Notes on reading Black agency in Guatemala: dismantling Black slavery while upholding White supremacy?

From my research site: https://caribbeanatlanticbibliographies.wordpress.com/

Caribbean & Atlantic Bibliographies

Blacks and Blacksness.jpgFront Cover

In “Becoming free, becoming Ladino,” Catherine Komisaruk argues that the Guatemalan Blackslavery crumbled before the 1824 dramatic emancipation. Though she acknowledged the arguments of other historians pointing to external causes (from the Haitian Revolution to the emancipation of the Spanish-American colonies), she relies more on internal and gradual developments to explain slavery’s demise.

“By the late eighteenth century slavery in Guatemala was increasingly unsustainable. Slaves were availing themselves of legal institutions and social structures to unravel their enslavement, and as the numbers of people of African descent are in free society, so too did the possibilities of slave liberation. Kingship and social networks, as well as passing unstopped into free society, continued as primary mechanisms of emancipation, while the state and reigning social ideologies persisted in legitimizing manumissions… The emancipation law of 1824 essentially ratified a long-term social transformation that was already almost complete.”

This…

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Re-Watching “Invictus”

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After Mandela’s death I rewatched the film “Invictus,” but this time I also read two film reviews: Bugliani and Baum’s. The three years since its release gave me enough distance to bypass the anticipated jovial triumph of reconciliation. Who would not like to see hundred of years of bitter clashes, cultivated racism, and the establishment of the highest form of White supremacy shattered into pieces simply after a rugby victory–even if it is against the most diverse and integrated rugby team in the world (who had even adopted the dances and moves of the once conquered people: the Maoris)? I remember how I felt the first time I saw it, and how I continued feeling for a long while. We could do this. We can forgive and forget. You cannot blame me for that. Who would not want to feel that way?

But we have been reading Evan Carton’s John Brown’s biography in class, and I have grown much since. In rewatching Invictus’ I knew that Hollywood’s goal, of a fleeting sense of victory, should be seen from a different angle.  To analyze the film anew, I needed to find a way to sail against the film’s ideological current, similarly as Atlantic sailors have played with the lateen and square rigs to forestall and even sail against oceanic wind currents.

The simple truth is that despite its good intentions and historical research, this film has serious problems— as you could see in Baum’s analysis. Yet like sailors sailing against strong ideological currents combining the use of lateen and square rigs, it is our task to propose an alternative view of the past that could do more justice to the subject of racial oppression and reconciliation.

Bugliani focuses more on the art and film’s narrative, while Baum places the film in the context of other two recent movies and within the broader historical context of slavery, race and imperialism. For Bugliani what matters is the wordless pull of the nation; the sport is only a symbol, a vehicle. And though he can seem simplistic, his piece underscores the gravity and unpredictability of the outcome. Moreover, he subtly hits on the problem of Whites’ needs supplied as opposed to that of Blacks. Baum’s more historically informed assessment lays bare the weaknesses of a film that focuses on an ephemeral and superficial reconciliation.

Yes, they all play together and even dance together, laughing and sharing the same seats. But what would happen after that moment is gone, when the differences in wealth, access to power and status continue? What will happen to the habits and prejudices cultivated for centuries in the ethos of these nations? In a way, this film seems to be asking Blacks to once more bend to the faults of the Whites. It is true that he proposed and worked hard for forgiveness, but Mandela went beyond what this film shows. Forgiveness is nothing without redress. John Brown’s approach to reconciliation seems to have contrasted with the one presented in this film. His focused on bringing equality after the law and in power too.

When the rugby team travelled to the poor Black neighborhoods to offer free rugby clinics to poor kids we all got a first look at the poverty that have stricken their lives. That view was not shown much again in the film. Poverty kills, but it is worse when it does not kill and lingers as Povertenza crippling the lives of millions of people who live in societies gushing in Affluenza.  Reconciliation means to bring people out of poverty so we can then really be at the same level. Reading this film in reverse can be an enlightening experience.

