POSTCOLONIAL POSTCOLONIAL ENGLISHESENGLISHES

SUBVERTING LANGUAGE TO REINVENT IDENTITYSUBVERTING LANGUAGE TO REINVENT IDENTITY

Marta Cristina FaríasMarta Cristina Farías

Taller “Las nuevas literaturas en inglés” – Taller “Las nuevas literaturas en inglés” – 20092009

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LANGUAGELANGUAGE

““[...]the distinction between English and [...]the distinction between English and english has been between the claims of a english has been between the claims of a powerful “centre” and a multitude of powerful “centre” and a multitude of intersecting usages designated as intersecting usages designated as “peripheries” […]shaped by an oppressive “peripheries” […]shaped by an oppressive discourse of power […] They are the result discourse of power […] They are the result of the energies uncovered by the political of the energies uncovered by the political tension between the idea of normative tension between the idea of normative code and a variety of regional usages”.code and a variety of regional usages”.

(Ashcroft, B. (Ashcroft, B. The Empire Writes BackThe Empire Writes Back, 2002, , 2002, 8)8)

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POSTCOLONIAL LITERATUREPOSTCOLONIAL LITERATURE

♦ ♦ A counter-discourse to dismantle Eurocentric A counter-discourse to dismantle Eurocentric literary hegemoniesliterary hegemonies

♦ ♦ A weapon against marginality and oppressionA weapon against marginality and oppression

♦ ♦ A breaking down with stereotypesA breaking down with stereotypes

♦ ♦ A reinvention of communal and individual A reinvention of communal and individual identityidentity

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Writing back…Writing back…

♦ ♦ as an act of agencyas an act of agency♦ ♦ from the periphery to the centre (metropolis)from the periphery to the centre (metropolis)♦ ♦ against mainstream cultureagainst mainstream culture♦ ♦ to celebrate difference and multiplicity: to celebrate difference and multiplicity:

plurality of narratives, viewpoints and shiftsplurality of narratives, viewpoints and shifts♦ ♦ a subversive tool to resist oppressiona subversive tool to resist oppression

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Why English and englishes?Why English and englishes?

♦ ♦ The norm (SE) and the appropiation and hybridisation of the The norm (SE) and the appropiation and hybridisation of the normnorm

♦ ♦ A site for struggle and recreationA site for struggle and recreation♦ ♦ An in-between space to articulate the voice of the diaspora An in-between space to articulate the voice of the diaspora

the dislocated, the displaced and the culturally denigratedthe dislocated, the displaced and the culturally denigrated♦ ♦ A tool to reveal contact zones of culture clash and power A tool to reveal contact zones of culture clash and power

relations in conflictrelations in conflict♦ ♦ A means to raise awareness about key concepts: otherness, A means to raise awareness about key concepts: otherness,

displacement, dislocation, hybridity and differencedisplacement, dislocation, hybridity and difference

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Deconstructing evidenceDeconstructing evidence

MAXINE HONG KINGSTON MAXINE HONG KINGSTON ((Stockton, California, 1940)Stockton, California, 1940)

Key elements: Identity crisis – Antithesis – In an in-between space Key elements: Identity crisis – Antithesis – In an in-between space – Clash of values – Marginalia – Articulateness / Silence - Gender– Clash of values – Marginalia – Articulateness / Silence - Gender

►► Her statementHer statement

““I have various ways of melding the Chinese and Western experiences. One I have various ways of melding the Chinese and Western experiences. One thing is that I will say aloud conversations in Chinese, and at the same time thing is that I will say aloud conversations in Chinese, and at the same time I am on the computer or the typewriter writing and translating with my I am on the computer or the typewriter writing and translating with my hands. My hands are writing English, but my mouth is speaking Chinese. hands. My hands are writing English, but my mouth is speaking Chinese. Somehow I am able to write a language that captures the Chinese rythms Somehow I am able to write a language that captures the Chinese rythms and tones and images, getting that power into English. I am working on and tones and images, getting that power into English. I am working on some kind of fusion language that has Chinese tonalities and accents. […] I some kind of fusion language that has Chinese tonalities and accents. […] I feel that I had to translate a whole Eastern culture and bring it to the West, feel that I had to translate a whole Eastern culture and bring it to the West, then bring the two cultures together seamlessly. That is how one makes the then bring the two cultures together seamlessly. That is how one makes the Asian American culture”.Asian American culture”.

