Neema Namadamu: a Congolese activist / une activiste congolaise
Posted: February 15, 2016 Filed under: English, French Comments Off on Neema Namadamu: a Congolese activist / une activiste congolaise
Activist Neema Namadamu_photoportrait by Peter Muller_ from Beauty in the Middle: Women of Congo Speak Out / Photoportrait de Neema Namadamu par Peter Muller
Neema Namadamu stands for a portrait outside the Maman Shujaa Media Centre in Bukavu, South Kivu, on February 25th, 2014. After her own 25-year-old daughter was attacked by members of the Congolese national army, Neema launched into action. She founded Maman Shujaa—an initiative that uses digital media to amplify the voices of women demanding peace in eastern Congo. From a media centre in the heart of Bukavu, Neema provides digital and internet literacy training to women who share their stories online with a global audience. She is also an outspoken disability activist and was the first woman with a disability to graduate from a college in Congo.
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Neema Namadamu prend la pose pour une photo à l’extérieur du Centre medical Maman Shujaa, à Bukavu (Sud Kivu), le 25 février 2014. Après que sa propre fille de 25 ans a été attaquée par des membres de l’armée nationale congolaise, Neema est passée à l’action. Elle a fondé Maman Shujaa, une initiative qui utilise les médias numériques pour mieux faire entendre les voix des femmes qui demandent la paix dans l’est du Congo. À partir d’un centre multimédia au coeur de Bukavu, Neema offre une formation sur la culture numérique et sur Internet aux femmes qui partagent leurs histoires en ligne avec un public mondial. C’est également une militante au franc parler des droits des personnes ayant un handicap et elle a été la première femme handicapée à obtenir un diplôme d’un collège du Congo.

Photographer Goran Tomasevic_picture of DRC armed forces soldiers in the town of Sake west of Goma_December 2012

Detail of a map of the east middle part of Democratic Republic of The Congo showing the city of Bukavu on Lake Kivu_sections of Rwanda and Burundi are also shown
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http://namadamu.com/maman-shujaa
.
http://www.beautyinthemiddle.org/image-index2/
. . . . .
La poésie congolaise des femmes: Tsibinda, Nene, Valette, Sathoud, Ngoy, Tol’Ande
Posted: February 15, 2016 Filed under: French Comments Off on La poésie congolaise des femmes: Tsibinda, Nene, Valette, Sathoud, Ngoy, Tol’AndeMarie-Léontine Tsibinda (née 1953)
Les facettes du monde
.
On t’appelle fou
connaît-on vraiment
la résonance de ce mot
.
connaît-on vraiment la force
de cette radiation
ne serais-tu pas
un ange du soir
à la distribution du bonheur
tandis que ta suite
de mouches entonnera l’hymne
d’un indescriptible matin
.
fou fol folle étoile
aux balbutiements sans fin
si triste si solitaire
aux passants aux intempéries
tu offres les parcelles de ton
corps sans protection
et la cloche endormie
sonne l’hilarité sur les visages
.
tu te causes: changeras-tu
jamais l’une des facettes du monde?
. . .
Du recueil Demain un autre jour (1987)
. . .
Amélia Nene (décédée 1996)
Fleurs de vie
.
Un frisson la frôle
De fines perles glacées glissent
Le long des tempes brûlantes
La coeur se déchire
Le corps se tend s’affaisse
Un vagissement cristallin
Envahit l’air
Fait se dérider
L’heureuse néophyte
Se laisse engourdir
Goûtant la satisfaction
D’une longue attente
Qui la sacre mère.
. . .
Le fossoyeur
.
Un mégot tiède
Accroché à son oreille gauche
Le geste vif et froid
Le fossoyeur vient d’aplanir
La dernière pelletée
Sur la tombe
Que les couronnes fleuries
Envahissent
Sous les sanglots étouffés.
. . .
Les deux poèmes ci-dessus: du recueil Fleurs de vie (1980)
. . .
Alice Valette (1938-2003)
Purification
.
Seigneur, prends possession de moi
Ta lumière dissipe les tourments
Qui ravagent mon coeur en émoi
Que ta paix devienne enchantement
.
Brûle, coeur sensible et plein d’ardeur
Dans le feu sacré des mystères
Que s’accomplisse avec ferveur
Le sacrifice salutaire.
.
Après la purification
Qui rend à l’âme son allégresse
Sur les cendres renaît sans passion
Une très belle fleur, la Sagesse.
.
(Pointe-Noire, janvier de 1985)
. . .
Les petits oiseaux
.
Qui êtes-vous, petits êtres aux coloris variés
Qui avez élu votre monde entre ciel et terre
Et qui battez l’air de vos ailes déployées
Anges déchus, démons en évolution qui errent?
.
Amis, quand vous foncez dès l’aube vers les hauteurs
Ou que vous piquiez droit dans les profonds abîmes
L’homme au regard fasciné envie votre bonheur
Et voudrait comme vous s’élancer ves les cimes
.
Livrez-vous votre précieux secret millénaire
Amis des airs qui exploitez l’immensité
Qu’avec ses bras il s’envole dans les espaces verts
Et goûte avec vous la douceur de la liberté.
.
(Pointe-Noire, juillet de 1990)
. . .
Ghislaine Nelly Huguette Sathoud (née 1969)
Soir à Banda
.
