Science-women: arcane knowledge and African spirituality in independent African-American cinema of the 1990s

ABSTRACT

This article explores the significant role played by arcane knowledge and expressions of African spirituality in the iconography of powerful black women in three films directed by independent African-American filmmakers in the 1990s: Sankofa (Haile Gerima, 1993, USA), Mother of the River (Zeinabu irene Davis, 1995, USA), and Eve’s Bayou (Kasi Lemmons, 1997, USA). My discussion draws on the orature and legendary tales of West African-based cosmologies in the African diasporas of the Americas and the concept (and practice) of ‘conjure’ in African–American cultures. It argues that heroic black women characters possessing extraordinary or supernatural powers not only predate the current vogue of cinematic superheroism, but that the iconography of such ‘science-women’ is embedded in culturally specific, African-rooted cosmological, epistemological and spiritual contexts. I argue that the feminine power celebrated in the films by the independent African-American filmmakers discussed here draw on legendary and historical accounts of women in African diasporic oral, literary and spiritual traditions for their cinematic storytelling to construct an affirmative and paradigmatic model of black female heroism based on empowering African spiritual beliefs and arcane knowledge.     

Afrovision: rehearsing diasporic Africanism in a Tel-Aviv nightclub

ABSTRACT

During the second half of the 1990s, an extended number of illegal African labor migrants arrived at Israel. Whereas associational life among them was based almost exclusively on their national and tribal social clubs, the Afrovision nightclub was a unique grassroots initiative that crossed these boundaries. Based on studies of festive rituals, and more specifically of the role of music and dance in processes of identity formation among migrants' communities, I show how and why Afrovision enabled African immigrants in Israel to come together and experience a sense of diasporic Africanism as a sort of shared identity beyond the salient sub-divisions within their community. Although this experience was partly a reaction to, or implementation of, common perceptions in Israeli society that view African people as of one fiber, the practical significance of the pan-Africanist option offered by Afrovision in the everyday lives of foreign residents far exceeded purely symbolic aspects.     

Genealogies of horror: three stories of slave-women,motherhood, and murder in the Americas

ABSTRACT

This article examines three cases of infanticide committed by slave women in the Americas – Margaret Garner (1856) of Ohio, Ignácia (1868) of Paraná, Brazil, and Justina (1878) of Rio de Janeiro. The article argues that each woman sought to dislodge their own as well as their children's place in what I term slavery's ‘genealogy of horror’, making the act of killing their children into an expression of black female agency, love, and insurgence against slavery. The cases of Justina and Ignácia's, I argue, provide a counternarrative to the myth of Brazil's genteel and harmonious slavery, propagated throughout the nineteenth century, by exposing the violence and desperation in which slave women and their progeny lived. In the second half of the article, I examine how cases of infanticide were depicted and used in the nineteenth-century abolitionist poetry of Brazilian poet Castro Alves and noted African American writer Frances Harper.     

Autobiographical representations of the Rwanda genocide and black diasporic identities in Africa

Abstract

This article uses the example of the Rwandan genocide to deconstruct notions of African diaspora based on margin to centre and pull and push factors. Representing patterns of African migrations and diasporas through the autobiographical mode reveals multiple genocides that took place not only in Rwanda but in the Democratic Republic of Congo. Umutesi's novel, Surviving the Slaughter: The Ordeal of a Rwandan Refugee in Zaire (2004) complicates our standard understanding of what is known of genocide in Africa, forcing us to revise our notions of diaspora because the autobiographical narrative highlights differences within a single refugee diaspora. Umutesi's personal account of the links between genocide and diaspora in the Great Lakes Region interrogates the very authority that is accorded individual subjectivities in autobiographical works of Africa. The contingent nature of African politics, particularly, within the unnatural context of genocide renders African identities transient and perpetually diasporic.     

Desilencing diasporic memory/ies in knowledge production on Highlife

Abstract

The paper draws on ethnographic and historical research on the formation of Highlife in a ‘trilocal’ setting: Ghana, Nigeria and England in the 1950s and 1960s, the time when Highlife evolved as one of the most popular forms of modern music of (anglophone) West Africa in the twentieth century. It tackles the issue of how the formation of Highlife-music and culture was (transnationally) related to the formation of an African Diaspora in the colonial centre London in the post-World War II decades, how West African cultural formation in the diaspora affected Highlife as a popular and transnational culture, particularly evident in the so far neglected ‘diasporic memory/ies’ on Highlife. The approach seeks to emphasise the critical role of travelling music/ians from West Africa and the Caribbean to London and back in the formation of both, African diasporic and transnational identities as well as African popular music, in that important phase of its history. In the final part of this paper I am reflecting upon methodological issues related to my study on Highlife, focussing mainly on the relationship of living memory, archive and qualitative research.     