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MAXINE HONG KINGSTON MAXINE HONG KINGSTON

►►Her writingHer writing

“ “The Chinese I know hide their names; sojourners take The Chinese I know hide their names; sojourners take new names when their lives change and guard their real new names when their lives change and guard their real names in silence.” (p. 5)names in silence.” (p. 5)

“ “Walking erect (knees straight, toes pointed forward, not Walking erect (knees straight, toes pointed forward, not pigeon-toed, which is Chinese-feminine) and speaking in pigeon-toed, which is Chinese-feminine) and speaking in an inaudible voice, I have tried to turn myself American-an inaudible voice, I have tried to turn myself American-feminine.” (p. 11)feminine.” (p. 11)

(“No Name Woman”)(“No Name Woman”)

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AMY TAN AMY TAN (Oakland, California, 1952(Oakland, California, 1952))

Key elements: Identity crisis – Antithesis – In an in-between space – Clash of Key elements: Identity crisis – Antithesis – In an in-between space – Clash of values – Silence and revelation – Displacement - Gendervalues – Silence and revelation – Displacement - Gender

►►Her statementHer statement

“ “Recently, I was made keenly aware of the different Englishes I do use. I was Recently, I was made keenly aware of the different Englishes I do use. I was giving a talk to a large group of people […] I remembered one major giving a talk to a large group of people […] I remembered one major difference that made the whole talk sound wrong. My mother was in the difference that made the whole talk sound wrong. My mother was in the room. And it was perhaps the first time she had heard me give a lengthy room. And it was perhaps the first time she had heard me give a lengthy speech, using the kind of English I have never used with her […] all the speech, using the kind of English I have never used with her […] all the forms of Standard English I did not use at home with my mother. […]forms of Standard English I did not use at home with my mother. […]

Her language, as I hear it, is vivid, full of observations and imagery. […]Her language, as I hear it, is vivid, full of observations and imagery. […] I later decided I should envision a reader for the stories I would write. And I later decided I should envision a reader for the stories I would write. And

this reader was my mother. […] So I began to write stories using all the this reader was my mother. […] So I began to write stories using all the englishes I grew up with: the English I spoke to my mother, the English she englishes I grew up with: the English I spoke to my mother, the English she used with me, my translation of her Chinese, her internal language, the used with me, my translation of her Chinese, her internal language, the rythms of her speech and the nature of her thoughts […]”.rythms of her speech and the nature of her thoughts […]”.

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AMY TAN AMY TAN (Oakland, California, 1952(Oakland, California, 1952))

► ► Her writingHer writing

“ “My mother was right, I am becoming Chinese.” (p. 267)My mother was right, I am becoming Chinese.” (p. 267) “ “Aiyi and my father speak the Mandarin dialect from their Aiyi and my father speak the Mandarin dialect from their

childhood, but the rest of the family speaks only childhood, but the rest of the family speaks only Cantonese of their village. I understand only Mandarin but Cantonese of their village. I understand only Mandarin but can´t speak it that well. […] And they stop only can´t speak it that well. […] And they stop only occasionally to talk to the rest of us, sometimes in occasionally to talk to the rest of us, sometimes in Cantonese, sometimes in English.” (p. 275)Cantonese, sometimes in English.” (p. 275)

“ “Your name also special,” he says. […] “Not just good, it´s Your name also special,” he says. […] “Not just good, it´s something pure, essential, the best quality.” (p. 282)something pure, essential, the best quality.” (p. 282)

“ “How can I describe to them in my broken Chinese about How can I describe to them in my broken Chinese about our mother´s life? Where should I begin?” (p. 288)our mother´s life? Where should I begin?” (p. 288)