 

Junot Díaz representing the Diaspora vs. Dominican government and intellectual nationals

 

Junot Diaz Speaks Out After Insults To His Dominican-ness

 

From the outsider’s perspective, those who are not Dominican or Dominican diasporans, this news may look as a scandal, a circus show of high-profile figures throwing rotten tomatoes at each other. But from the intellectually curious’ view, the one familiar with the history of nations and imperialism, this news is much more than what it looks to either the insider or the outsider. Indeed, this news is worth noting beyond the obvious issue of the Dominican judicial racist ruling because it shows us a significant trend in world identities.

 

Beneath the journalist view, this news is a furious clash between the diaspora (Dominicans actually living outside of the DR) and national locals (Dominicans living on the east side of the island and with deep roots in Dominican soil). Those interested in studying current nationalisms, particularly the expressions of patriotism emanating from small and poorer countries struggling to maintain dignity and sovereignty, may want to pay attention to how national locals (Dominicans in the DR) are now perceiving their own diasporas: they are half-breeds, tools of foreign intervention and imperialism. In this case, viewed from the local nationals’ perspective with a long history of struggle against US imperialism, the US does not have to intervene directly on Dominican politics anymore (the Marines can stay calmly home in their military bases, and the likes of cultural diplomats like Sumner Welles can stay in their DC offices observing the drama developed, but from the outside). The Dominican diaspora in the US, already assimilated into (even when partially) modern paradigms of liberalism, can do the work of chastising the recalcitrant and outdated Dominican national visions of race and retrograding nationalisms that keep both nation-states on Hispaniola (Haiti and the DR) in constant disharmony and international source of shame.

 

The Diaspora, then, people like Junot, is not always welcome back home, neither it belongs legitimately at the center of the empire (look here for an example, to what happened recently to Marc Anthony when he tried asserting his US credentials by signing a historically US song publicly and was then openly treated as a foreign “Mexican” and not as a legitimate US citizen, nor even a Puertorrican. This is also similar (look here) to what Joe Feliciano went through in the fateful year of 1968). The diasporan can’t speak English, the imperial language, well enough to be seen a bona fide US individual (she/he does not have the looks anyways), nor can she/he articulate thoughts well in Spanish to be embraced by Dominican locals as a genuine Dominican. Without a legitimate home, the Diaspora floats around as if hanging over in space without a hard surface to land on or call home (Diasporans are the anti-nationals). The airports are its bungalows, the airlines its agents and the impersonal internet its only real network.

 

Yet, as indicated in this story, the Diaspora is ever more powerful, and despite local-national accusations of imperial complicity, the Diaspora is its own emancipated self. Perhaps it is because I am also a diasporan, have always been, I say, “Go Junot, dale pa’ lante, show them lo ignorante y atrasados que se ven.”

 

A pic with Junot Díaz after a reading in 2010.

A pic with Junot Díaz after a reading in 2010.

 

 

Junot Diaz Speaks Out After Insults To His Dominican-ness

Junot Diaz Speaks Out After Insults To His Dominican-ness

From the outsider’s perspective, those who are not Dominican or Dominican diasporans, this news may look as a scandal, a circus show of high-profile figures throwing sticky balls of mud to each other. But from the intellectually curious’ view, the one familiar with the history of nations and imperialism, this news is much more than what it looks to either the insider or the outsider alike.

Indeed, this news is worth noting even beyond the obvious issue of the Dominican judicial racist ruling. Beneath the journalist view, this is a furious clash between the diaspora (Dominicans actually living outside of the DR) and national locals (Dominicans living on the east side of the island and with deep roots in Dominican soil). Those interested in studying current nationalisms, particularly expressions of patriotism emanating from small and poorer countries struggling to maintain dignity and sovereignty, may want to pay attention to how national locals (Dominicans in the DR) are now perceiving their own diasporas: they are half-breeds, tools of foreign intervention and imperialism. In this case, viewed from the local nationals’ perspective with a long history of struggle against US imperialism, the US does not have to intervene directly on Dominican politics anymore (the Marines can stay calmly home in their military bases, and the likes of cultural diplomats like Sumner Welles can stay in their DC offices observing the drama developed, but from the outside). The Dominican diaspora in the US, already assimilated into (even when partially) modern paradigms of liberalism, can do the work of chastising the recalcitrant and outdated Dominican national visions of race and retrograding nationalisms that keep both nation-states on Hispaniola (Haiti and the DR) in constant disharmony and international source of shame.

