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Journal articles on the topic 'Negritude movement'
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1
Jeffers, Chike. "Recent Work on Negritude." Journal of French and Francophone Philosophy 24, no. 2 (December 21, 2016): 304–18. http://dx.doi.org/10.5195/jffp.2016.753.
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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 (April 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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Diagne, Souleymane Bachir. "Negritude, Universalism, and Socialism." Symposium 26, no. 1 (2022): 213–23. http://dx.doi.org/10.5840/symposium2022261/211.
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It is important to read afresh today the meaning of the Negritude movement without reducing it, as is often the case, to a counter-es-sentialism in response to the essentialism of the discourse of coloni-alism; to realize that Senghor, Césaire, and Damas were irst and foremost global philosophers, that is, thinkers of the plural and de-centred world that the Bandung conference of 1955 had promised. Thus, their different perspectives converge as the task of thinking a humanism for our times based on a non-imperial universal, a univer-sal of encounter and translation founded on equality. And, conse-quently, a socialism that is, in its different translations, a force of emancipation, but also of humanization and spiritualization of the earth. That task is still ours.
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Assani, Akimou. "La migritude ou l’alchimie d’une altérité onirique : espace et identité dans le roman africain francophone." Caietele Echinox 38 (June 30, 2020): 309–18. http://dx.doi.org/10.24193/cechinox.2020.38.24.
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The publication of the Senegalese writer Fatou Diome’s Le Ventre de l’Atlantique (The Belly of the Atlantic) in 2003 revealed to the general public a new theme of predilection among African writers of the “new generation:” the writing of immigration and the claim of a global identity. In analogy to the movement of Negritude that fought for the affirmation and recognition of the black man and his culture, Jacques Chevrier called it “migritude.” While negritude is meant to be the affirmation of an existing identity, “migritude” instead claims the integration of that identity into the universal crucible of world citizenship. Achievable dream or chimerical delusions? Our work is aimed at seeking relevant answers to these questions.
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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 (May 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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Ilyina, L. E., and A. A. Beregovaya. "THE NEGRITUDE MOVEMENT AND ITS SIGNIFICANCE IN THE FORMATION OF FRENCH-LANGUAGE AFRICAN LITERATURE." Vestnik Volzhskogo universiteta im V N Tatishcheva 2, no. 2 (2022): 81–88. http://dx.doi.org/10.51965/20767919_2022_2_2_81.
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Drabinski, John E. "Shorelines: In Memory of Édouard Glissant." Journal of French and Francophone Philosophy 19, no. 1 (June 13, 2011): 1–10. http://dx.doi.org/10.5195/jffp.2011.473.
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Édouard Glissant passed away on 4 February 2011 at the age of 82. A few words of memory. As a person and thinker, Glissant lived through, then reflected with meditative patience and profundity upon some of the most critical years in the black Atlantic: the aesthetics and politics of anti-colonial struggle, the civil rights movement in the United States, postcolonial cultural anxiety and explosion, the vicissitudes of an emerging cultural globalism, and all of the accompanying intellectual movements from surrealism to negritude to existentialism to those varieties of high modernism and postmodernism for which Glissant himself is such a generative, founding resource. His life bears witness to those years, events, and movements with a poet’s word and a philosopher’s eye. And so Glissant, like all important thinkers, leaves for us an enormous gift – in his case, a new, enigmatic vocabulary of and for the Americas.
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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 (May 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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Pyrova, Tatiana Leonidovna. "Philosophical-aesthetic foundations of African-American hip-hop music." Философия и культура, no. 12 (December 2020): 56–62. http://dx.doi.org/10.7256/2454-0757.2020.12.34717.