(“Jing-mei Woo. A Pair of Tickets”)(“Jing-mei Woo. A Pair of Tickets”)99

CHINUA ACHEBE CHINUA ACHEBE (Ogidi, Nigeria, 1930)(Ogidi, Nigeria, 1930)

Key elements: Clash of cultures – Hybridity – Identity – Otherness – The Key elements: Clash of cultures – Hybridity – Identity – Otherness – The assertion of difference – Displacement – Dislocation – Minor narratives – assertion of difference – Displacement – Dislocation – Minor narratives – Contact zones Contact zones

►►His statementHis statement

““Art is, and always was, at the service of man. Our ancestors created their Art is, and always was, at the service of man. Our ancestors created their myths and told their stories for a human purpose”.myths and told their stories for a human purpose”.

““Any good story, any good novel, should have a message, should have a Any good story, any good novel, should have a message, should have a purpose.”purpose.”

““The English of the African will have to be a new English, still in communion The English of the African will have to be a new English, still in communion with its ancestral home but altered to suit its new African surroundings.”with its ancestral home but altered to suit its new African surroundings.”

““My revolutionary mission is to help my society regain belief in itself and put My revolutionary mission is to help my society regain belief in itself and put away the complexes of the years of denigration and self- abasement.” away the complexes of the years of denigration and self- abasement.”

““Language is a weapon and we use it, and there´s no point in fighting it.”Language is a weapon and we use it, and there´s no point in fighting it.”

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CHINUA ACHEBE CHINUA ACHEBE (Ogidi, Nigeria, 1930)(Ogidi, Nigeria, 1930)

►►His writingHis writing

““Ikemefuna had an endless stock of folk tales. Even those which Nwoye knew Ikemefuna had an endless stock of folk tales. Even those which Nwoye knew already were told with a knew freshness and the local flavor of a different already were told with a knew freshness and the local flavor of a different clan.” (p. 35)clan.” (p. 35)

“ “When they had all gathered, the white man began to speak to them. He When they had all gathered, the white man began to speak to them. He spoke through an interpreter who was an Ibo man, though his dialect was spoke through an interpreter who was an Ibo man, though his dialect was different and harsh to the ears of Mbanta. Many people laughed at his different and harsh to the ears of Mbanta. Many people laughed at his dialect and the way he used words strangely.” (p. 144)dialect and the way he used words strangely.” (p. 144)

“ “The story of this man who had killed a messenger and hanged himself would The story of this man who had killed a messenger and hanged himself would make interesting reading. One could almost write a whole chapter on him. make interesting reading. One could almost write a whole chapter on him. Perhaps not a whole chapter but a reasonable paragraph, at any rate. Perhaps not a whole chapter but a reasonable paragraph, at any rate. There was so much else to include, and one must be firm in cutting out There was so much else to include, and one must be firm in cutting out details. He had already chosen the title of the book, after much thought: details. He had already chosen the title of the book, after much thought: The Pacification of the Primitive Tribes of the Lower Niger.” The Pacification of the Primitive Tribes of the Lower Niger.” (p. 208)(p. 208)

((Things Fall Apart)Things Fall Apart)

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J. M. COETZEE J. M. COETZEE (Cape Town, 1940)(Cape Town, 1940)

Key elements: Key elements: The colonising culture as a minority – Clash of The colonising culture as a minority – Clash of cultures – In-betweeness – Contact zones – Struggle for power cultures – In-betweeness – Contact zones – Struggle for power

His statementHis statement

“ “Prose, fortunately, does not demand emotion”. Prose, fortunately, does not demand emotion”.

"Our history is such that all of a sudden ordinary people are confronted with "Our history is such that all of a sudden ordinary people are confronted with major decisions in a way that ordinary people are usually not faced by. I major decisions in a way that ordinary people are usually not faced by. I think South Africa in the past 40 years has been a place where people have think South Africa in the past 40 years has been a place where people have been faced with really huge moral debts." been faced with really huge moral debts."

“ “Coetzee personifies the split personality of whites in South Africa”.Coetzee personifies the split personality of whites in South Africa”.

