Academic literature on the topic 'Negritude (Literary movement)'
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Journal articles on the topic "Negritude (Literary movement)"
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Clark, Adam. "Against Invisibility: Negritude and the Awakening of the African Voice in Theology." Studies in World Christianity 19, no. 1 (2013): 71–92. http://dx.doi.org/10.3366/swc.2013.0039.
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This paper discusses the emergence of Negritude and its contribution to the early development of African theology. The Negritude movement of the 1930s and 40s understands itself as a literary and philosophical movement that responds to colonial domination. It awakened a cultural voice African priests used to become legible in the discipline of Christian theology. Negritude was a contested category. For some, it was nothing more than a nativist philosophy that promoted a metaphysic of race; for others, Negritude was an initiative to recover African cultural values. This paper traces the Senghorian tradition of Negritude that began as a philosophy of black identity but evolved into a mode of thought that inspired blacks to reimagine African alternatives to the colonial state. Senghor's proposal of African socialism was a component of the broader struggle that influenced the development of a theology of liberation in Africa.
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Sall, Korka. "The Harlem Renaissance: A Celebration of the Black Race." Global Journal of Arts, Humanities and Social Sciences 12, no. 5 (2024): 1–8. http://dx.doi.org/10.37745/gjahss.2013/vol12n518.
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The interwar period was a watershed decade in black history due to the development of an international discourse and vehicle that focuses on a transnational solidarity and commonness of the African diaspora known as the Harlem Renaissance. Harlem Renaissance has been detrimental in the celebration of the black race and in redefining the notion of being Black in America in a more positive way. Harlem Renaissance has influenced other revolutionary movements within the black diasporic community such as the negritude movement. This paper summarizes the main events and publications that helped shape the Harlem Renaissance with the role of Black women in this cultural, philosophical and literary movement created in Harlem in the 1920s. Through this movement, transnational exchanges helped shape the black community’s worldwide experiences, and specifically formed a strong feeling of belonging, self-determination, and cultural celebration of the black race. Black writers, activists, and scholars celebrate their African heritages and call for solidarity in the black community. Thus, they challenged colonization, oppression and white supremacy, helping the black community gain independence and self-awareness.
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Dash, J. Michael. "Aimé Césaire: The Bearable Lightness of Becoming." PMLA/Publications of the Modern Language Association of America 125, no. 3 (2010): 737–42. http://dx.doi.org/10.1632/pmla.2010.125.3.737.
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Allons, la vraie poésie est ailleurs. Come on, true poetry lies elsewhere.—Suzanne CésaireThe Recent Death of AIMÉ Césaire has Been an Occasion for Extolling his Virtues As Venerable Patriarch, Founding Father, and sovereign artist. Even his fiercest critics have considered him a unique poet-politician worthy of being interred in the Pantheon by the French state. Members of the créolité movement, such as Raphael Confiant and Patrick Chamoiseau, hailed him as the “nègre fondamental” ‘foundational black man,’ who was also like the father of the Martinican people. Confiant reiterated his filial devotion as Césaire's “fils à jamais” ‘son forevermore,’ and Chamoiseau identified him as the “maître-marronneur” ‘master Maroon.’ This wave of adulation tends to emphasize the militant poet-politician that Césaire never quite was. He was arguably the founder neither of a nation nor of a people nor, for that matter, of a movement. While he coined the word négritude, he was less the founder of the negritude movement than was his contemporary Léopold Sédar Senghor, who set about creating a totalizing, biologically based ideology around the concept of negritude. Perhaps even more telling is his view of the Haitian leader Henry Christophe as tragically flawed because of Christophe's obsession with founding a people. The protagonist of the play La tragédie du roi Christophe (The Tragedy of King Christophe) is a heedless builder, so obsessed by the need to construct and to found that he destroys himself, leaving behind the massive stone ship of the Citadelle as his legacy.
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Miller, Christopher L. "The (Revised) Birth of Negritude: Communist Revolution and “the Immanent Negro” in 1935." PMLA/Publications of the Modern Language Association of America 125, no. 3 (2010): 743–49. http://dx.doi.org/10.1632/pmla.2010.125.3.743.