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This article is dedicated to the philosophical-aesthetic foundations of African-American hip-hop music of the late XX century. Developed by the African philosopher Leopold Senghor, the author of the theory of negritude, concept of Negro-African aesthetics laid the foundations for the formation of philosophical-political comprehension and development of the principles of African-American culture in the second half of the XX century in works of the founders of “Black Arts” movement. This research examines the main theses of the aesthetic theory of L. Senghor; traces his impact upon cultural-political movement “Black Art”; reveals which position of his aesthetic theory and cultural-political movement “Black Arts” affected hip-hop music. The author refers to the concept of “vibe” for understanding the influence of Negro-African aesthetics upon the development of hip-hop music. The impact of aesthetic theory of Leopold Senghor upon the theoretical positions of cultural-political movement “Black Arts” is demonstrated. The author also compares the characteristics of the Negro-African aesthetics and the concepts used to describe hip-hop music, and determines correlation between them. The conclusion is made that the research assessment of hip-hop music and comparative analysis of African-American hip-hop with the examples of global hip-hop should pay attention to the philosophical-aesthetic foundations of African-American hip-hop and their relation to Negro-African aesthetics, which differs fundamentally from the European aesthetic tradition.
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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 (December 28, 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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Sanni, John Sodiq. "The Negritude Movement: W.E.B Du Bois, Leon Damas, Aime Cesaire, Leopold Senghor, Frantz Fanon, and the evolution of an insurgent idea." Journal of Contemporary African Studies 38, no. 4 (October 1, 2020): 652–56. http://dx.doi.org/10.1080/02589001.2020.1825652.
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Bongie, Chris. "Francophone conjunctures." New West Indian Guide / Nieuwe West-Indische Gids 71, no. 3-4 (January 1, 1997): 291–307. http://dx.doi.org/10.1163/13822373-90002610.
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[First paragraph]Decolonizing the Text: Glissantian Readings in Caribbean and African-American Literatures. DEBRA L. ANDERSON. New York: Peter Lang, 1995. 118 pp. (Cloth US$46.95)L'Eau: Source d'une ecriture dans les litteratures feminines francophones. YOLANDE HELM (ed.). New York: Peter Lang, 1995. x + 295 pp. (Cloth US$ 65.95)Postcolonial Subjects: Francophone Women Writers. MARY JEAN GREEN, KAREN GOULD, MICHELINE RICE-MAXIMIN, KEITH L. WALKER & JACK A. YEAGER (eds.). Minneapolis: University of Minnesota Press, 1996. xxii + 359 pp. (Paper US$ 19.95)Statue cou coupe. ANNIE LE BRUN. Paris: Jean-Michel Place, 1996. 177 pp. (Paper FF 85.00) Although best remembered as a founding father of the Negritude movement along with Aime Cesaire, Leopold Senghor was from the very outset of his career equally committed - as both a poet and a politician - to what he felt were the inseparable concepts of la francophonie and metissage. Senghor's has been an unabashedly paradoxical vision, consistently addressing the unanswerable question of how one can be essentially a "black African" and at the same time (in Homi Bhabha's words) "something else besides" (1994:28). In his "Eloge du metissage," written in 1950, Senghor ably described the contradictions involved in assuming the hybrid identity of a metis (an identity that offers none of the comforting biological and/or cultural certainties - about "rhythm," "intuition," and such like - upon which the project of Negritude was founded): "too assimilated and yet not assimilated enough? Such is exactly our destiny as cultural metis. It's an unattractive role, difficult to take hold of; it's a necessary role if the conjuncture of the 'Union francaise' is to have any meaning. In the face of nationalisms, racisms, academicisms, it's the struggle for the freedom of the Soul - the freedom of Man" (1964:103). At first glance, this definition of the metis appears as dated as the crude essentialism with which Senghor's Negritude is now commonly identified: in linking the fate of the metis to that of the "Union francaise," that imperial federation of states created in the years following upon the end of the Second World War with the intention of putting a "new" face on the old French Empire, Senghor would seem to have doomed the metis and his "role ingrat" to obsolescence. By the end of the decade, the decolonization of French Africa had deprived the "Union franchise" of whatever "meaning" it might once have had. The uncompromisingly manichean rhetoric of opposition that flourished in the decolonization years (and that was most famously manipulated by Fanon in his 1961 Wretched of the Earth) had rendered especially unpalatable the complicities to which Senghor's (un)assimilated metis was subject and to which he also subjected himself in the name of a "humanism" that was around this same time itself becoming the object of an all-out assault in France at the hands of intellectuals like Foucault.
