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Between Two Worlds: Jean Price-Mars, Haiti, and Africa is a special volume on Jean Price-Mars that reassesses the importance of his thought and legacy, and the implications of his ideas in the twenty-first century’s culture of political correctness, the continuing challenge of race and racism, and imperial hegemony in the modern world. Price-Mars’s thought is also significant for the renewed scholarly interests in Haiti and Haitian Studies in North America, and the meaning of contemporary Africa in the world today. This volume explores various dimensions in Price-Mars’ thought and his role as historian, anthropologist, cultural critic, public intellectual, religious scholar, pan-Africanist, and humanist. The goal of this book is fourfold: it explores the contributions of Jean Price-Mars to Haitian history and culture, it studies Price-Mars’ engagement with Western history and the problem of the “racist narrative,” it interprets Price-Mars’ connections with Black Internationalism, Harlem Renaissance, and the Negritude Movement, and finally, the book underscores Price-Mars’ contributions to post colonialism, religious studies, Africana Studies, and Pan-Africanism.
'Arts in the Margins of World Encounters' presents original contributions that deal with artworks of differently marginalized people—such as ethnic minorities, refugees, immigrants, disabled people, and descendants of slaves—, a wide variety of art forms—like clay figures, textile, paintings, poems, museum exhibits and theatre performances—, and original data based on committed, long-term fieldwork and/or archival research in Brazil, Martinique, Rwanda, India, Indonesia, Japan, Australia, and New Zealand. The volume develops theoretical approaches inspired by innovative theorists and is based on currently debated analytical categories including the ethnographic turn in contemporary art, polycentric aesthetics, and aesthetic cannibalization, among others. This collection also incorporates fascinating and intriguing contemporary cases, but with solid theoretical arguments and grounds. 'Arts in the Margins of World Encounters' will appeal to students at all levels, scholars, and practitioners in arts, aesthetics, anthropology, social inequality, and discrimination, as well as researchers in other fields, including post-colonialism and cultural organizations.
One glaring lacuna in studies of Haitian Vodou is the scarcity of works exploring the connection between the religion and its main roots, traditional Yoruba religion. Discussions of Vodou very often seem to present the religion in vacuo, as a sui generis phenomenon that arose in Saint-Domingue and evolved in Haiti, with no antecedents. What is sorely needed then is more comparative studies of Haitian Vodou that would examine its connections to traditional Yoruba religion and thus illuminate certain aspects of its mythology, belief system, practices, and rituals. This book seeks to bridge these gaps. Vodou in the Haitian Experience studies comparatively the connections and relationships between Vodou and African traditional religions such as Yoruba religion and Egyptian religion. Such studies might enhance our understanding of the religion, and the connections between Africa and its Diaspora through shared religious patterns and practices. The general reader should be mindful of the transnational and transcultural perspectives of Vodou, as well as the cultural, socio-economic, and political context which gave birth to different visions and ideas of Vodou. The chapters in this collection tell a story about the dynamics of the Vodou faith and the rich ways Vodou has molded the Haitian narrative and psyche. The contributors of this book examine this constructed narrative from a multicultural voice that engages critically the discipline of ethnomusicology, drama, performance, art, anthropology, ethnography, economics, literature, intellectual history, philosophy, psychology, sociology, religion, and theology. Vodou is also studied from multiple theoretical approaches including queer, feminist theory, critical race theory, Marxism, postcolonial criticism, postmodernism, and psychoanalysis.
Bordering the Imaginary: Art from the Dominican Republic, Haiti, and their Diasporas is an exhibition that investigates the complicated relationship between the Dominican Republic and Haiti—two nations that share a single island. The exhibition features work in a wide array of media by 19 Dominican and Haitian artists, based in both their native countries and in the United States. The artists draw on their experiences of difference, movement, and immigration to create a collective visual narrative that exposes inequalities and stereotypes of race, gender, and sexuality, which have plagued the island since the 15th century. Their work also displays the vitality of the visual arts in their communities. Through the exhibition and exhibition catalogue, Bordering the Imaginary reveals the complexities of a historically shifting transnational border space and the formation of distinct but intertwined nations.
In Esotericism in African American Religious Experience: “There is a Mystery” ..., Stephen C. Finley, Margarita Simon Guillory, and Hugh R. Page, Jr. assemble twenty groundbreaking essays that provide a rationale and parameters for Africana Esoteric Studies (AES): a new trans-disciplinary enterprise focused on the investigation of esoteric lore and practices in Africa and the African Diaspora. The goals of this new field — while akin to those of Religious Studies, Africana Studies, and Western Esoteric Studies — are focused on the impulses that give rise to Africana Esoteric Traditions (AETs) and the ways in which they can be understood as loci where issues such as race, ethnicity, and identity are engaged; and in which identity, embodiment, resistance, and meaning are negotiated.