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For Several Decades, Scholars have Believed, for Lack of Evidence to the Contrary, That Négritude—One of the Key Terms of identity formation in the twentieth century—appeared in print for the first time in Aimé Césaire's Cahier d'un retour au pays natal (Notebook of a Return to the Native Land), in 1939. This consensus reflects a revision of what the cofounders (with Césaire) of the negritude movement, Léopold Sédar Senghor and Léon Damas, had remembered and stated. Senghor said in 1959 that “the word [négritude] was invented by Césaire in an article in the newspaper that bore the title L'Etudiant noir” (qtd. in Ako 347). In an interview published in 1980, Damas said, “Césaire coined this word in L'Etudiant noir” (qtd. in Ako 348). But L‘étudiant noir was a phantom. Lilyan Kesteloot, in her groundbreaking study Black Writers in French, attempted to summarize the content of L‘étudiant noir without seeing a single issue of it; none was available to her (84n2).
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Duke, Dawn. "In Poetic Memory of Zumbi’s Palmares and Abdias do Nascimento’s Quilombismo. In Homage to Abdias do Nascimento (1914-2011)." Aletria: Revista de Estudos de Literatura 28, no. 4 (2018): 11–29. http://dx.doi.org/10.17851/2317-2096.28.4.11-29.
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Modern urban formations of the Arts (such as the literary published phenomenon known as Cadernos negros) and activism have roots in the Zumbi-Palmares legacy. Quilombismo, created by Abdias do Nascimento, serves to explain this experience. A contemporary philosophy of identity and nationhood, Quilombismo mirrors Negritude, embracing transformations that erode injustice and inequality. It emerged as a product of Nascimento’s commitment to politics, the Black Movement, literature, and theater. He envisioned his art, speeches, essays, and activism as part of the global anti-racist democratization; his writings reveal influences from Pan-Africanism and a deep commitment to Afro-Brazil. The elevation of quilombo from maroonage and black rural communities to the level of philosophy has provided impetus to date, as literature and activism maintain momentum in an era of diversity. Moving beyond fleeing black bodies in search of Palmares, an image frozen in time, this thinker has provoked dynamic perceptions of cultural affirmation, ensuring the survival of values associated with Zumbi’s Palmares.
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Perisic, Alexandra. "Aimé Césaire’s Yugoslav Detour." Small Axe: A Caribbean Journal of Criticism 27, no. 2 (2023): 1–17. http://dx.doi.org/10.1215/07990537-10795167.
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In 1935, while visiting his friend Petar Guberina in Dalmatia, Aimé Césaire saw an island by the name of Martinska (the equivalent of Martinique). Shocked by this discovery, he began writing his Notebook of a Return to the Native Land. While acknowledged, this Yugoslav connection tends to be mentioned as merely anecdotal. This essay argues that Yugoslavia represented an important detour for Césaire. Césaire’s friendship with Guberina and his discovery of Martinska allowed him to see how the particularity of his historical experience as a member of the African diaspora could also serve as the basis for solidarity with other oppressed people. Whereas the accusation of racial essentialism has long followed the founders of the Negritude movement, the Yugoslav connection invites a more layered and nuanced reading of the Notebook, whose unusual origins resonate throughout its verses, positioning it as a text always already in Relation.
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Mehta, Brinda J. "Migritude and Kala Pani Routes in Shumona Sinha’s Assommons les pauvres (Let Us Strike Down the Poor)." Minnesota review 2020, no. 94 (2020): 85–103. http://dx.doi.org/10.1215/00265667-8128435.
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The term migritude was first coined by French theorist Jacques Chevrier to characterize “extracontinental” francophone sub-Saharan literatures that have their roots in negritude and immigration. Kenyan cultural artist Shailja Patel later expanded the term to include South Asian “migrants with attitude.” This article further expands the current framings of migritude by linking it to the historical movement of kala pani, or nineteenth-century Indian indenture. The idea of kala pani migritude reveals an engagement with clandestine migration, identity, language, translation, and geography, both rooted in France and routed along treacherous seaways. Shumona Sinha’s novel Assommons les pauvres also focuses on the experiences of the privileged immigrant narrator whose story is a core part of the novel. Sinha has the privilege to narrate the stories of the migrants for them in her coveted role as a translator. Her stories are mediated by her ambivalence toward the migrants, for whom she feels shame and disgust, and her own tentative attempts to assimilate Frenchness as a normative ideal. This article offers a contrapuntal reading of Sinha’s novel through the lens of kala pani migritude to determine whether migrant subjectivity in a mediated narrative is an ultimately temporary, fleeting, or failed act.
