En esta tesis analizaré en la poesía de Georgina Herrera, Nancy Morejón y Excilia Saldaña 1 los conceptos de género y raza y cómo han sido apropiados del esquema patriarcal y redefinidos en la elaboración de identidad y nación a través de lo que Flora González Mandri y Catherine Davies han llamado la memoria cultural. Mi propósito es demostrar como dichas poetas han subvertido, a través de la palabra, un discurso historicamente maniqueísta que ha servido para reafirmar la doble subyugación de raza y género, como también exploro los resortes de auto-inscripción y el imaginario mítico-cultural que cada poeta emplea en su poesía para desmantelar el paradigma patriarcal. Lejos de ofrecer un análisis exhaustivo de la obra de cada escritora, mi objetivo es más bien deslindar las complejidades culturales que enmarca la producción literaria de cada una. He tomando en cuenta el contexto sociohistórico de donde surgen para comprender el lugar que han reclamado en la producción y reproducción cultural. Aunque no abordo los discursos de raza y género mediante un filtro estrictamente teórico, más bien utilizo ciertas teorías como ópticas en el vislumbrar poético de la aportación de cada poeta, me he apoyado cuando necesario en algunos postulados feministas, postestructuralistas, y postcoloniales. No obstante mi intención es ante todo ofrecer una lectura que se fundamenta en el análisis literario. En ciertos poemas aplico algunos aspectos de la teoría feminista de bell hooks, la contrapropuesta que ofrece Oyèrónké Oy ĕwùmi ante el discurso feminista occidental, el planteamiento sobre el poder del lenguaje y la dominación del discurso de Michel Foucault, y la teoría postcolonial de Homi Bhaba sobre el tercer espacio y la mímica. Herrera, Morejón, y Saldaña se adueñan de sus historias y reivindican las de sus ancestros femeninos mediante el protagonismo que ejercen como creadora/sujetos. Utilizando los temas de la memoria, la reconstrucción de la identidad, el homenaje a los antepasados femeninos, la recreación del vínculo con África como matriz, el rescate de la imagen de la mujer en el proyecto de identidad nacional, y la exaltación de la maternidad, dichas poetas deconstruyen los estereotipos afro-femeninos para después reconstruir y proyectar la imagen de la mujer dentro de un marco de resistencia. En su afán de desmontar los códigos establecidos, desarticulando y reconstruyendo el pasado para redefinir la identidad de la mujer afrocubana de manera protagónica en el presente, la obra de Morejón, Herrrera, y Saldaña rompe y transciende los parametros vanguardistas del negrismo 2 misógino de la primera mitad del siglo XX. Tras su auto-inscripción dentro de la poesía, la mujer afrocubana se plantea como creadora y portadora de la palabra constructora. En su lucha por crear un sujeto lírico que la represente y quede impreso en el subconsciente imaginario cultural, emerge como la voz más influyente de la poesía cubana post-revolucionaria.

Hundreds of thousands of Haitian agricultural laborers arrived in Cuba to cut cane as the Cuban sugar industry was expanding between the 1910s and the 1930s, and many settled permanently on the island. Historically, Haitian laborers occupied the lowest strata in Cuban society. Until relatively recently, the maintenance of Haitian traditions in Cuba was associated with rural isolation and poverty. Today however, the continuation of Haitian customs is no longer associated with isolation, but exactly the opposite. Cuba's Haitian communities are increasingly linked with cultural institutes, heritage festivals, music promoters, and the tourism industry. In Cuba's socialist economy, "folklore" is a valuable resource that demonstrates the unity of a multi-racial and multi-ethnic nation and attracts tourists. Music, dance, and rituals associated with Vodú have been re-imagined for the public stage. The "folkloric imaginary" creates new careers and opportunities for people of Haitian descent in Cuba. Haitiano-cubanos themselves have found innovative ways to transform the once abject into the now exotic, and are currently gaining a public presence in Cuba through folkloric performance. / African and African American Studies

