rings out: ‘To Arms!’ / More horror! More blood! More tears!).4 In subsequent lines, the poet quickly establishes the morbid gist of the poem, revealing that the present battle cry is not ripped from the glorious, anti-colonial past, but instead rooted in the sorrow of an ongoing civil war:","PeriodicalId":35039,"journal":{"name":"Caribbean Quarterly","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42918916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/00086495.2022.2068860
W. Chandler
WHEN THE WORLD REFLECTS UPON THE PIVOTAL moments that sparked its democratic fire, Haiti and the Haitian Revolution (1791–1804) are not discussed in the same breath as the English Civil War (1642–51) reconstructing the English Constitution, the American Revolution (1765–83) breaking British American colonies from Great Britain, and the French Revolution (1789–99) ending the French monarchy. Thus, you will not hear Haitian history discussed in relation to the Enlightenment Era (1715–89) or the so-called Age of Revolution (1775–1848). Neither will Haitian revolutionary politics be used as a lens to explain contemporary geopolitical movements, revolutions and changes such as the Occupy Movement (2011–12) or the Arab Spring (2010–12).1 Why is that? History – like most other things with which humanity engages – is seen as a property to advance the agendas of those who claim it as their own. That is why works such as Vivaldi Jean-Marie’s Vodou Cosmology and the Haitian Revolution in the Enlightenment Ideals of Kant and Hegel are most important.
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Pub Date : 2022-01-02DOI: 10.1080/00086495.2022.2037266
O’Dane McKoy
{"title":"The Greening of Saint Lucia: Economic Development and Environmental Change in the Eastern Caribbean","authors":"O’Dane McKoy","doi":"10.1080/00086495.2022.2037266","DOIUrl":"https://doi.org/10.1080/00086495.2022.2037266","url":null,"abstract":"","PeriodicalId":35039,"journal":{"name":"Caribbean Quarterly","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49614477","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/00086495.2022.2037252
I. Tillmann
{"title":"Three Days in March","authors":"I. Tillmann","doi":"10.1080/00086495.2022.2037252","DOIUrl":"https://doi.org/10.1080/00086495.2022.2037252","url":null,"abstract":"","PeriodicalId":35039,"journal":{"name":"Caribbean Quarterly","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45782845","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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