This dissertation is a comparative analysis of the uses of tropes of marginality in American, Caribbean, British, and African fiction that engages with the aftermaths of the trans-Atlantic slave trade and slavery. This study begins by exploring the utility of the frame of Paul Gilroy's concept of the "black Atlantic" as a heuristic model for understanding encounters with slavery and the slave trade as phases of an emerging capitalist modernity. I suggest that, within this heuristic framework, marginality is always variable, contingent and changing. Several positions of marginality might even emerge in conflict with each other, since the ideological deployments of slavery in the U.S., the Caribbean, and in African countries are not always in concert. In fact, it is through the study of conflicts and tensions between such seemingly unified marginalities that their differences become discernible. As a result, the common theme in the texts I examine is the need to create communities of listeners who can discern the transformations of the colonising moment in the disparate sites of the diaspora. The practice of listening is a step in apprehending the forms of marginalisation and occlusions of the violence of colonisation that continue at different sites. In the five chapters of this dissertation, I read stories by Edgar Allan Poe and Herman Melville, and novels by Richard Wright, Toni Morrison, Caryl Phillips, Maryse Conde, Joseph Conrad, Ayi Kwei Armah, Amos Tutuola, Yaw Boateng, and Syl Cheney- Coker. I focus, particularly, on the use of animals, spatial boundaries, literacy, orality, and tropes of listening in the selected texts. I show that these authors use the opposition of visual and aural metaphors to draw attention to the limits of their characters' knowledge in order to highlight the situatedness of each character in processes of marginalisation that continue to unfold. Further, as much as these narratives excavate the afterlives of slavery, they are also engaged in the task of differentiating them in order to identify the necessary site-specific tasks of reparation or repair. / Arts, Faculty of / English, Department of / Graduate

Race in Argentina played a significant role as a highly durable construct by identifying and advancing subjects (1776-1810) and citizens (1811-1853). My dissertation explores the intricacies of power relations by focusing on the ways in which race informed the legal process during the transition from a colonial to national State. It argues that the State’s development in both the colonial and national periods depended upon defining and classifying African descendants. In response, people of African descendent used the State’s assigned definitions and classifications to advance their legal identities. It employs race and culture as operative concepts, and law as a representation of the sometimes, tense relationship between social practices and the State’s concern for social peace. This dissertation examines the dynamic nature of the court. It utilizes the theoretical concepts multicentric legal orders that are analyzed through weak and strong legal pluralisms, and jurisdictional politics, from the late eighteenth to early nineteenth centuries. This dissertation juxtaposes various levels of jurisdiction (canon/state law and colonial/national law) to illuminate how people of color used the legal system to ameliorate their social condition. In each chapter the primary source materials are state generated documents which include criminal, ecclesiastical, civil, and marriage dissent court cases along with notarial and census records. Though it would appear that these documents would provide a superficial understanding of people of color, my analysis provides both a top-down and bottom-up approach that reflects a continuous negotiation for African descendants’ goal for State recognition. These approaches allow for implicit or explicit negotiation of a legal identity that transformed slaves and free African descendants into active agents of their own destinies.