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MERDACI, Nadjia. "Émergence d’un genre littéraire. La poésie subsaharienne de langue française des lendemains de la Seconde Guerre mondiale aux indépendances." ALTRALANG Journal 4, no. 02 (2022): 279–95. http://dx.doi.org/10.52919/altralang.v4i02.216.
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Emergence of a Literary Genre: French-Language Sub-Saharan Poetry from The Aftermath of the Second World War to Independence
 ABSTRACT: Poetry emerged in the late 1940s in sub-Saharan Africa and Madagascar as a literary genre consecrated by anthologies highlighting the quality of authors and their works. If the figure of the Senegalese poet Leopold Sédar Senghor, one of the founders of the Negritude movement, was essential and decisive, pioneers of the genre, like the Senegalese Birago Diop, the Malagasy Rabearivelo, Rabemananjara and Rainovo, were able to fix culturalist and heritage inspirations. This inaugural poetry was not always attuned to reality, precisely to the colonial situation, sometimes marking a break with present history. A new generation arose in the 1950s, renewing poetic writing and its political orientation. The poetic itineraries and anti-colonial commitments of the Senegalese David Diop, the Cameroonian Ruben Um Nyobé and the Guinean Keita Fodéba introduce an evolution of the genre, both stylistically and thematically.
 RÉSUMÉ : La poésie émerge, vers la fin des années 1940, en Afrique subsaharienne et à Madagascar comme un genre littéraire consacré par des anthologies mettant en évidence la qualité des auteurs et de leurs œuvres. Si la figure du poète sénégalais Léopold Sédar Senghor, un des fondateurs du mouvement de la Négritude, fut essentielle et déterminante, des pionniers du genre, à l’instar du Sénégalais Birago Diop, des Malgaches Rabearivelo, Rabemananjara et Rainovo, ont pu en fixer des inspirations culturalistes et patrimoniales. Cette poésie inaugurale ne fut pas toujours accordée au réel, précisément à la situation coloniale, marquant parfois une rupture d’avec l’Histoire présente. Une nouvelle génération se lève dans les années 1950, renouvelant l’écriture poétique et son orientation politique. Les itinéraires poétiques et les engagements anticoloniaux du Sénégalais David Diop, du Camerounais Ruben Um Nyobé et du Guinéen Keita Fodéba introduisent une évolution du genre, autant stylistique que thématique.
 
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Arnold, A. James. "The erotics of colonialism in contemporary French West Indian literary culture." New West Indian Guide / Nieuwe West-Indische Gids 68, no. 1-2 (1994): 5–22. http://dx.doi.org/10.1163/13822373-90002658.
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Argues that creolité, antillanité and Negritude are not only masculine but masculinist as well. They permit only male talents to emerge within these movements and push literature written by women into the background. Concludes that in the French Caribbean there are 2 literary cultures: the one practiced by male creolistes and the other practiced by a disparate group of women writers.
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Garuba, Harry. "Race in Africa: Four Epigraphs and a Commentary." PMLA/Publications of the Modern Language Association of America 123, no. 5 (2008): 1640–48. http://dx.doi.org/10.1632/pmla.2008.123.5.1640.