<p>In my dissertation, "The Kongolese Atlantic: Central African Slavery & Culture from Mayombe to Haiti," I investigate the cultural history of West Central African slavery at the height of the trans-Atlantic slave trade, the late eighteenth century. My research focuses on the Loango Coast, a region that has received little scholarly attention despite the fact that it was responsible for roughly half of slave exports from West Central Africa at the time. The goal of my dissertation is to understand how enslaved Kongolese men and women used cultural practices to mediate the experience of slavery on both sides of the Atlantic world. To do so, I follow captives from their point of origin in West Central Africa to the Loango Coast and finally to the French colony of Saint Domingue in order to examine these areas as part of a larger "Kongolese Atlantic" world. </p><p>My dissertation begins by exploring the social and political history of the slave trade in the Loango Coast kingdoms, charting the structural changes that took place as a result of Atlantic trade. Next, I use historical linguistics to investigate the origins of captives sold on the Loango Coast. I find that the majority of captives came broadly from the Kongo zone, specifically from the Mayombe rainforest and Loango Coast kingdoms north of the River Congo. I then use a sociolinguistic methodology to reconstruct the cultural history of those groups in the near-absence of written documents. In the last chapter of the dissertation, I follow enslaved Central Africans from the Loango Coast to Saint Domingue, examining how they used specific and identifiable north coast cultural practices in the context of slavery. I find enslaved Central Africans used north coast spiritual tools such as divination, possession, trance, and power objects to address the material problems of plantation life. Finally, I argue the persistence of these spiritual practices demonstrates a remarkable durability of Kongolese ontology on both sides of the Kongolese Atlantic world.</p><p>My research produces new information about the history of the Loango Coast as well as the colony of Saint Domingue. The north coast origin of captives which I establish using historical linguistics contradicts earlier arguments that slaves traded on the Loango Coast originated from Kingdom of Kongo or from the inland Malebo Pool or Upper River Congo trade. I show inhabitants of the coastal kingdoms and Mayombe rainforest were not mere middlemen in the interior slave trade as previously thought, but were the victims of new mechanisms of enslavement created as a result of the erosion of traditional political institutions due to the trans-Atlantic slave trade. The north coast origin of Loango Coast captives has repercussions for the cultural history of the Americas. It means that captives were not "Atlantic Creoles" with prior knowledge of European culture and religion. I argue historians can only understand the meaning of the cultural practices of Africans in the Americas by understanding where Africans came from and what cultural and linguistic tools they brought with them. The use and transmission of Kongolese ritual knowledge and spiritual technologies in Saint Domingue challenges historians of slavery to move beyond the false dichotomy that culture originated in either Africa or on the plantation and forces a fundamental reassessment of the concept of creolization.</p> / Dissertation

abstract: During the mid-1930s in Cuba, Ernest Hemingway befriended Cuban artist Antonio Gattorno (1904-1980) during Hemingway's most active period of Gulf Stream fishing trips. Their relationship soon transcended ocean sojourns, and the two exchanged letters, eight of which reside in the Hemingway Collection at the J.F.K. Library in Boston. Written between 1935 and 1937, the Hemingway-Gattorno correspondence showcases the relationship that came to fruition between the American writer and Cuban artist in the 1930s. It also presents a lens through which to examine the cultural contact that occurred between Americans and Cubans during a decade of great political, social, and economic exchange between the two nations. In addition, the Hemingway-Gattorno correspondence elucidates each country's tendency to romanticize the other before the Cuban Revolution and provides a template with which to examine current U.S.-Cuban relationships today. This thesis endeavors to first discuss the Hemingway-Gattorno relationship via a close examination of the correspondence that occurred between them. It then attests that the Hemingway-Gattorno correspondence exemplifies the transatlantic glamorization that characterized pre-revolutionary U.S.-Cuban relations. The thesis explores the replay of this act of romanticizing in real time, arguing that despite governmental injunctions since 1961, Americans and Cubans alike have continued to ingeniously find ways to communicate with one another in much the same way Hemingway and Gattorno did in the 1930s. One mechanism for doing so is remembering Ernest Hemingway's life in Cuba and the home he owned there, Finca Vigía, a performance of memory that often occurs through the conduits of either the Hemingway Archives in Boston or the Finca Vigía Museum in Cuba. American and Cuban longing for the cultural contact enjoyed by Hemingway and Gattorno is expressed and performed through a glorification of Hemingway and the Finca Vigía, despite the severance of diplomatic relations between the two countries in 1961. In addition, for Cubans in particular, Hemingway and the Finca Vigía present an opportunity to imagine the much more unified pre-revolutionary Cuba. Although certainly Hemingway and his home represent different realities for Cubans and Americans, in all, the thesis will show that citizens from both countries continue to find ways to create and imagine themselves in pre-revolutionary contexts like those embodied by Hemingway and Gattorno in the 1930s. / Dissertation/Thesis / M.A. English 2011

abstract: This document highlights the increased involvement of &ldquo; college boys &rdquo; or &ldquo; white college boys &rdquo; - better-educated middle-class white and light-skinned persons - in steelbands in the late 1940s and early 1950s. Following an introductory overview of the demography of Trinidad and Tobago, the history of Carnival, and the interregnum of the temporary instruments used between the ban of indigenous drums in the 1880s and the invention of the steelpan at the end of the 1930s, this document will examine the history and membership of these college boy bands, with particular emphasis on the Hit Paraders. Two factors that highlight the vital role played by these college boy steelbands are discussed: commercial sponsorship of bands, and support that bands received from the People's National Movement Party. A detailed timeline of steelpan invention and innovations is also included. / Dissertation/Thesis / D.M.A. Music 2011