The Black population in the United States is undergoing a significant transformation. Over the last four decades, the African immigrant population has increased from 130,000 to 2 million, making them one of the fastest growing groups in the United States. Yet, notably absent from much of the discourse on how immigration is changing our society is a serious engagement with the dynamic changes happening within the country’s Black population. This dissertation examines how these demographic realities are experienced in young people’s daily lives. I use the case of low-income, adolescent children of West African immigrants to understand how processes of immigrant integration and racialization unfold generationally across racial and ethnic lines. I focus specifically on their identity-work and acculturation in the context of families, local institutions, and transnational social fields. Methodologically, I draw on ethnographic observations and interviews with 71 second-generation West African teenagers in three New York City public high schools. The dissertation consists of five substantive chapters. Chapters 1 and 2 examine the ethnic and racial identifications of second-generation West Africans, some of the meanings they make around these identities, and begins to delve into the contextual mechanisms shaping these identities, namely their families, neighborhoods and law enforcement. Chapters 3 and 4 respectively analyze the role of transnational visits to parent home countries and religion on acculturation and understandings of Blackness and Africanness, among other identities. The final chapter, Chapter 5, explores three mechanisms shaping the selective acculturation of African immigrant youth: adoption of American cultural features, maintenance of ethnically distinct features, and the introduction of African cultural forms. My research makes three contributions. First, by placing adolescent children at the center of my analysis, I show how these young people are both making and made by a unique sociohistorical and political context that has significant consequences for their racial and ethnic identity-work. Second, it contributes to understandings about the relationship between socioeconomic status and second-generation immigrant integration. Contrary to arguments that second-generation identification and acculturation are patterned by class, I find that low-income African immigrant youth selectively acculturate into American society and maintain strong ethnic identities similar to their middle-class counterparts. The third contribution provides evidence that as immigrants, their children and their host communities continually interact through institutions like schools and neighborhoods, a mutual cultural reconstitution process occurs that fundamentally transforms both immigrants and the cultural landscape from which communities in the host society fashion an “American” identity. Taken together, in shedding light on second-generation Black immigrant racialization processes, this dissertation challenges assumptions about low-income Black youth and offers a dynamic, agentic and relational understanding of immigrant integration. It also highlights how broader meanings of immigrant integration and Blackness in the United States are fundamentally changing.

This dissertation seeks to ethnographically explain an apparent paradox: the tremendous popularity of U.S. country & western (C&W) in postcolonial St. Lucia. The music's reputation as a "white" expressive form contradicts the decolonization ethos of a young, predominantly Afro-creole nation and appears to challenge an emerging St. Lucian postcolonial identity. I show how St. Lucians use C&W to effect significant continuities with Afro-creole culture. Its creolization in the St. Lucian context makes C&W a compelling expression of post-colonial identity. I argue that with considerable genius, St. Lucians have creolized ways to dance to C&W much as they creolized European country and court dances in earlier centuries. In this instance, however, the music was already more creole than is customarily admitted. St. Lucians make U.S. C&W their own by curating songs with a particular Caribbean resonance, creolizing the dance on habanera beats, and syncretizing it with marginalized Afro-St. Lucian folk practices. Denying simplistic cultural imperialism, St. Lucians have reclaimed C&W, highlighting its under-acknowledged but already creole ingredients, merging it with their own Afrocreole folk forms, and transforming it into a music of black social experience. The dialogic continuities are many: storytelling; working-class and real-life themes; social dance context of communal, cross-island exchanges; instruments and genres from Africa, including fiddle and banjo, yodel and drum; updating of the already creolized Kwadril complex; and, perhaps most revealing, the way the dance creolization incorporates the habanera beat. Given these continuities, the popularity of country & western in St. Lucia seems virtually over-determined rather than counter-intuitive. To analyze this specific challenge of cultural decolonization, I develop the concepts of "postcolonial creolizations" and "empire rollover." I trace the varied meanings of the term creole--and suggest that its variability should be the foundation of theoretical potency. I use Bakhtinian notions of intertextuality to examine how expressive forms from different worlds come into dialogue with each other, and show how the conversations eventually produce new creations. I show how postcolonial creolizations prompt us to rethink how power relations get reconfigured in postcolonial contexts. I argue that by attending to ways that postcolonial actors are shaping creolization processes now, we can better understand how colonial and modern imperial forces come together to challenge meaningful decolonization and sovereignty. I call this convergence process "empire rollover." This refers to the uneven processes involved as one form of imperialism gives way to subsequent imperial relations. I use this concept to answer important questions regarding the degree to which power is reclaimed in postcolonial transformation of expressive culture and to what extent creolization is decolonized. I show how the St. Lucia banana industry case epitomizes the phenomena economically wherein colonial-type benefits rollover to a new imperial power (U.S.) and continue to accrue, while advantages gained during decolonization do not. The C&W case, in contrast, shows how St. Lucians use "imperialist" forms in creative, distinctively St. Lucian ways, such that it is not simply an expression of neocolonial relations.