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“Look, a Negro!” It was an external stimulus that flicked over me as I passed by. I made a tight smile.“Look, a Negro!” It was true. It amused me.“Look, a Negro!” The circle was drawing a bit tighter. I made no secret of my amusement.“Mama, see the Negro! I am frightened!” Frightened! Frightened! Now they were beginning to be afraid of me. I made up my mind to laugh myself to tears, but laughter had become impossible.—Frantz Fanon, “The Fact of Blackness” (111–12)The racialization of the Tutsi/Hutu was not simply an intellectual construct, one which later and more enlightened generations of intellectuals could deconstruct and discard at will. More to the point, racialization was also an institutional construct. Racial ideology was embedded in institutions, which in turn undergirded privilege and reproduced racial ideology. It was this political-institutional fact that intellectuals alone would not be able to alter. Rather, it would take a political-social movement to be dismantled.—Mahmood Mamdani, When Victims Become Killers (87)Far back as one may go into the past, from the northern Sudanese to the southern Bantu, the African has always and everywhere presented a concept of the world which is diametrically opposed to the traditional philosophy of Europe.—Leopold Sedar Senghor, “Negritude: A Humanism of the Twentieth Century” (30)Sango's history is not the history of primal becoming but of racial origin, which is historically dated.—Wole Soyinka, Myth, Literature and the African World (9)These four epigraphs give a sense of the diversity of usages of the category of race in Africa and the discourses and practices that coalesce around these usages. I use the textual fragments to open up questions about race in Africa, to explore the various discursive economies in which race is articulated and circulates, and the registers and vocabularies in which responses to it have been conducted. The approach adopted is therefore metonymic: each fragment represents a larger body of texts and practices that broadly constitute a discourse defined by a set of shared characteristics. My purpose is not to discuss exhaustively these characteristics but rather to draw rough distinctions among the conditions that govern their articulation and circulation. In this way I can indicate the network of social, historical, and discursive relations in which the idea of race functions.
Dissertations / Theses on the topic "Negritude (Literary movement)"
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Thiam, Cheikh Ahmadou Bamba. "A philosophy at the crossroads the shifting concept of negritude in Leopold Sedar Senghor's oeuvre /." Diss., Online access via UMI:, 2007.
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Durão, Gustavo de Andrade. "A construção da negritude = a formação da identidade do intelectual através da experiência de Léopold Sédar Senghor (1920-1945)." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279300.
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Previous issue date: 2011<br>Resumo: Este trabalho propõe-se analisar a trajetória do escritor senegalês Léopold Sédar Senghor (1906-2001) no que tange à criação e participação ativa no movimento artístico e literário conhecido como Negritude. As movimentações literárias dos escritores norte-americanos e a valorização das formas de arte associadas ao negro-africano serão fundamentais para a formação dos alicerces teóricos da Negritude. A escolha da obra de Senghor "Liberté I: Négritude et Humanisme? contém interpretações importantes do seu pensamento na defesa e divulgação dos valores dos povos negro-africanos. Através desta obra se pretende compreender melhor o que foi o movimento da Negritude e o que ele representou para os escritores negros perante a realidade colonial francesa. Diante disso, este trabalho propõe um recorte temático temporal que vai de 1920 até 1945, quando Senghor e os próprios criadores da Negritude direcionam o conceito e a noção de negritude como sendo algo que vai legitimar a luta política em oposição ao colonialismo francês<br>Resumé: L'objectif de ce travail est d'analyser la trajectoire de l'écrivain sénégalais Léopold Sédar Senghor (1906-2001) en ce qui concerne sa création et engagement au mouvement artistique et littéraire connu sous le nom de Négritude. La prise de conscience des écrivains nord-américains et la valorisation de toutes les formes d'art liées au noir-africain seront mise en étude comme la base théorique de la Négritude. L'oeuvre de Senghor "Liberté I: Négritude et Humanisme? montre des interprétations importantes de sa pensée en défense et diffusion des valeurs des peuples Noirs africains. A partir de cette oeuvre, on cherche à mieux comprendre le mouvement de la Négritude et son importance par rapport aux écrivains noirs du contexte colonial français. Ainsi, ce travail propose un extrait thématique de 1920 jusqu'à 1945, quand Senghor et les créateurs de la Négritude mènent le concept et la notion de négritude vers la légitimation de la lutte politique en opposition au colonialisme français<br>Abstract: This study proposes to examine the trajectory of the Senegalese writer Leopold Sedar Senghor (1906-200 I) regarding the establishment and active participation in artistic and literary movement known as Blackness. The awareness of North-American writers and appreciation of art forms associated with black African will be related to the theoretical foundations of Blackness. The choice of the masterpiece of Senghor 'Liberti 1: Negritude et Humanisme' contains important interpretations of his thought in upholding and disseminating the values of the Black African people. Through this work is intended to better understand what was the Blackness movement and what he represented for black writers before the French colonial reality. Thus, this paper proposes a temporal thematic focus that goes from 1920 until1945, when Senghor and the creators themselves drive the concept of Blackness and the notion of blackness as something that will legitimize the political struggle in opposition to French colonialism<br>Mestrado<br>Historia Social<br>Mestre em História
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Saito, Midori. "Reading Jean Rhys in the context of Caribbean literature : re-positioning her texts in the Negritude movement and the Caribbean literary renaissance in London." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/4804/.