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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 (May 1, 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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Decker, Robert. "Negritude’s Problem with History." Small Axe: A Caribbean Journal of Criticism 23, no. 2 (July 1, 2019): 57–71. http://dx.doi.org/10.1215/07990537-7703279.
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This essay argues for the recuperation of the writings of Léonard Sainville, a founding member of Negritude, and the incorporation of his work into the movement’s canon. Sainville was a historian and novelist whose work mitigates Negritude’s undertheorization of the concept of history and critiques European historiographical methods. Whereas writers such as Aimé Césaire and Léopold Sédar Senghor present Negritude, paradoxically, as both establishing continuity between the modernist present and the African past and marking a historical break from their poetic predecessors, Sainville argues that Pan-Africanism cannot form a sufficient basis for Negritude without sustained analysis of the cultural and historical evolution of both continental African and diasporic communities. Sainville’s historiographic intervention blurs the distinction between anti- and postcolonial thought, suggesting that the latter’s critiques of history do not follow necessarily from the failure of postcolonial history to follow the trajectory laid out for it by narratives of anticolonial overcoming.
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Chukwujekwu, Ejike Sam-Festus. "African Philosophy in the Contemporary World." Logos et Praxis, no. 2 (September 2019): 143–49. http://dx.doi.org/10.15688/lp.jvolsu.2019.2.13.
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This author focuses on African philosophy issues, ideas and the major trends of its development in the contemporary world. The researcher emphasizes that one of the main trends in the development of African philosophy in the contemporary world is the search for African identity, ideas of African renaissance. The development of African philosophy in the early and mid 20th century had the immense influence of the anticolonial movement, which resulted in rapid development of socio-political movements. The article discusses the most influential of them, such as negritude, Pan-Africanism, African socialism, and others. The paper is of particular interest due to the fact that the countries of this continent have undergone a different path of development. From the very moment of the discovery of the continent, the states located in it were viewed and existed as colonies of European countries, i.e. they were ruled by the metropolis, which established its political and economic power. In addition to the negative impact of the metropolis it had a positive one. With the arrival of the Europeans European culture and values came, that ultimately led to the fight for independence. The article also discusses the major stages of European colonization of the 15th-19th centuries, also the difficulties and challenges in obtaining freedom from the metropolis, which became a new impetus for the development of philosophical views. Taking into account African identity and European culture and values, the significant role of the African Renaissance and socio-political teachings are considered as a way of developing African philosophy in the modern world. The author pays special attention to the African historiographic survey, to four periodization stages of African philosophy: (early period, second period, late period, and a new era). The researcher also presents traditional thought and suggestions of a typology of tendencies by African philosophers in modern African philosophy.
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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 (December 30, 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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Villeroy, Erika. "BALLET FOLCLÓRICO MERCEDES BAPTISTA: ENTRE BRASILIDADE E NEGRITUDE NO RIO DE JANEIRO DAS DÉCADAS DE 1950 E 1960 / Mercedes Baptista Folk Ballet: between Brazilianess and Blackness in Rio de Janeiro during the 1950’s and 1960’s." Arte e Ensaios 27, no. 41 (July 24, 2021): 110–26. http://dx.doi.org/10.37235/ae.n41.7.