Noticeably, there is little to no cross-cultural analysis of Black queer women artists of the African diaspora in Diaspora, Literary and Theatre and Performance studies. These disciplines tend to focus on geographic locations with an emphasis on the United States, the Caribbean islands and Europe in relation to the African continent. In addition, the work of Black men artists holds precedence in discussions of blackness, diaspora, and performance. Overwhelmingly, the contributions of Black women artists in the diaspora pales in comparison to their male counterparts, especially in number. More drastically, the voices of Black queer women artists actually published are few. Because of these discrepancies within scholarship and practice, I follow the footsteps of the late scholar Gay Wilentz to advocate a diaspora literacy of Black women writers across the diaspora. I employ a transnational feminist approach to survey the work of Sharon Bridgforth and Trey Anthony, two Black queer women artists who explore intersectionality in regards to race, ethnicity, gender, sexuality and nationality. I also curated and produced Black/Queer/Diaspora/Womyn Festival, a festival of staged readings and panel discussions that placed both artists at the center. This thesis fully details the planning and execution of the festival, an evaluation of the successes and pitfalls of the festival, and then draws conclusions on how both scholars and practitioners can further engage in a diaspora literacy for Black queer women artists.

Happiness, ritual, and sovereignty are artists’ persistent aspirations in the African- and Afro-Asian diasporas. “The Cinema of Social Dreamers” explores why the dreamscape is increasingly becoming the creative form for the expression of these social ambitions. This dissertation particularly spotlights the award-winning films and new media projects that exploit the dreamscape aesthetic in contemporary Caribbean and diasporic art. My analysis focuses on this tropical region, as well as its transnational impact in Canada, Mexico, France, the United Kingdom, and the United States. Central to this manuscript are the artists Mariette Monpierre, Michelle Mohabeer, and Minia Biabiany. I specifically engage their questions of happiness, spirituality, sexuality, and sovereignty in the wake of colonialism. The range of the narrative media these artists employ—from installation art and new media to sensational melodramas—also evidences the richness of the contemporary moment. While their award-winning works have flourished in niche film festivals and at fine art institutions, “The Cinema of Social Dreamers” is the first to present them as the subject of deep comparative analysis. By placing the Caribbean archipelago at the center of my work, I also highlight that the economy of art-making (and art history) remains a complex interdisciplinary, multilingual, and transnational project.

A thesis submitted to the Faculty of Humanities and Social Sciences, University of the Witwatersrand, Johannesburg, in the fulfilment of the requirements for the degree of Doctor of Philosophy / This thesis is interested in the fiction of Abdulrazak Gurnah, bringing into consideration all the eight novels he has published to date. It explores the representation of human relations, focussing on the theme of power and how it is attained, consolidated, used and contested in the human relations depicted in the novels. A close reading of pre to postcolonial East Africa as well as the regions outside of East Africa in which Gurnah’s novels are also set, through quotidian interactions in micro-spaces, this thesis argues, presents power dealings alternative to one that emphasizes the effect of colonial domination and the failed project of decolonization. The thesis further suggests that inherent in everyday human interactions – whether at home in East Africa or in migrant spaces – are power dealings far removed from macro-political power plays. The interactions to be brought under scrutiny here are those occurring between children and adults, family members, as they interact not only with each other but also with the various environments they occupy. Through a skilful narrative strategy that employs complex narrative perspectives, vivid descriptions, imagery, symbolism and credible characterization, Gurnah affords the reader an opportunity to read East Africa through the basic units of the community, focussing on ordinary everyday lives and interactions. This thesis therefore investigates the different ways in which Gurnah employs narrative strategy in order to depict the various avenues through which power comes into play in diverse areas of human interactions. The focus is on his application of implied authors in the form of multiple narrators and how this technique helps to draw readers in to his texts. It is important to also examine symbolism used especially in the relationship between characters and (mis)use of the spaces they occupy, the significance of rot, filth and squalor in the said spaces as well as the use of irony, coincidences, silences and suppressions. To be specifically interrogated is relations between individuals and the society, parents and children, lovers, employers and employees among others. Even though the dominant theme in Gurnah’s the entire oeuvre is that of migrancy, of characters attempting to construct ideas of home away from home, his treatment of the varied power relationships inherent in the texts warrants investigation. / MT2017