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This thesis locates Jean Rhys’ texts specifically within the context of Negritude and the Caribbean literary Renaissance in London. The thesis reads the texts within the context of Caribbean literature and challenges the trend in Rhys’ criticism that segregates her from black Caribbean writers. Positioning Rhys in relation to both her Caribbean male and female contemporaries, I argue for the contexualising of her fiction in the body of Caribbean literature. I also seek to unveil links between Rhys and black Caribbean women writers through a shared critique of gender and I offer a contrapuntal reading of Rhys’ texts as Caribbean literature. Beginning with a consideration of Rhys’ texts in relation to both European modernists’ and surrealists’ texts, I emphasise her different perspective on the cultural ‘other’. I see this difference as crucial when examining her relationship with Caribbean modernism, notably with the Negritude movement. Rhys’ texts are contrasted to works of specific Negritude writers, notably Claude McKay and Aimé Césaire, who were both deeply influenced by modernist aesthetics. Rhys’ texts are compared to those of Negritude women writers such as Suzanne Lacascade and Mayotte Capécia, especially in relation to their shared challenge to patriarchy and resisting the notion of essentialist racial categories. A similar comparison is made in the context of the Caribbean Literary Renaissance specifically in relation to the BBC’s Caribbean Voices and the Caribbean Artists Movement (CAM) in London. Rhys’ ambivalence towards national identity as well as to Western feminism is compared to Una Marson’s radical feminism, analysed in view of Sylvia Wynter’s theoretical insights. Finally Wide Sargasso Sea is mapped against Rhys’ contemporary Caribbean male writers’ rewriting of The Tempest, demonstrating that Rhys’ rewriting of Jane Eyre is an articulation of Caribbean feminism.
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Teodoro, Lourdes. "Modernisme brésilien et négritude antillaise : Mário de Andrade et Aimé Césaire /." Paris ; Montréal (Québec) : l'Harmattan, 1999. http://catalogue.bnf.fr/ark:/12148/cb376738958.
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Bundu, Malela Buata. "L'Homme pareil aux autres: stratégies et postures identitaires de l'écrivain afro-antillais à Paris, 1920-1960." Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210803.
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Cette étude porte sur le fait littéraire afro-antillais de l’ère coloniale (1920-1960). Il s’agit d’examiner les stratégies des agents à partir des cas de René Maran, Léopold Sédar Senghor, Aimé Césaire, Édouard Glissant et Mongo Beti et de percevoir comment ils se définissent leur identité littéraire et sociale.<p>Pour ce faire, notre démarche s’articule en deux temps :(1) examiner les conditions de possibilité d’un champ littéraire afro-antillais à Paris (colonisation française et ses effets, configuration d’un champ littéraire pré-institutionnalisé, etc.) ;(2) analyser les processus de consolidation du champ, ainsi que les luttes internes qui opposent deux tendances émergentes représentées d’abord par Senghor et Césaire, ensuite par Beti et Glissant, dont les prises de position littéraires mettent en œuvre des « modèles empiriques » ;ceux-ci régulent et unifient leurs rapports au monde et à l’Afrique.<p><p>This study relates to afro-carribean literature in colonial period (1920-1960). We want to examine the strategies of agents like René Maran, Léopold Sédar Senghor, Aimé Césaire, Édouard Glissant and Mongo Beti ;and we want to understand how they invente literary and social identity.<p>Our approach is structured in two steps: we shall analyse (1) the conditions for an afro-carribean literary field to appear in Paris (french colonialism and its consequences, configuration of literay field.) ;(2) the consolidation of this field and the internal struggles between two tendances represented by Senghor and Césaire, by Glissant and Beti whose literary practice shows the “empirical model” that regularizes and consolidates their relation with the world and Africa.<br>Doctorat en philosophie et lettres, Orientation langue et littérature<br>info:eu-repo/semantics/nonPublished
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Ripert, Yohann C. "Rethinking Négritude: Aimé Césaire & Léopold Sédar Senghor and the Imagination of a Global Postcoloniality." Thesis, 2017. https://doi.org/10.7916/D8571QC0.