Performing Ghana: the politics of being a black woman on the stage, 1966–1979

This article examines the politics of belonging for women in Ghana’s entertainment scene. As a result of instability while a series of different military and civilian leaders controlled the country between 1966 and 1979, Ghanaian women were scrutinized in local newspapers for actions that were deemed inappropriate, such as provocative dancing. Yet, these same Ghanaian journalists contradicted their own language and respectability ideals by celebrating the sexualized images and performances of Caribbean and African American women visiting Ghana during this period. By distinguishing between the actions of Ghanaian women and women of African descent, their language demonstrates that journalists prioritized national identity politics over the claims of respectability expected of all women in their country. Through the use of what I describe as ‘Ghanaianness’, a term indicating that ‘authenticity politics’ were at stake, I argue that journalists purposefully excluded diasporic women from Ghanaian belonging.     

‘From objects to subjects: the museumification of Blackness in Mexico’*

ABSTRACT

The performative role of the museum as a ‘historical map’ has long served to construct strategic cartographies of identity and community. In addition, the nature of the relational experiences within museum spaces, places these histories and cartographies in a contact zone, in which structures of power and agency influence the locus of enunciation through which subjecthood and objecthood are derived. This essay examines the influential role of museums in Mexico in imaging, framing, and performing strategic configurations of mexicanidad. Particularly, I interrogate how museums have historically muted and made invisible the representation of Mexicans of African descent.Then, I analyze two important regional museums and theorize how they present a transition from objecthood to subjecthood, in which Afro-Mexican knowledge and consciousness is reified to configure an alternative mapping of African heritage within the space of museums and within constructions of racial formations and narratives of being and belonging in Mexico.     

‘Cultures of healing’: spirituality,interdependence and resistance in the African diaspora

ABSTRACT

Concepts of healing and spirituality have remained crucial to generating agency and empowerment for both black women and black men, especially in their diasporic displacement from Africa to the US. Healing has been consistently deployed to fight against the systemic racism and sexism that has pervaded and continues to persist in the lives of African diasporic subjects. Placing the discussion of healing within the current debates about interdependence and spirituality, the paper traces the notion back to its African roots and enslavement times, and attempts to delineate a genealogy of healing up to the present that grounds interdependence and interconnectedness within an ‘ethics of resistance’.     

Leaving area studies behind: the challenge of diasporic connections in the field of African studies

Abstract

In recent years, diaspora has become one of the key terms of social analysis in various fields. Emphasizing the multiple trajectories out of which present identities – inasmuch as political or economic realities – are forged, the concept forces us to reconsider the scope of classical area studies (and associated disciplinary boundaries) in radical terms. The article looks at the colonial foundations of African Studies as area studies and examines some ways by which to overcome enduring colonial epistemologies. The author suggests a theoretical framework in which Africa herself is considered as diasporic. Moreover, she calls for a critical perspective that will facilitate the comparative analysis of different diasporic discourses and practices.     

‘For you were strangers’: Jewish ritual,black musics,and commemorative politics in Tel Aviv’s Refugee Seder

ABSTRACT

Each Passover since 2009, hundreds of East African asylum seekers and Israeli activists have gathered for ‘Refugee Seder’, a public event to support Sudanese and Eritrean communities in Israel. Featuring a ceremonial seder meal, storytelling, speeches, and a dance party, Refugee Seder draws on age-old Jewish rituals and contemporary global black pop musics to symbolize Africans as members of the Israeli national collective. This article explores Refugee Seder’s modified commemorative practices, which engage dual narratives of Jewish nationalism and cultural cosmopolitanism. I show how seder rituals enable African participants to temporarily embody a Jewish spiritual identity, and how black pop musics help publicly reframe Africans’ ‘blackness’ as a cultural asset instead of a political liability. Ultimately, I argue that Refugee Seder distills larger ideologies of identity and belonging that are deeply rooted in Israeli collective consciousness, and which shape the trajectories of ‘refugee issue’ politics and policy-making.     