xi, 249 p. : ill. (some col.) / Globalization has inaugurated many rapid changes in local communities throughout the world. The globalization of media, both electronic and print, has introduced new pressures for local communities to confront while also opening up new imaginative possibilities. As many observers have noted, transnational media transform local public cultures, or shared imaginative spaces, but never in predictable, totally hegemonic ways. This dissertation focuses on the efforts of a small Hindu community called the Hindu Prachar Kendra located in Trinidad, West Indies, as they develop critical strategies that help their children read, negotiate, and in some cases contribute to local and global public cultures. I argue that though many Hindu parents and teachers of the Kendra share anxieties about the effects of local and global popular cultures on their children, they also use many features, ideas, and texts emerging from imaginative media in creative ways. Furthermore, their concerns about media shape their interpretation and instruction of Hindu practice. / Committee in charge: Philip Scher, Chair; Lynn Stephen, Member; Lamia Karim, Member; Deborah Green, Outside Member

Historians have enhanced our understanding of United States foreign policy in Asia, Latin, and Central America. My dissertation contributes to this literature by exploring U.S. foreign relations in the Caribbean by taking a close look at Haiti. While both nations achieved independence during the Age of Revolutions, by the turn of the 20th century, the U.S. occupied Haiti from 1915–1934. In investigating the history of U.S. and Haitian diplomacy, one figure appeared repeatedly in my archival research and fieldwork in both nations, Charlemagne Peralte. During the U.S. intervention, Peralte rose as a leader of a Haitian guerrilla group known as the cacos who positioned themselves as nationalists fighting for Haiti's sovereignty. Under Peralte's direction, the cacos battled the occupying forces and also promoted their cause as a global call for democracy. Though Peralte died in 1919, his significance to Haitians assumed epic proportions as Pancho Villa and Emiliano Zapata of Mexico, Augusto Sandino of Nicaragua, and Che Guevera in Cuba. Haitians on the island and across the Americas in the Diaspora revive Peralte's history and meaning throughout the 20th and 21st centuries. Drawing on unexplored primary sources, marines' records, and oral histories, etc, my study seeks to move Charlemagne Peralte from the margins to the center in historiography surrounding 'bandits,' rebels, and national leaders. The work first traces U.S. and Haitian relations from their revolutions to the various events leading to the occupation in 1915. It then captures the tenor of the early occupation years by analyzing the various modes of resistance that erupted because of the intervention. Embedded in this protest against imperialism were Peralte and the actions of the cacos. The dissertation also reflects on the post-occupation years from 1948 to 1986 to examine the nations' foreign relations. Finally, the work documents the apotheosis of the cacos leader to examine the meaning behind the ongoing historical preservations of Peralte in Haiti and amongst the Haitian Diaspora community in the U.S. and Canada. The study documents how Peralte's story, and the historical remembrances of him, shed light on U.S. and Haitian diplomacy from the 19th through the 20th centuries.

This dissertation analyzes three novels by contemporary female Caribbean and Latin American Afro-descendent writers of the diaspora: Peruvian Lucía Charún-Illescas' Malambo (2001), Brazilian Ana Maria Gonçalves' Um defeito de cor (2006), and Puerto Rican Mayra Santos-Febres' Fe en disfraz (2009). In these texts, the old and the new intermingle in the space of the narrative. The colonial past is reexamined and reconstructed out of the need to understand its reminiscences into the present and the necessity to transform the future. These decolonial narratives of the contemporary African diaspora foster an expression of the interconnection between the two colonial spaces: where the African-descendents, especially the black female, were the objects of submission, and the present time, where the remnants of the past persist. I propose a reading of how the writers decolonize via history, memory, myth, and sex by challenging the construction of the colonial patriarchal rule and rewriting a new history to include the marginalized voices. Decolonization here implies a deconstruction of the image of colored people, especially black women in colonial time where they were deprived of their culture, personhood, and subjectivity. The writers propose a social transformation in which colonialism, racism, sexism, and classism are confronted and a new society is created, without the colonial power structure. The writers return to the roots of power and domination and examine the dynamics of the interconnection of gender, race, class, and sexuality and propose a new gender paradigm.

My dissertation is about the feminine Caribbean perspective in three novels: Calypso (1996) by Tatiana Lobo; L'exil selon Julia (1996) by Gisèle Pineau; and Breath, Eyes, Memory (1994) by Edwidge Danticat. The values and traditions involved in the patriarchal system are reevaluated to allow the Caribbean female voice to express itself. The novels are analyzed through the historical and linguistic specificities of the regions studied: the modernization of a small town on the Atlantic Coast of Costa Rica, exile from the Caribbean to France, and the Haitian Diaspora in the United States. The Caribbean is seen as a heterogeneous area sharing particular and general historical facts. Female figures express themselves in English, French and Spanish concerning the domestic sphere and how it is affected by ethnic, migratory, and cultural traditions. Female bonds and religion work together, giving agency to the female characters and allowing them to reconcile their unique experiences. The novels are understood together from a pan-Caribbean feminist perspective informed by the works of Édouard Glissant and Chandra Talpade Mohanty.

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