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Abordagem histórico-crítica sobre a emergência de uma dança negra cênica no Rio de Janeiro, nas décadas de 1950 e 1960, consolidada pela bailarina e coreógrafa Mercedes Baptista mediante a articulação das técnicas do balé clássico, das danças modernas e de consistente pesquisa acerca das danças afro-brasileiras e dos pés de dança do candomblé. Levando em conta as possibilidades de abertura e transformação dos códigos próprios do que hoje é uma das vertentes de maior peso do que se entende por danças afro, que permitiram a criação de novas poéticas e metodologias, o texto aponta para a existência de uma estética negra que se construiu no campo das artes cênicas no contexto da diáspora negra.Palavras-chave: Mercedes Baptista; História da dança; Danças negras. AbstractThis text takes a historical and critical approach to the emergence of Black concert dance in Rio de Janeiro between the 1950s and 1960s. This movement found its consolidation through the ballet dancer and choreographer Mercedes Baptista’s articulations between classical ballet, modern dances, as well as her consistent research regarding secular and religious Afro-Brazilian dances. By considering the possibilities of openings and transformations within the codes of Danças Afro that allow for the creation of new poetics and methodologies, the text also seeks to base the existence of a Black aesthetics in the performance arts within the context of the black diaspora.Keywords: Mercedes Baptista; Dance history; Black dance.
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AHLUWALIA, PAL. "The Struggle for African Identity: Thabo Mbeki's African Renaissance." African and Asian Studies 1, no. 4 (2002): 265–77. http://dx.doi.org/10.1163/156921002x00024.
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ABSTRACT This paper examines South African President Thabo Mbeki's notion of the African Renaissance. Representations of Africa have been challenged in the past by movements such as negritude and pan-Africanism. Thabo Mbeki's proclamation of the African Renaissance can be seen as another attempt to fight and challenge prevailing representations of Africa. An African Renaissance that does not degenerate into essentialism (particularlism) has the potential to transform the lives of the many Africans who have been ravaged by the continuing legacy of colonialism. The author argues that if the call for an African Renaissance is to have any lasting impact on the African condition, it must be careful to avoid taking the essentialist positions advocated by earlier ideological movements such as negritude. The essay contends that the call for an African Renaissance is an important effort which needs to be adopted by Africans beyond the borders of South Africa.
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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 (October 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.
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Braz, Beatriz D'Angelo, and Dennys Silva-Reis. "Do verso poético à tomada fílmica: a cinematização de Cahier d’un retour au pays natal de Aimé Césaire / From the Poetic Verse to the Filmic Take: The Cinematization of Aimé Cesaire’s Cahier d’un Retour au Pays Natal." Caligrama: Revista de Estudos Românicos 25, no. 3 (December 18, 2020): 253. http://dx.doi.org/10.17851/2238-3824.25.3.253-275.
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Resumo: Este artigo visa a fazer uma análise exploratória sobre a adaptação de Cahier d’un retour au pays natal (1939), texto de Aimée Césaire (1913-2008), para sua versão audiovisual homônima (2008) realizada por Philippe Bérenger (1960-). Para isso, primeiro, faz-se uma reflexão sobre os elos entre literatura e cinema e, depois, uma análise em cotejo das duas obras. Exploram-se os vínculos com os movimentos da Negritude e do Surrealismo, e com a pouca percorrida trilha das adaptações fílmicas de poemas. Em suma, esta é uma contribuição para os estudos literários do cinema e para os estudos de literatura de expressão francesa negra no Brasil.Palavras-chave: Aimé Césaire, Philippe Bérenger, negritude, poema, filme.Abstract: This article aims at carrying out an exploratory analysis of the adaptation of Cahier d’un retour au pays natal (1939), text written by Aimée Césaire (1913-2008), into the homonymous feature film (2008) directed by Philippe Bérenger (1960-). In order to do so, it first addresses the links between literature and cinema, and then analyses and compares the two pieces. We have also explored the connection to both the Negritude and Surrealistic movements, as well as the lack of film adaptations of poems. Therefore, this is a contribution to literary studies of cinema and to studies of francophone African diaspora literature in Brazil.Keywords: Aimé Césaire, Philippe Bérenger, negritude, poem, film.
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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 (January 1, 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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Ostow, Robin. "Negritude, Americanization and human rights in Gorée, Senegal: The Maison de Esclaves 1966‐2019." International Journal of Francophone Studies 22, no. 3 (December 1, 2019): 271–97. http://dx.doi.org/10.1386/ijfs_00005_1.