Le théologien et le somnambule: un épisode récent de l'histoire almoravide en Mauritanie

In 2012, images of a mystical mermaid known locally as Mami Wata circulated on the Internet and via people's mobile phones, sparking rumours that Chinese labourers had captured her as they were installing underwater fibreoptic cables. Appearing as a grotesque sea-creature with a gnarled, shrivelled body, this new image of Mami Wata challenges older, popular depictions of her as a beautiful maiden. Further, in her deformed body, Mami Wata reveals new tensions arising from promises of wealth and modernisation promoted by both Chinese and Congolese governments. Accounts of rumours/urban legends and metaphors of contagion animate larger contemporary discussions concerning development projects, “otherness” and the influence of the Internet and mobile phone technology on production of popular African culture. The female siren, Mami Wata, is a recurring motif in Kinshasa's collective urban imaginary. Historically she has been an expression of modernity and hybridity through visual representation in popular painting, sculpture and television serials. Now Mami Wata appears in the digital world. In this article, in addition to analysing the ways in which contemporary technology mediates this archetypal figure, I draw on notions of otherness, recent historical, political and economic changes in the Democratic Republic of Congo to analyse the ways they inform the particular shape and meaning that Mami Wata takes when transformed into the digital domain.     

‘The new Europeans’: the image of the African refugee in European literature

Abstract

This essay examines the representation of African refugees and asylum seekers in European literature in general, as well recent life writings and literature for young adults in particular. Examples will be drawn from writers as diverse as Benjamin Zephaniah and Senait G. Mehari. It is argued that the selected refugee stories invest in narrating an imagined community of ‘the new Europeans’ and thus invite readers to a plural reading of history. Following this train of thought, I am particularly interested in the interplay between images and motifs that evoke and shape various nation-states while illuminating an imagined European community. I therefore seek to excavate a transcultural imagery that characterizes refugee and asylum seekers as the ‘new Europeans’ by utilizing narrative strategies which reflect Paul Ricoeur's ideas about a new ethos for Europe.     

Click to Donate: visual images,constructing victims and imagining the female refugee

This article investigates the role of visual representation through images in the international refugee regime, with a particular focus on the female refugee. I argue that visual representation illustrated by the photo archives of the unhcr in particular, but also in other institutional sources, plays a crucial role in shaping our imaginations and knowledges, and that its dynamics are important in understanding the politics of asylum. As the international refugee regime institutionalised by the unhcr has developed, the imagination of the refugee has undergone three concurrent shifts: racialisation, victimisation and feminisation. Each of these shifts has contributed to changing policies and practices in the regime, particularly the change in ‘preferred solution’ from integration to repatriation or, where possible, prevention. More importantly, these shifts have all operated within a discourse of depoliticisation of the refugee, denying the figure of the refugee the capacity for political agency. This depoliticisation works through the construction of the ‘female’ refugee, indicating important lessons for our understandings of the political agency of both women and non-citizens.     

‘Whichever way you turn,there is the face of God’ diaspora,memory, and historiography from the margin in The Moor’s Account by Laila Lalami

In The Moor’s Account, Laila Lalami dares to dust off the archive of official history that passed over the testimonies of a Moroccan slave during the Discovery Age. This paper explores the way the slave capitalizes on historiography to reconstruct the Western monolithic history. In so doing, the re-constructor’s memory performs a number of roles. It registers the history of the European conquest of La Florida using micro narrative frameworks that highlight salient differences from the official record. Besides, the diasporic memory that the present novel advocates has the intention to mark a difference of the silenced subjectivity from the supremacist histories through a transnational matching of homeland with diaspora. This transnationalism is coupled with a look forward to circumvent the essentialism implied in the monologic narratives. In shuttling between the past, present, and future, memory espouses cosmopolitanism as an alternative to the fundamentalism which threatens people’s cultural diversity.     

Bole to Harlem via Tel Aviv: networks of Ethiopia's musical diaspora

ABSTRACT

One of the fastest growing sources of domestic labor in the Global North is Ethiopia, whose female population travels to North America, Europe, and the developed Middle East to work for remittances to send home. Once these migrants settle in cities such as London, Abu Dhabi, Tel Aviv, Rome, or Toronto, they organize themselves into cultural enclaves that navigate their positionality, namely the state, religious practice, and their bodies. While scholars are occasionally interested in the explicit security ramifications of absorbing these migrant workforces, they pay less attention to the cultural forces propelling citizenship, and to migrants' relationship with their home culture. This gap in knowledge is counterproductive, because scholars and policy-makers will have trouble assessing the Ethiopian migrant population's perspective through interview material alone. The Ethiopian values of honor and respect for authority dictate a hesitance to criticize explicitly, so the population's feelings about marginality rarely emerge in discussion about labor. This taboo curtails the effectiveness of typical ethnographic methods (e.g. interviewing). Rather, this article examines Ethiopian music as a prism through which migrant musicians navigate the complex web of religious, ethnic, national, and embodied identities in their new surroundings. In this article, I present findings based on participant-observation of Ethiopian live music in North American and Middle Eastern diaspora cities (New York, Washington, DC, Tel Aviv, and Dubai), and argue that the populations are linked through the multidirectional cultural influences of Ethiopian diasporic popular music. I will argue that Ethiopian migrants' music offers a stable, alternative form of political discussion to more overt discussions of contested identities, and that these discussions reshape cultural boundaries. By considering performance techniques such as choice of language for lyrics, and the incorporation of Ethiopian or local dance style into music videos that are distributed over the Internet, one begins to understand how the rapidly expanding transnational network of Ethiopian migrants conceptualizes itself as an emerging global source of labor in cosmopolitan urban centers.     