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This dissertation calls into question the critique that has depicted the Francophone literary movement known as Negritude as a sole vehicle of black essentialism. By looking at recently published anthologies, archival documents, and lesser-known texts from 1935 to 1966, I show that in addition to the discourse on a fixed ‘blackness’ engraved in the neologism ‘Negritude,’ there is another set of discourses that forces us to rethink the movement as a philosophy of becoming. In particular, this dissertation stages the year 1948, when Jean-Paul Sartre gave Negritude its fame with the publication of his influential essay “Black Orpheus,” as a pivot for the definition of the movement as well as its reception. Since 1948, most of the critical engagement with Negritude has happened either through a reading of Sartre’s essay or the limited corpus that was available at the time. I thus argue that, by reading a broader range of the poets of Negritude’s literary and cultural production, one gets a sense that their vindication of Blackness is not only an essentialized invocation of a romanticized past, it is also an imagined unity within an evolving postcoloniality.
This dissertation covers three areas within which this constantly reimagined unity is staged, from the youthful local publications of Aimé Césaire and Léopold Sédar Senghor from 1935 to 1948, to their mature global interactions as statesmen in Dakar, Fort-de-France, Paris and Rome from 1948 to 1966. First, it looks at language and analyzes the relation of the poets to French. While the choice to adopt the idiom of the former colonizer has been criticized by merely every reader of Negritude, I show that they used French as a tool enabling violation, negotiating their relation to the metropole as well as other colonies. Second, it interrogates the often overlooked concept of métissage as common element for colonized subjects. With particular attention to problems of translation, I analyze how the poets used métissage as a political and ethical concept in order to reach to the African diaspora without referring to Europe as the unavoidable mediator. Third, it focuses on the First World Festival of Negro Arts held in Dakar in 1966 as instrument for political practice. By investigating extensive documentation on the Festival’s organization, especially the influential role and presence of the United States, I show that art was used as a political tool to stage postcolonial unity in an otherwise global and competitive diversity.
Books on the topic "Negritude (Literary movement)"
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Townsel, Sylviane. Négritude dans la littérature franco-antillaise: Condé et Césaire, deux écrivains baignés dans deux cultures différentes. Pensée universelle, 1992.
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Césaire, Aimé. Aimé Césaire: Le discours sur la negritude, Miami 1987 = Aimé Césaire : discourse on negritude, Miami 1987. Conseil général de la Martinique, Bureau de la communication et des relations avec la presse, 2003.
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Isabelle, Constant, and Mabana Kahiudi Claver 1957-, eds. Negritude: Legacy and present relevance. Cambridge Scholars, 2009.
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Isabelle, Constant, and Mabana Kahiudi Claver 1957-, eds. Negritude: Legacy and present relevance. Cambridge Scholars, 2009.
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Lundahl, Mikela. Vad är en Neger?: Negritude, essentialism, strategi. Glänta produktion, 2005.
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Michael, Colette Verger. Negritude: An annotated bibliography. Locust Hill Press, 1988.
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Séphocle, Marilyn. Die Rezeption der "Negritude" in Deutschland. H.-D. Heinz, 1991.
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Jean-Baptiste-Édouard, Roland. Césaire, ce rebelle bien-aimé: Essai. K. Éditions, 2018.
Find full textBook chapters on the topic "Negritude (Literary movement)"
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"Oceanitude." In The Ocean on Fire. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059059-003.
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This chapter presents the counterhegemonic ideology to Isletism: “Oceanitude.” Coined in 2015 by ni-Vanuatu novelist Paul Tavo, Oceanitude is a literary, philosophical, and political current theorizing Pacific collective identity in times of nuclear imperialism and carbon imperialism. This philosophy challenges the Western-led glorification of Cartesianism, or the belief that (some hu)man(s) can become master and possessor of nature. Philosophers of Oceanitude suggest that in the Pacific, modes of being in the world stem from the consciousness of sharing a genealogical relationship with the ocean, which can only be protected collectively. Inspired by the anti-Cartesian Black liberation movement known as Negritude, Oceanitude can create new solidarities across islands and oceans and illuminate current struggles such as the fight against settler desecration from the Black Atlantic to Mauna Kea.