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The African- Jamaican Aesthetics Cultural Retention and Transformation Across Borders centres on the use of African Jamaican Aesthetics in Jamaica’s literary traditions and its transformation and transmission in the diaspora.
Written by an international team of experts, this is the first work of its kind to offer comprehensive coverage of folklore throughout the African continent. Over 300 entries provide in-depth examinations of individual African countries, ethnic groups, religious practices, artistic genres, and numerous other concepts related to folklore. Featuring original field photographs, a comprehensive index, and thorough cross-references, African Folklore: An Encyclopedia is an indispensable resource for any library's folklore or African studies collection. Also includes seven maps.
Anansesem: Telling Stories and Storytelling African Maternal Pedagogies is a composite story on African Canadian mothers’ experiences of teaching and learning while mothering. It seeks to celebrate the African mother’s everyday experiences and honor her embodied and cultural knowledge as important sites of meaning making and discovery for the African child. Through the Afro-indigenous art of Anansi storytelling, memoir, creative non-fiction and illustrations, the author takes you on an evocative narrative journey that focuses on how African descended women draw upon and are central to African childrens’ cultural, social and identity development. In entering these stories, readers access their joys, sadness, strengths and weaknesses as they mother in the midst of marginalization. The book is a testament to the power of counter-storytelling for inspiring internal and external transformation.
This handbook offers the most comprehensive, analytic, and multidisciplinary study of oral traditions and folklore in Africa and the African Diaspora to date. Preeminent scholars Akintunde Akinyemi and Toyin Falola assemble a team of leading and rising stars across African Studies research to retrieve and renew the scholarship of oral traditions and folklore in Africa and the Diaspora just as critical concerns about their survival are pushed to the forefront of the field. With five sections on the central themes within orality and folklore – including engagement ranging from popular culture to technology, methods to pedagogy – this handbook is an indispensable resource to scholars, students, and practitioners of oral traditions and folklore preservation alike. This definitive reference is the first to provide detailed, systematic discussion, and up-to-date analysis of African oral traditions and folklore.
Jamaican-born novelist and sociologist Erna Brodber describes Myal as “an exploration of the links between the way of life forged by the people of two points of the black diaspora—the Afro-Americans and the Afro-Jamaicans.” Operating on many literary levels—thematically, linguistically, stylistically—it is the story of women’s cultural and spiritual struggle in colonial Jamaica. The novel opens at the beginning of the 20th century with a community gathering to heal the mysterious illness of a young woman, Ella, who has returned to Jamaica after an unsuccessful marriage abroad. The Afro-Jamaican religion myal, which asserts that good has the power to conquer all, is invoked to heal Ella, who has been left "zombified” and devoid of any black soul. Ella, who is light skinned enough to pass for white, has suffered a breakdown after her white American husband produced a black-face minstrel show based on the stories of her village and childhood. This cultural appropriation is one of a series Ella encountered in her life, and parallels the ongoing theft of the labor and culture of colonized peoples for imperial gain and pleasure. The novel‘s rich, vivid language and vital characters earned it the Commonwealth Writers’ Prize for Canada and the Caribbean. The novel links nicely with Brodber’s coming-of-age story, Jane & Louisa Will Soon Come Home, also from Waveland Press, for its similar images, themes, and specific Jamaican cultural references to colonialism, religion, slavery, gender, and identity. Both novels are Brodber’s way of telling stories outside of published history to point out the whitewashing and distortion of black history through religion and colonialism.
Working Juju examines how fantastical and unreal modes are deployed in portrayals of the Caribbean in popular and literary culture as well as in the visual arts. The Caribbean has historically been constructed as a region mantled by the fantastic. Andrea Shaw Nevins analyzes such imaginings of the Caribbean and interrogates the freighting of Caribbean-infused spaces with characteristics that register as fantastical. These fantastical traits may be described as magical, supernatural, uncanny, paranormal, mystical, and speculative. The book asks throughout, What are the discursive threads that run through texts featuring the Caribbean fantastic? In Working Juju, Nevins teases out the multilayered and often obscured connections among texts such as the Pirates of the Caribbean film series, planter and historian Edward Long's History of Jamaica, and Grenadian sci-fi writer Tobias Buckell's Xenowealth series set in the future Caribbean. Fantastical representations of the region generally occupy one of two spaces. In the first, the Caribbean fantastic facilitates an imagining of the colonial experience and its aftermath as one in which the region and its representatives exercise agency and in which the humanity of the region's inhabitants is asserted. Alternately, the fantastic is sometimes situated as a signifier of the irrational and uncivilized. The thread that unites portrayals of the fantastic Caribbean in the latter kind of works is that they tend to locate Caribbean belief systems as powerful, even at times inadvertently in contradiction to the text's ideological posture. Nevins shows how the singular "Caribbean" identity that emerges in these text is at odds with the complex historical narratives of actual Caribbean countries and colonies.
The historic Hope lands located on the Liguanea Plain in the southeastern parish of St Andrew, Jamaica, and once the site of one of the island?s earliest sugar estates, has had a long history of human settlements dating back to approximately 600 CE, the era of the indigenous Tainos. It was not until 1655, however, with the English invasion and seizure of Jamaica from the Spanish, that the Hope landscape developed into a thriving rural agrarian settlement. Generous land grants were made to the invading officers and later to immigrants from Britain and North America and from other Caribbean islands. Major Richard Hope came in possession of over 2,600 acres in the Liguanea Plain. Major Hope, unlike many of his counterparts by the 1660s, managed to establish a small sugar plantation, which developed by the mid-1700s into one of the island?s largest, most productive and technologically advanced slave sugar estates. In the 1770s the estate became the property of the Duke of Chandos and his family until 1848, when the estate was dismantled. Over 600 acres were sold to the Kingston and Liguanea Water Works Company and the remaining 1,700 acres were leased to the owner of the adjoining Papine and Mona estates. Poor accounting and border surveillance enabled several persons to possess the land, which was later sanctioned by the Limitations of Actions Law. With the government?s acquisition of the entire property in 1909, the Hope estate underwent remarkable changes in the twentieth century. By 1960 the Hope landscape was radically transformed from a sugar estate worked by hundreds of enslaved black people to a premiere urban centre of commercial, residential and educational land use.