“ “[…] while English then became his primary language, he remained fluent in […] while English then became his primary language, he remained fluent in Afrikaans, a language with its origins in Dutch settlers. And he has Afrikaans, a language with its origins in Dutch settlers. And he has sometimes defended Afrikaners against the stereotype that they are sometimes defended Afrikaners against the stereotype that they are uniformly racist and, as he once put it, "notably intolerant in their uniformly racist and, as he once put it, "notably intolerant in their attitudes, heartless in their conduct or indolent in their daily life." attitudes, heartless in their conduct or indolent in their daily life."

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J. M. COETZEE J. M. COETZEE (Cape Town, 1940)(Cape Town, 1940)

►►His writingHis writing

““He would not mind hearing Petrus´s story one day. But He would not mind hearing Petrus´s story one day. But preferably not reduced to English. More and more he is preferably not reduced to English. More and more he is convinced that English is an unfit medium for the truth of convinced that English is an unfit medium for the truth of South Africa. Stretches of English code whole sentences South Africa. Stretches of English code whole sentences long have thickened, lost their articulations, their long have thickened, lost their articulations, their articulateness, their articulatedness. Like a dinosaur articulateness, their articulatedness. Like a dinosaur expiring and settling in the mud, the language has expiring and settling in the mud, the language has stiffened. Pressed into the mould of English, Petrus´s story stiffened. Pressed into the mould of English, Petrus´s story would come out arthritic, bygone”. (p. 117)would come out arthritic, bygone”. (p. 117)

(Disgrace)(Disgrace)

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Merle CollinsMerle Collins(Grenada, 1950)(Grenada, 1950)

Key elements: Appropriation and hybridisation – Culture clash Key elements: Appropriation and hybridisation – Culture clash – Identity – Writing from displacement – Contact zones / – Identity – Writing from displacement – Contact zones / contact languages (creole)contact languages (creole)

►►Her statementHer statement

““My grandmother knew details about William the Conqueror which My grandmother knew details about William the Conqueror which would perhaps not have been taught in English schools and would perhaps not have been taught in English schools and perhaps not even in my grandmother´s day”.perhaps not even in my grandmother´s day”.

““[…]I feel that any colonial people have to have a revolutionary […]I feel that any colonial people have to have a revolutionary future in order to really move forward for themselves. In order to future in order to really move forward for themselves. In order to be ourselves, we have to throw out a lot of what has been given.”be ourselves, we have to throw out a lot of what has been given.”

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Merle CollinsMerle Collins(Grenada, 1950)(Grenada, 1950)

►►Her writingHer writing

““Mind emptied and filled”.Mind emptied and filled”.““[mind] skillfully twisted/ by a sin/ unequaled by Eve´s”.[mind] skillfully twisted/ by a sin/ unequaled by Eve´s”.““Grannie din remember no /Carib Chief/No Asante King […]”.Grannie din remember no /Carib Chief/No Asante King […]”.

(“The Lesson”)(“The Lesson”)

“ “Wey dey so frighten o de power/ in the deep spaces/ behind our Wey dey so frighten o de power/ in the deep spaces/ behind our watching faces/ dat they shout / NO AFRICAN LANGUAGES watching faces/ dat they shout / NO AFRICAN LANGUAGES PLEASE!/ It´s against the law!”PLEASE!/ It´s against the law!”

“ “Every time we lif we foot to do we own ting/ to fight we own fight/ Every time we lif we foot to do we own ting/ to fight we own fight/ dey tell us how British we British […]” dey tell us how British we British […]”

(“No Dialects Please”)(“No Dialects Please”)

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Grace NicholsGrace Nichols(Georgetown, Guyana, 1950)(Georgetown, Guyana, 1950)

Key elements: Appropriation and Hybridisation – Migration Key elements: Appropriation and Hybridisation – Migration Displacement- Identity – Breaking down with stereotypes – Culture Displacement- Identity – Breaking down with stereotypes – Culture Clash Clash

► ► Her statementHer statement

‘ ‘As long as you get the rhythm right, the poem works. You have to As long as you get the rhythm right, the poem works. You have to write for the ear and hear the music...’ “[Creole] an integral part write for the ear and hear the music...’ “[Creole] an integral part of my voice and how I speak’. Grace moves seamlessly between of my voice and how I speak’. Grace moves seamlessly between so-called Standard English and Creole in all her writing, drawing so-called Standard English and Creole in all her writing, drawing on influences as disparate as African rhythms, Caribbean folklore on influences as disparate as African rhythms, Caribbean folklore and English nursery rhymes. ‘There’s always the intermingling of and English nursery rhymes. ‘There’s always the intermingling of the two; Caribbean and English culture both influence each other the two; Caribbean and English culture both influence each other in my poetry”.in my poetry”.