Dancing to the beat of the diaspora: musical exchanges between Africa and its diasporas

Abstract

This essay examines the complex ebbs and flows of musical exchanges between Africa and its diasporas. Specifically, it focuses on musical engagements between, on the one hand, the Caribbean and West Africa and, on the other, the United States and Southern Africa. It argues that the influence of diasporan music on modern African music, especially popular music, has been immense. These influences and exchanges have created a complex tapestry of musical Afro-internationalism and Afro-modernism and music has been a critical site, a soundscape, in the construction of new diasporan and African identities. A diasporic perspective in the study of modern African music helps Africa reclaim its rightful place in the history of world music and saves Africans from unnecessary cultural anxieties about losing their musical ‘authenticity’ by borrowing from ‘Western’ music that appears, on closer inspection, to be diasporan African music.     

Slavery food,soul food,salvation food: veganism and identity in the African Hebrew Israelite Community

ABSTRACT

This paper reviews the transformation of meaning of food items central to African American fare from symbols of slavery to means of salvation as the African Hebrew Israelite Community (AHIC) live out their Biblically inspired lifestyle and perfect the vegan diet at its core. Although originating in Chicago in the late 1960s, for over 40 years the institutional and residential base of this transnational millenarian community has been in the Israeli desert town of Dimona. Based on long-term ethnographic acquaintance with their foodways in Israel and in the US, our analysis follows the AHIC’s eclectic incorporation of circulating religious, political, and scientific theories into their Bible-based cosmological-nutritional tenets of regenerative health and spiritual salvation. We argue that their ‘Edenic Diet’ reacts to the traumatic history of African Americans as slaves and as a discriminated against minority in the US, by serving as a means in their struggle for place and acceptance in modern Israel and an active component in their social and spiritual plans for the future.     

Four women,for women: Caribbean diaspora artists reimag(in)ing the fine art canon

ABSTRACT

This article examines changing representations of women of colour within the realm of the visual arts and considers the aesthetic qualities, historical significance and cultural impacts of a diverse body of image-making spanning several centuries. The research focuses on selected works from the portfolios of the following four, early to midcareer artists of Caribbean heritage, whose nuanced depictions of black and brown womanhood in the twenty-first century have achieved international acclaim: American interdisciplinary artist Aisha Tandiwe Bell; American collagist Andrea Chung; French figurative painter Elizabeth Colomba; Danish photographer, video artist and performance installationist Jeannette Ehlers. The complex diasporic identities and imagery reflected in the oeuvres of these four contemporary artists are contrasted with fine art from earlier eras. The compositional, technical and social modalities of a number of notable works are assessed to determine why some have become celebrated images within the international canon and others have been deemed problematic.     

Sentiment and cosmopolitanism in Olaudah Equiano's Narrative

Abstract

This essay argues that Olaudah Equiano, author of the famous eighteenth-century slave narrative, displayed an international egalitarianism that was unique at the time. He was an extraordinarily well-travelled and a cosmopolitan man who criss-crossed the Atlantic, visiting every corner of the British Empire and who also endured the horrors and terrors of slavery and even as a freeman, never escaped the indignities of discrimination and racism. As a transnational figure of the African diaspora, Equiano's vision of global trade did not much differ from the tenets of British imperialism and market capitalism, which emphasized the exploitation of natural resources throughout the Empire. At the same time, in the representation of his relationship to Africa Equiano sought to establish more equalized and less exploitative international relations. Using political ideologies drawn from liberalism and republicanism, he extended them into a radical form of cosmopolitanism. Particularly in his depiction of his African childhood, and in the way he describes his participation in the Sierra Leone settlement project, is there a desire to create this new paradigm. The skillful appeal to feeling in both these sections of the narrative plays an important role in promoting this political agenda.