The Diaspora, then, people like Junot, is not always welcome back home, neither belongs legitimately at the center of the empire (look here for an example, to what happened recently to Marc Anthony when he tried asserting his US credentials by signing a historically US song publicly and was then openly treated as a foreign “Mexican” and not as a legitimate US citizen, nor even a Puertorrican. This is also similar (look here) to what Joe Feliciano went through in the fateful year of 1968). The diasporan can’t speak English, the imperial language, well enough to be seen a bona fide US individual (she/he does not have the looks anyways), nor can she/he articulate thoughts well in Spanish to be embraced by Dominican locals as genuinely one of them. Without a legitimate home, the Diaspora floats around as if hanging over in space without a hard surface to land on or call home (we are the anti-nationals). The airports are its bungalows, the airlines its agents and the impersonal internet its only real networks. Yet, as indicated in this story, the Diaspora is ever more powerful, and despite local-national accusations of imperial complicity, the Diaspora is its own emancipated self. Perhaps it is because I am also a diasporan, have always been, I say, “Go Junot, dale pa’ lante, show them lo ignorante y atrasados que se ven.”

“Listen to What the Drums Say” – Jasiri X



What does it say when the young and rebellious who are on the trenches resisting racial and economic oppression, and are too smart to believe the establishment’s eulogies, continue thinking and reinterpreting the inspirational life of Mandela? There may be reasons to hope in the future.

The Daily News posted that James Baker has tried to clean Reagan from his defense of the South African Apartheid.

When even the most reactionary leaders, who once feared and disapproved of Mandela, are chanting his praises, we need critical thinkers in the front lines ready to speak truth to power.

Though unknown to many, grassroots music and other forms of artistic performances were at the vanguard of the fight against the Apartheid. Drums, in particular, were symbols of resistance since the start of slavery in the Americas. Jasiri X’s metaphor on drums, then, runs deeper than what it looks on the surface.


The lyrics to this song are here

About Jasiri X
http://www.jasirix.com
http://www.twitter.com/jasiri_x

12 Years a Slave and the Problem of Depicting Human Atrocities | Ana Lucia Araujo

12 Years a Slave and the Problem of Depicting Human Atrocities | Ana Lucia Araujo

Every now and then, thinkers and activists (of a certain kind) manage to convince producers to sponsor a film or TV show about the history of slavery that shocks the establishment. It does, not because the production is necessarily superior (it often is), but because it succeeds in inciting reflection of the intensity and current implications of slavery’s past. For many, the standard has long been Alex Haley’s novel and its inspired TV series, Roots, which transformed much of the intellectual and emotional landscape, not only in the U.S., but in Latin America and even Europe (even despite its controversies).

If college tests’ results, and media’s ignorance are any indication, I would say we need more of this and more often. Fortunately, this year we are witnessed to one of these films. I have not watched the film yet (I live far from any screening or showing), but by reading the criticism, summaries and being familiar with the primary source (autobiography) in which is based, it seems safe to think this film will add to the resources educators can use to bring life to the classroom and will stimulate much-needed intellectual discussion among lay people about a topic often cover by myth, fear and secrecy.

“12 Years” seems to markedly contrast with sweeter films like “Amazing Grace” (2006) in portraying the realities of racial oppression in more stark terms, to the point that Morgan Freeman, an actor in similar films (i.e., Glory 1989′ Invictus 2009) have publicly said he prefers not to watch it. He admitted that this type of film hits the amygdalae hard and there are limits in what a person like him can take of these hits. The crudeness of reality in this film apparently challenges our common practice of escapism in movie-watching.. It also forces watchers to make space for more anger and repulsiveness in their lives.

Time will tell the impact this film will have in the consciousness of people, in and outside of the U.S. As for me, I am eager to watch it, but should recommend reading the original source first, reviews and blogs like that of my colleague Ana Araujo.

Racism & Resident Evil 5 Part One: What is racism? |

I have been positively impressed by the work of some bloggers in their attempt to deconstruct our society at all levels, even in gaming. Look at this quotation from this blog analyzing the game “Resident Evil 5.”

E.g. the way all “civilized” characters speak english, while spanish is used as some way to exotize zombies”

Good work!

Racism & Resident Evil 5 Part One: What is racism? |.

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