‘ ‘I like poetry where the landscape still features.’I like poetry where the landscape still features.’

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Grace NicholsGrace Nichols(Georgetown, Guyana, 1950)(Georgetown, Guyana, 1950)

►►Her writingHer writing *Repetition of the words “out of” and “into” help to *Repetition of the words “out of” and “into” help to

link past and present. (1st and 2nd stanzas)link past and present. (1st and 2nd stanzas) *Personification of Africa as a mother (“Out of Africa *Personification of Africa as a mother (“Out of Africa

of the suckling”) (“Out of Africa of the first rains, the of the suckling”) (“Out of Africa of the first rains, the first mother”)first mother”)

*The voice of the African people (sarcastic tone) *The voice of the African people (sarcastic tone) about stereotypes (“baleful tourist glare” / “happy about stereotypes (“baleful tourist glare” / “happy Creole so-called mentality”)Creole so-called mentality”)

* Symbols to create separate images of each country * Symbols to create separate images of each country (the dryness of Africa, the tropical Caribbean and the (the dryness of Africa, the tropical Caribbean and the dampness of England)dampness of England)

(“Out of Africa”)(“Out of Africa”)

Maya AngelouMaya Angelou(St Louis, Missouri, 1928)(St Louis, Missouri, 1928)

►►Her statementHer statement

““The honorary duty of human being The honorary duty of human being is to love”.is to love”.

““I am human and nothing human can I am human and nothing human can be alien to me”.be alien to me”.

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Maya AngelouMaya Angelou(St Louis, Missouri, 1928)(St Louis, Missouri, 1928)

►►Her writingHer writing

““STILL I RISE”STILL I RISE”

*Contrast between the 1st person persona (I, marginal *Contrast between the 1st person persona (I, marginal and denigrated) and its appeal to a 2nd person (an and denigrated) and its appeal to a 2nd person (an empowered “you”)empowered “you”)

*A call to assertiveness and pride for blacks*A call to assertiveness and pride for blacks*An outcry against prejudice, humiliation and *An outcry against prejudice, humiliation and

submissionsubmission*A parallel drawn between slavery, racism and drug *A parallel drawn between slavery, racism and drug

addictionaddiction

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GWENDOLYN BROOKSGWENDOLYN BROOKS(Topeka, Kansas, 1917-2000(Topeka, Kansas, 1917-2000))

►►Her statement on the poem “We Real Cool”Her statement on the poem “We Real Cool”

““[The seven pool players] are dropouts, or at least they´re in [The seven pool players] are dropouts, or at least they´re in the poolroom when they should possibly be in school, since the poolroom when they should possibly be in school, since they´re probably young enough, or at least those I saw they´re probably young enough, or at least those I saw were when I looked in a poolroom.[…] They´re a little were when I looked in a poolroom.[…] They´re a little uncertain of the strength of their identity”.uncertain of the strength of their identity”.

““The “We” […] I say it rather softly because I want to The “We” […] I say it rather softly because I want to represent their basic uncertainty […]”.represent their basic uncertainty […]”.

““The form of this poem was determined by my feeling about The form of this poem was determined by my feeling about these boys”.these boys”.