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Abstract Based on historical research, and in situ observations, this article examines the history of the Maison des Esclaves as an example of Moyn's argument that interest in human rights arose as a response to the failures of previous idealistic movements, especially nationalism and socialism, and, by the 1970s, the feeling that decolonization had failed. Originating as an expression of Negritude idealism and cultural nationalism, with the Senegalese state's loss of interest in the Maison, the state's larger failure to promote the interests of its inhabitants and ongoing American ties with Senegal's universities and cultural institutions, the Maison shifted its perspective on the slave trade to a human rights approach. This change linked the museum to a supportive international network. But, today, as the Maison's new, human rights-oriented exhibits are still in preparation, they are already being overshadowed by the new Musée des Civilisations Noires, a monumental expression of Negritude and nationalism, supported by the Chinese government. This latest development points to challenges that human rights regimes and museums worldwide may be facing in the coming years.
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Zamora, Omaris Z. "Transnational Renderings of Negro/a/x/*." Small Axe: A Caribbean Journal of Criticism 26, no. 2 (July 1, 2022): 93–99. http://dx.doi.org/10.1215/07990537-9901654.
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This essay takes on the task of reflecting on the keyword negro from a transnational standpoint that considers how negro/a/x, a sociopolitical identity, falls in and out of AfroLatinidad in Latin American and hispanic Caribbean diasporas. In particular, the author is concerned with re-centering Blacknesss in AfroLatinidad in response to the depoliticized usage of this identity. Through a focus on diaspora, movement, and the embodied fact of Blackness, the author argues that when thinking about negro (Black) and negritud (Blackness) from a transnational Spanish Caribbean context, we should remember that AfroLatinidad, or Black Latinidad, is first and foremost about Black lives, embodied experiences, movement, translatability, and untranslatability.
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Lenssen, Anneka. "The Two-Fold Global Turn." ARTMargins 7, no. 1 (February 2018): 83–99. http://dx.doi.org/10.1162/artm_r_00201.
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This essay is a review of art historian Chika Okeke-Agulu's Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria (Duke University Press, 2015). The book offers a chronicle of artistic theories, practices, and institutions during Nigeria's independence years (1957–67) amid the historical frames of Third World liberation, African decolonization, and Cold War realpolitik. The essay explores in particular how Postcolonial Modernism revisits and explores the thematic of “national culture”—the concept presented by Frantz Fanon in 1959, with long-lasting impact on theories of postcolonial arts—in the (decentralized) Nigerian art world, with a focus on the synthetic studio practices of members of the Zaria Art Society. Fanon's “two-fold becoming” model of national culture, which implies catalyzing links to international liberation movements, impacts not only Okeke-Agulu's narrative of a generational opposition to the preceding cultural paradigms of Negritude, but also—the essay argues—the writing of global modernist history at-large.
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Mollona, Massimiliano. "Seeing the Invisible: Maya Deren's Experiments in Cinematic Trance." October 149 (July 2014): 159–80. http://dx.doi.org/10.1162/octo_a_00188.
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In July 1791, the story goes, a small voodoo gathering in Santo Domingo sparked the Haitian Revolution, the first black anti-colonial revolution in history. The glorious history of the “Republic of the black Jacobins” was often celebrated by Surrealist artists in New York and Paris in their exposé of the decadent state of colonial powers in the aftermath of the Second World War. For instance, Haiti is central to André Breton's anti-colonial manifesto, Aimé Cesaire's idea of negritude, Rudy Burckhardt's lyric film symphonies, and Zora Neale Hurston's novels on creole culture. In New York, negritude did not have quite the same revolutionary appeal as in Paris, where Josephine Baker was hailed as a Surrealist goddess of “natural” beauty and power. But the electric Haitian voodoo performances of dancer and choreographer Katherine Dunham attracted a diverse community of African-American artists, émigrés, intellectuals, and communist sympathizers in the off-limits clubs, cafés, and private parties in Harlem. In its uncontainable, carnivalesque power, open forms, and sexual energy, Haitian voodoo captured an attraction to the “primitive” that affected American intellectuals and popular culture alike. Before becoming a Hollywood star, Dunham, of mixed West African and Native American roots, traveled to Haiti to study voodoo rituals for an anthropology degree at the University of Chicago. Fusing American dance, European ballet, and voodoo movements, she became a symbol of the black diaspora. In a recent film interview, Dunham recalls how her young assistant (or “girl Friday,” in the parlance of the time) Maya Deren was fascinated by Haitian dance and would use it to steal the show in rehearsals, public performances, and glitzy parties. The daughter of Russian Jewish émigrés and Trotskyite activists, Deren was struck by the power of this syncretic dance, which blended different cultural backgrounds and formed political consciousnesses while always providing entertainment and energizing dinner parties and giving voice to invisible deities. In her experimental filmmaking, Deren infused this magnetic power of dance into cinema.