This paper explores the contradictions and complexities of the themes Diaspora, Sanctuary and Estuary. Diaspora has historically referred to people and communities who have been displaced from their native, shared homeland through movement as a result of migration, immigration, or exile. African Diaspora tells the story of displacement throughout the continent and how Africans managed to retain their traditions and restructure their identities in a western dominated world and modern urban city. Through this paper I will explore how these diasporic communities maintained a sense of belonging through the notion of sanctuaries. Where these communities and sanctuaries overlap and, much like natural estuaries, how these interactions create uniquely dynamic systems. I will address themes within the urban context of Johannesburg and their influence on the nature space. It concludes by addressing the need for a new form of accommodation in response to the transient communities and fluid nature of the city. Key words: Diaspora, Sanctuary, Estuary, Transience, Accommodation.

A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Journalism at the University of the Witwatersrand, 2016 / Economic migrants to South Africa face a hostile reception; periodic displays of widespread xenophobia have highlighted the myths and stereotypes that still abound about foreigners - that they are job-stealers, criminals and a threat to our nation’s well-being. The Department of Home Affairs recently brought in new immigration laws that raise the barriers to entry and participation in the South African economy and society. Yet a back door has been left wide open for economic migrants, often unskilled and with no other options, to enter South Africa, live and work. For six consecutive years South Africa was the number one destination for asylum seekers globally and the influx has caused the refugee determination process to become clogged and corrupt, leaving genuine refugees vulnerable and hundreds of thousands of foreigners in an unhappy limbo. The accompanying narrative long form journalism piece highlights some of the fault lines in the government’s uncoordinated and inconsistent migration policy. Overall the project seeks to personalize some of the key challenges and contentious issues faced by migrants to South Africa. It aims to puts a human face to a bureaucratic process by accessing the stories of marginalized migrants, giving them a voice to articulate their experiences in South Africa. The accompanying method document outlines some of the academic research underpinning the study. / GR2017

Introduction: The African migrants that arrived in Sweden between 2005 and 2010 experienced a lack of regular contact with relatives and friends back home because of different factors due to the tools of communication during that period. Later, the migrants experienced a transition in tools of communication that allowed transnational communication with African countries, using ICTs tools of communication such as Whatsapp, Facebook, and others. Purpose:This thesis is focused on the digital transition in ICTs and aims to provide a better understanding of digital communication and it's impact on the African diaspora in Sweden. The research analyzes a specific timeline between the 2005-2010 period, which is split in three successive stages by the author ( Pre-transition, The transition and Post-transition). The ultimate goal is to provide a contribution to the existing theoretical knowledge with empirical evidence, thereby replenishing the Comdev academic field of studies. Methodology:To explore these questions, the empirical data was collected through semi-structured interviews with members of the African diaspora in Sweden Conclusion and contribution:The results show that the participants could not afford to buy on a regular basis the prepaid cards that were very expensive and ineffective. Emails were used by a few, also the internet was very expensive back home. The African's diaspora relationships with the homeland suffered negative consequences due to a feeling of abandonment felt by the relatives back home. The transition in communication occured after a few years, leading to a process defined as gradual, the learning of the new tools of ICTs and the cost of the smartphones played a role in the transition period. The following post-transition period allowed an interconnectedness on a global level and improved tremendously the relationships with relatives. Results also show that constant communication is becoming overwhelming on many levels and social aspects. The research revealed that ongoing processes during the transition process of digitalization are a broad field for investigation.