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GWENDOLYN BROOKSGWENDOLYN BROOKS(Topeka, Kansas, 1917-2000(Topeka, Kansas, 1917-2000))

►►Her writingHer writing*Ambivalence toward the players: tragic pathos (“die *Ambivalence toward the players: tragic pathos (“die

soon”) and existential freedom (meter, epigraph, soon”) and existential freedom (meter, epigraph, alliteration and repetition)alliteration and repetition)

*Climax and brevity of existence*Climax and brevity of existence

*1st person persona choosing defiance and *1st person persona choosing defiance and nonconformitynonconformity

““We Real Cool”We Real Cool”

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Benjamin ZephaniahBenjamin Zephaniah(British Jamaican, 1958)(British Jamaican, 1958)

►►His statementHis statement

“ “My mission is to fight the dead image of poetry in My mission is to fight the dead image of poetry in academia, and to take it everywhere even to those people academia, and to take it everywhere even to those people who traditionally shun books”.who traditionally shun books”.

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Benjamin ZephaniahBenjamin Zephaniah(British Jamaican, 1958)(British Jamaican, 1958)

►►ABOUT “The British”ABOUT “The British” Directed by Najma Bhatti at Square Zero, “The British” was Directed by Najma Bhatti at Square Zero, “The British” was

shot in Spalding and features nine teenagers cast from shot in Spalding and features nine teenagers cast from local colleges, of mixed ethnicity, reciting his poem over a local colleges, of mixed ethnicity, reciting his poem over a slap up meal.Bhatti cleverly highlights the essence of “The slap up meal.Bhatti cleverly highlights the essence of “The British” illustrating just how we´ve become such a British” illustrating just how we´ve become such a wonderful melting pot of cultures, uniqueness and wonderful melting pot of cultures, uniqueness and diversity. Although well versed with the challenges of live diversity. Although well versed with the challenges of live action, the shoot was not without risk. “[…] The biggest action, the shoot was not without risk. “[…] The biggest challenge was of course in the timing, to get one continual challenge was of course in the timing, to get one continual shot with 9 teenagers all saying their lines perfectly”, said shot with 9 teenagers all saying their lines perfectly”, said Bhatti “but the kids were just fantastic and inspiring to Bhatti “but the kids were just fantastic and inspiring to work with and really brought the poem to life which is work with and really brought the poem to life which is what it was all about.”what it was all about.”

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ACROSS LANGUAGESACROSS LANGUAGES

PAINTING BACK THE EMPIREPAINTING BACK THE EMPIRE

A bird´s eye view on Postcolonial A bird´s eye view on Postcolonial Contemporary ArtContemporary Art

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MAIN THEMESMAIN THEMES Art as a political weapon against established power Art as a political weapon against established power

structuresstructures GlobalizationGlobalization IdentityIdentity HybridityHybridity Intertexuality (parody, irony and pastiche)Intertexuality (parody, irony and pastiche) Deconstruction of the European canonDeconstruction of the European canon Appropriation and multiplicity of larger narrativesAppropriation and multiplicity of larger narratives Power contestation for cultural space (urban art)Power contestation for cultural space (urban art)

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MAIN TECHNIQUESMAIN TECHNIQUES

Urban art (interventions)Urban art (interventions) Complex collages (visual and textual Complex collages (visual and textual

representations)representations) Set-like presentations (visual dramas)Set-like presentations (visual dramas) Mixed mediaMixed media Recycled elements, fabric and other Recycled elements, fabric and other

materialsmaterials Oil on canvasOil on canvas

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CONTEMPORARY CHINESE-AMERICAN ARTCONTEMPORARY CHINESE-AMERICAN ART

ZHANG HONGTUZHANG HONGTU – – Ping Pong Mao (1993)Ping Pong Mao (1993)

Quaker Oats Mao (1987)Quaker Oats Mao (1987)

ZHANG XIAOGANGZHANG XIAOGANGA BIG FAMILY (1995)A BIG FAMILY (1995)

ZHANG XIAOGANGZHANG XIAOGANGA BIG FAMILYA BIG FAMILY

Based around the concept of family: Based around the concept of family: immediate, extended and societalimmediate, extended and societal

Based on family photos from the Cultural Based on family photos from the Cultural Revolution period and European Revolution period and European surrealismsurrealism

The notion of identity within the Chinese The notion of identity within the Chinese culture of collectivismculture of collectivism