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Conceição da Silva, Maria. "Memories of Negritude: the popular movement on the outskirts of Olinda as a Heritage of EJA." Cadernos de Sociomuseologia, June 2022, 181–91. http://dx.doi.org/10.36572/csm.2022.vol.63.15.
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This article addresses part of the political, professional and spiritual trajectory of Yalorixa (a Candomble female priestess), Master in Education, specialist in Youth and Adult Education, Black Movement militant, Maria Conceição da Silva, with the objective, through this narrative, of registering and preserving the history of popular movements, black culture and Youth and Adult Education in Olinda, a city in the state of Pernambuco, Brazil. The life story, the basis of this article, was narrated in the virtual lecture "Memories of Blackness: the popular movement in the outskirts of Olinda as the Heritage of Youth and Adult Education", promoted and recorded on video, on July 9, 2020, by the Collective of researchers of the Masters and PhD course in Museology from the Lusófona University of Humanity and Technologies (ULHT), called Sociomuseology+Paulo Freire. Keywords: Yalorixá; Popular movements; Black culture; Olinda, Eduacation
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"The negritude movement: W.E.B. Du Bois, Leon Damas, Aime Cesaire, Leopold Senghor, Frantz Fanon, and the evolution of an insurgent idea." Choice Reviews Online 53, no. 04 (November 18, 2015): 53–1839. http://dx.doi.org/10.5860/choice.193618.
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"The Negritude Movement: W. E. B. Du Bois, Leon Damas, Aimé Césaire, Leopold Senghor, Franz Fanon, and the Evolution of an Insurgent Idea by Reiland Rabaka." Palimpsest: A Journal on Women, Gender, and the Black International 5, no. 2 (2016): 207. http://dx.doi.org/10.1353/pal.2016.0022.
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Paula, Benjamin Xavier de. "Os estudos Africanos no contexto das diásporas / African studies in the context of diasporas / Les Études Africaines Dans le Contexte des diásporas." Revista Educação e Políticas em Debate 2, no. 1 (November 7, 2013). http://dx.doi.org/10.14393/repod-v2n1a2013-24058.
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RESUMO: No presente artigo tratamos os estudos africanos na perspectiva das diásporas, tendo como referência o africanismo. O conceito de diáspora se apresenta para nós como "possibilidade" - suplanta seu sentido lingüístico, histórico e científico, e, repousa na dinâmica de um movimento de ideias e de práticas sociais contra-hegemônicas que busca na resignificação positiva das relações raciais e étnicas, assim como, do Panafricanismo, constituir-se num espaço/lugar daqueles que assumem a perspectiva do anti-racismo e da afirmação positiva da negritude como instrumentos efetivos de edificação do discurso e da prática científica.ABSTRACT: In this paper we discuss the African studies from the perspective of diasporas, having the Africanism as a reference. The concept of "diaspora" presents itself to us as the "possibility "- it exceeds its linguistic, historical and scientific meaning, and lies in the dynamics of a movement of ideas and social practices that are against the hegemony and search for a positive reframing of the racial and ethnic relations , as well as the Pan-Africanism, to emerge itself in a space / place of those who take the perspective of anti-racism and the positive affirmation of blackness as effective instruments for building up the discourse and scientific practice.RÉSUMÉ: Dans le présent article, nous tratons d´ études africaines dans la perspective des diasporas, ayant comme référence l´africanisme. Le concepte de "diaspora se présente à nous comme "une possibilité" - surplante son sens linguistique, historique e scientifique, et, se repose sur la dinamique d´un mouvement d´idées et de pratiques sociales contre-hégémoniques que recherche dans La resignation positive les relations raciales et ethniques, ainsi comme, dans Le panafricanisme, se constitue dans um espace/lieu de ceux qui assument la perspective de l´anti-racisme et de l´afirmation positive de la noircissure comme des instruments effectifs d´édification du discours et de la pratique scientifique.