An endless repetition of imagined An endless repetition of imagined forebears and progenitors, all similar and forebears and progenitors, all similar and distinguished by minute differencesdistinguished by minute differences

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CONTEMPORARY AFRICAN ARTCONTEMPORARY AFRICAN ART MATATU ART IN NAIROBI MATATU ART IN NAIROBI

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MATATU ARTMATATU ART

A key to understand Kenya: minivans and A key to understand Kenya: minivans and buses, contradictory vehicles of freedom buses, contradictory vehicles of freedom fighters transmitting oppression fighters transmitting oppression downwards because of their rebellion downwards because of their rebellion against traffic rules.against traffic rules.

Misspellings and coinages in words and Misspellings and coinages in words and catchphrases: “`Déjà vu” – “We still catchphrases: “`Déjà vu” – “We still lovin`it” – “No one like U” – “Truss Blaque lovin`it” – “No one like U” – “Truss Blaque tattoos” – “Contagious”-tattoos” – “Contagious”-

YINKA SHONIBARE MBEYINKA SHONIBARE MBESCRAMBLE FOR AFRICA (2000)SCRAMBLE FOR AFRICA (2000)

Late Victorian England Late Victorian England and its territorial and its territorial expansion into Africa expansion into Africa during the 1880s.during the 1880s.

A historic gathering of A historic gathering of European world European world leaders claiming their leaders claiming their stake around a large stake around a large map of Africamap of Africa

Hunger for “a slice of Hunger for “a slice of this magnificent cake”this magnificent cake”

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The Victorian Philanthropist´s The Victorian Philanthropist´s ParlourParlour

Installation on 19th Installation on 19th Century Britain´s Century Britain´s wealthwealth

Relationship between Relationship between colonial “haves” and colonial “haves” and colonized “have nots”: colonized “have nots”: the repeated motif of the repeated motif of a black soccer player a black soccer player on the parlor´s on the parlor´s wallpaperwallpaper

Setlike presentation: Setlike presentation: British love for British love for costume dramascostume dramas

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CONTEMPORARY CARIBBEAN ARTCONTEMPORARY CARIBBEAN ARTHew Locke – El DoradoHew Locke – El Dorado

The Caribbean and The Caribbean and its geopolitical its geopolitical relations with relations with Europe and North Europe and North America´s tensionAmerica´s tension

A tension between A tension between containment and containment and expansionexpansion

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Arhur Simms and Peter OrnerArhur Simms and Peter OrnerGlobe: The Veldt (2004)Globe: The Veldt (2004)

HybridityHybridity Personal and Personal and

family identityfamily identity Evoking memory, Evoking memory,

loss and cross-loss and cross-cultural tiescultural ties

Spiritual and Spiritual and physical journeysphysical journeys

Alex BurkeAlex BurkeThe Spirit of Caribbean (2006)The Spirit of Caribbean (2006)

47 dolls made of fabric and 47 dolls made of fabric and other materialsother materials

A questioning of collective A questioning of collective memory through historical memory through historical narratives and a world of narratives and a world of odds and endsodds and ends

Caribbean identity building Caribbean identity building up on a field of ruins, up on a field of ruins, fertilizing a field of fertilizing a field of corpses, patching things corpses, patching things up and making a treasure up and making a treasure of nothing.of nothing.

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BUILDING BRIDGESBUILDING BRIDGES

Since 1492, the world is a mosaic that Since 1492, the world is a mosaic that shows the effects of colonialism.shows the effects of colonialism.

The Spanish Caribbean and South The Spanish Caribbean and South America, among other regions, are no America, among other regions, are no exception to this control of European exception to this control of European colonial powers.colonial powers.

No matter the colonizing language, the No matter the colonizing language, the aim is the celebration of difference and aim is the celebration of difference and the reinvention of identity.the reinvention of identity.