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Stevanović, Lada. "Ancient Myth in Brazilian Cinematography: Black Orpheus." Issues in Ethnology and Anthropology 15, no. 2 (July 4, 2020). http://dx.doi.org/10.21301/eap.v15i2.2.
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The paper deals with two film adaptations of the myth of Orpheus that were made in Brazil in 1959 and 1999. In view of the fact that in both films Orpheus appears as Afro-Brazilian, these two versions of the myth may be related to Sartre’s concept of Black Orpheus, and the movement of Negritude that appeared in Paris in the 1930s as an answer of the black francophone intellectuals to racial myths and colonial stereotypes. Regarding the fact that the European attitude towards ancient Greece is also characteristic of another kind of colonialism that is cultural, based on the claim of exclusive right to this past, the ancient myth that often appears only as a mirror of this relationship, functions in these films as a space for subversion and resistance to different types of colonial power. The films that are the focus of this paper are Black Orpheus (1959) directed by Marcel Camus, which is a French-Italian-Brazilian co-production, and Orpheus (1999) by Carlos Diegues, an entirely Brazilian production. Both films were inspired by the theatrical play written by Vinícius de Moraes, Orfeu da Conceição (1953). Although he himself participated in the production of Camus’s Black Orpheus, in the end he refused to be credited because in the film, the main idea of his drama was lost, which was to show Afro-Brazilians as the main protagonists of the Greek myth pointing out injustices and difficulties of Afro-Brazilian people in social reality, but also in the context of cultural and racial hegemony that clearly claimed the ancient Greek myth to be the heritage of European white men. Similarly, disappointed, Carlos Diegues decided to make another film together with Vinícius de Moraes. However, the plan was interrupted by Moraes death in 1980, but Diegues succeeded in filming it in 1999. The paper compares the two films focusing on the question to which extent these films challenge or confirm European cultural elitism, racial stereotypes and class inequalities.
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Rocha, Carmem Silvia Moretzsohn. "Sonoridades Afro-Brasileiras em Corumbá: um estudo sobre representações musicais em rituais de Umbanda." ILUMINURAS 13, no. 31 (February 4, 2013). http://dx.doi.org/10.22456/1984-1191.34860.
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O objetivo deste artigo é compartilhar alguns aspectos da tese de doutoramento em curso. Para a execução da pesquisa partimos da concepção de Seeger, na qual é preciso observar todo o contexto em que a manifestação musical ocorre, com o intuito de compreender mais profundamente seus significados. Como metodologia, utilizamos a observação participante e entrevistas semiabertas com alguns dos importantes personagens inseridos no contexto umbandista local. Também registramos o campo por meio de fotografias, vídeos e gravações em áudio, a fim de viabilizar a criação de um acervo e facilitar a transcrição e análise do material coletado. Com a realização deste estudo, pretendemos demonstrar que o universo sonoro em rituais de Umbanda é crucial e constitutivo dessas manifestações religiosas. Nesse sentido, observamos a recorrência de referências à África e à Bahia, à escravidão, aos pretos velhos e ao sofrimento da comunidade negra, juntamente com uma estreita associação ao movimento negro, à comunidade quilombola e às suas manifestações. Palavras chave: Etnomusicologia. Umbanda. Religiões afro-brasileiras. Negritude. Antropologia visual. African-brazilian sonorities in Corumbá: a study of musical representations in Umbanda rituals Abstract The purpose of this article is to share some aspects of the doctoral thesis in progress. For performing this research we started designing Seeger, in which one must look at the entire context in which the musical manifestation occurs, in order to more deeply understand their meanings. Participant observation and open-ended interviews with some of the major characters within the religious context were the main methodology used. We also recorded the field through photographs, videos and audio recordings in order to facilitate the establishment of a collection and facilitate the transcription and analysis of the material collected. With this study, we intend to demonstrate that the universe of sound in rituals of Umbanda is crucial and constitutive of these religious manifestations. In this regard, we note the recurrence of references to Africa and Bahia, to slavery, to the old black and suffering of the black community, along with a close association to black movements, community and its manifestations. Keywords: Ethnomusicology. Umbanda. African-brazilian religions. Negritude. Visual anthropology.