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LUIS PALÉS MATOS (Guyana, Puerto Rico, 1898-1959) LUIS PALÉS MATOS (Guyana, Puerto Rico, 1898-1959) DANZA NEGRADANZA NEGRA

Calabó y bambú.Calabó y bambú.Bambú y calabó.Bambú y calabó.El Gran Cocoroco dice: tu-cu-tú.El Gran Cocoroco dice: tu-cu-tú.La Gran Cocoroca dice: to-co-tó.La Gran Cocoroca dice: to-co-tó.Es el sol de hierro que arde en Es el sol de hierro que arde en

Tombuctú.Tombuctú.Es la danza negra de Fernando Poo.Es la danza negra de Fernando Poo.El cerdo en el fango gruñe: pru-pru-El cerdo en el fango gruñe: pru-pru-

prú.prú.El sapo en la charca sueña: cro-cro-cró.El sapo en la charca sueña: cro-cro-cró.Calabó y bambú.Calabó y bambú.Bambú y calabó.Bambú y calabó.

Rompen los junjunesen furiosa u.Rompen los junjunesen furiosa u.Los gongos trepidan con profunda o.Los gongos trepidan con profunda o.Es la raza negra que ondulando vaEs la raza negra que ondulando vaen el ritmo gordo de mariyandá.en el ritmo gordo de mariyandá.Llegan los botucos a la fiesta ya.Llegan los botucos a la fiesta ya.Danza que te danza la negra se da.Danza que te danza la negra se da.

Calabó y bambu.Calabó y bambu.Bambú y calabó.Bambú y calabó.El gran Cocorocó dice: tu-cu-tú.El gran Cocorocó dice: tu-cu-tú.La gran Cocoroca dice: to-co-tó.La gran Cocoroca dice: to-co-tó.

Pasan tierras rojas, islas de betún:Pasan tierras rojas, islas de betún:Haití, Martinica, Congo, Camerún;Haití, Martinica, Congo, Camerún;las papiamentosas antillas del ronlas papiamentosas antillas del rony las patualesas islas del volcán, y las patualesas islas del volcán, que en el grave sonque en el grave sondel canto se dan.del canto se dan.

Calabó y bambú.Calabó y bambú.Bambú y calabó.Bambú y calabó.Es el sol de hierro que arde en Tombuctú.Es el sol de hierro que arde en Tombuctú.Es la danza negra de Fernando Poo.Es la danza negra de Fernando Poo.El alma africana que vibrando estáEl alma africana que vibrando estáen el ritmo gordo de mariyandá.en el ritmo gordo de mariyandá.

Calabó y bambú.Calabó y bambú.Bambú y calabó.Bambú y calabó.El Gran Cocorocó dice: tu-cu-tú.El Gran Cocorocó dice: tu-cu-tú.La Gran Cocoroca dice: to-co-tó.La Gran Cocoroca dice: to-co-tó.

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NICOLÁS GUILLÉN (Camagüey, Cuba, 1902-1989)NICOLÁS GUILLÉN (Camagüey, Cuba, 1902-1989)CANTO NEGROCANTO NEGRO

¡Yambambó, yambambé!¡Yambambó, yambambé!Repica el congo solongo,Repica el congo solongo,repica el negro bien negro;repica el negro bien negro;congo solongo del Songocongo solongo del Songobaila yambó sobre un pie.baila yambó sobre un pie.

Mamatomba,Mamatomba,serembe cuserembá.serembe cuserembá.

Tamba, tamba, tamba, Tamba, tamba, tamba, tamba,tamba,tamba del negro que tamba del negro que tumba;tumba;tumba del negro, caramba,tumba del negro, caramba,caramba, que el negro caramba, que el negro tumba:tumba:¡yamba, yambó, ¡yamba, yambó, yambambé!yambambé!

El negro canta y se ajuma,El negro canta y se ajuma,el negro se ajuma y canta,el negro se ajuma y canta,el negro canta y se va.el negro canta y se va.Acuememe serembó,Acuememe serembó,aéaéyambó,yambó,aé.aé.

Tamba, tamba, tamba, Tamba, tamba, tamba, tamba,tamba,tamba del negro que tamba del negro que tumba;tumba;tumba del negro, caramba,tumba del negro, caramba,caramba, que el negro caramba, que el negro tumba:tumba:¡yamba, yambó, ¡yamba, yambó, yambambé!yambambé!