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Bourne, Jenny, Anya Edmond-Pettitt, and Chris Searle. "Seeing off Empire: the life of Pearl Prescod." Race & Class, November 3, 2022, 030639682211312. http://dx.doi.org/10.1177/03063968221131260.
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This article retrieves the life and cultural contributions to Britain of Trinidadian Pearl Prescod, singer, campaigner and the first Black female actor at the National Theatre. She is one of a generation of artists, performers, singers and intellectuals whose contribution to the creation of a Black and anti-colonial strand in British culture in the 1950s and ‘60s has been neglected. By tracking her life from her colonial origins through her migration to Britain and struggles to find work in the 1950s, to her brief break-out professional success in the 1960s and early death in 1966, she is pulled from the historical margins. Her life story, which touches on movements of so many hues – Negritude, Pan-Africanism, Black Power, Communism, campaigns for colonial freedom, the March on Washington, the Campaign Against Racial Discrimination − reveals the strong community connections and internationalism of the time. Pearl, the piece argues, was typical of a whole overlooked ‘West Indian generation’ (of educated and politically militant artists, writers, dramatists and actors) whose anti-colonial consciousness and creative activities challenge the popular accepted narrative of an undifferentiated ‘Windrush generation’. The piece contains an account of witnessing Pearl and her fellow actors perform at the National Theatre.
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Reis, Raissa Brescia dos. "Entre cultura, solidariedade internacional e “mundo negro”: a negociação de sentidos na Présence Africaine (1955-56)." Afro-Ásia, no. 62 (December 30, 2020). http://dx.doi.org/10.9771/aa.v0i62.37460.
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<p>Este artigo parte das publicações da revista cultural francesa e senegalesa, <em>Présence Africaine</em>, propondo pensar como esta última procurou se posicionar, partindo do mundo intelectual, como interventora na imaginação e no fomento de soluções políticas e culturais para inserir novos participantes, principalmente africanos, no concerto internacional, em diálogo com bandeiras de solidariedade internacional/racial entre perspectivas locais e globais. Por meio da análise de debates, comunicações e mensagens retiradas das atas do Primeiro Congresso de Escritores e Artistas Negros, investiga-se como a revista se apropriou de novas linguagens e possibilidades políticas disponíveis e legitimadas no pós-Segunda Guerra Mundial, conciliando-as, não sem dificuldades, a discursos internacionalistas de movimentos políticos anteriores, como a <em>Négritude</em> e o pan-africanismo.</p><p><strong>Palavras-chave: </strong>presença africana | negritude | Pan-africanismo | História intelectual | Guerra Fria.</p><p> </p><strong><em>Abstract: </em></strong><p><em>This paper is based on publications of the French/Senegalese journal Présence Africaine and its intellectual stance in seeking to intervene in the design and dissemination of political/cultural solutions to include new participants (especially from Africa) in the international scene, in dialogue with the goal of international/racial solidarity goals at local and global levels. The paper examines debates, communications and messages from the annals of the First Congress of Black Writers and Artists in investigating how the journal appropriated new communicative strategies and political possibilities that emerged and were legitimized after World War II, in relation to the internationalizing discourses of previous political movements such as Négritude and Pan-Africanism.</em></p><p><strong>Keywords: </strong>présence africaine | négritude | Pan-Africanism | Intellectual history | Cold War.</p><p> </p>