La nuit va tomber sur Banda,
Les derniers rayons du soleil
Profitent à la jeunesse
Pour l’exhibition du Manguida
C’est l’au-revoir au jour qui s’en va
Et la préparation
À l’accueil du lendemain,
Un lendemain que chacun souhaite
Porteur de bonnes promesses
Et qui apportera certainement
Un nouveau rythme de vie,
Un tam-tam résonne dans le Kongo
C’est le troisième âge qui
Se rassemble aussi au Mouatsa
.
Pour
remercier à sa manière ce que
Le jour mourant lui a apporté
Et demander au jour naissant
Quelque chose de meilleur.
. . .
Manguida = une danse locale
Kongo = un quartier
. . .
Les fourmis
.
Par centaines, par milliers
Elles passent, silencieuses,
Se heurtent les unes aux autres,
Une petite charge aussi minuscule
Qu’elles-mêmes entre les mandibules.
D’autres se dressent, également
Par centaines, par milliers
De chaque côté du couloir,
Formant une haie de soldats,
Mandibules puissantes et équipées
Dressées vers le ciel
Elles veillent, immobiles, disciplinées
À la securité des porteuses.
Est-ce des esclaves
Est-ce des ouvrières
Ces porteuses silencieuses
Jalousement gardées
Par cette puissante armée de
Fortes mandibules?
Esclaves ou ouvrières,
Elles travaillent, sans repos,
Pour le bien-être de la Société,
Pour la survie de tous,
Chacune à sa place.
. . .
Du recueil L’Ombre de Banda (1999)
. . .
Mutenke Ngoy (née 1955)
Vie
.
Ma vie
Un brouillard qui se dissipe
Au coude d’un sentier
Un soleil qui s’assoupit
Au-delà de la voûte horizontale
Une flaque d’eau se mourant
Dans le ventre d’une argile spongieuse
.
C’est le son presqu’étranglé
D’un tam-tam lointain
Glissement imperceptible
D’un esprit à l’orée du bois envoûté
La percée d’une liane solitaire
Dans les crevasses d’un tronc de cocotier…
.
Ma vie?
Un feu follet capricieux et unijambique
À travers un champ de dunes désséchées
Une source qui jaillit péniblement
Au creux d’un rocher teme et las
Une termitière qui s’enfle un matin
Dans la savane aux lions grognards
.
Ma vie
C’est le baume d’une fleur qui s’éclot
Pointant fièrement son cou fragile
Hors d’un bosquet épineux étouffant
Chant d’un ruisseau monocorde écumeux
Serpentant en cascades la pente d’une colline
Abandonnée…
.
Ma vie…C’est le grand néant obscur
Qui veut être la grande lumière de ce qui est
Vrai…
Pilier de mon être
.
Il n’est que l’aube
Cette aube aux lueurs rouges violacées
Peuplée des derniers esprits de la nuit
Le gazouillis des oiseaux me réveille
Et donne vie à tout ce qui vit doucement
Laisse-moi déjà te chanter et mêler ma voic
Aux roucoulements des tourtereaux
Laisse-moi m’imprégner de toi
Comme d’une eau bénite…
.
L’aube…laisse-moi murmurer ton nom
Mélodie enchanteresse qui délie ma langue
Et chasse en ce jour nouveau
Les visions cauchemardesques qui ont troublé
Cette nuit
Et tu resteras mon seul rêve…
.
Il est midi
Du haut de sa voûte le soleil radieux
Surveille les activités des hommes
Les parfums exquis montent des foyers unis
Les arbres de nos forêts tendent vers le ciel
Leurs bras que chauffe ce brasier doux
Comme un amour naissant
.
Laisse-moi te déguster comme un sucre fin
Fonds en moi pour assaisonner cette vie
Que je te berce comme un candide enfant
Dans la chaleur de mes seins fiers et dressés
Viens résider dans le fond de mes pensées
Et elles seront toutes pour toi seul
.
Enfin le soir
Le crépuscule vaporise dans l’air
L’arôme de ses aisselles d’amour
La brise fraîche tire du bois
Un murmure symphonique mélancolique
Bientôt ce sera encore la nuit
Avec la lune dans sa robe de noces
Laisse-moi alors me taire dans ce silence
Sentir ta sève monter dans mes jeunes pétales
Laisse-moi vivre en moi comme moi en toi
Tu es le battement qui propulse en cadence
Le sang rouge sang de mon existence
Je veux de toi mourir et ressusciter
Pilier de mon âme…
. . .
Caresses
.
Sentir tes mains m’effleurer
Et m’envahir de passion silencieuse
.
…Je voudrais tant…
.
Frémir de volupté comme une gazelle séduite
Sous tes caresses souples savantes pénétrantes
Comme une onde sournoise entre les rochers
De mes cuisses nues et puissantes
Mais hélas…
.
Je voudrais tant être ces objets
Familiers qui font ta quotidienne vie
Microscope seringue éprouvette
Pour être palpée piquée pénétrée
À longueur de journée et de nuit
Par l’adresse fantastique de tes mains
Tes muscles d’ébène
Mais tu es si loin…
.
Être cette malade éternelle alitée
Qui lit la douceur de tes yeux
Véritable brasier qui incendie mon esprit
Et déroute mes pensées en de brûlants désirs
…Je voudrais tant…
.
Si tu pouvais faire de ma peau basanée
Cette blouse immaculée que tu enfiles au matin
Et avoir la certitude d’être toujours
Enveloppée sur ton corps comme du velours
Mais hélas…
. . .
Les trois poèmes ci-dessus: du recueil Ventouses et passions
. . .
Elisabeth Françoise Mweya Tol’Ande
(née 1948)
Tu m’as regardée
.
Tu m’as regardée
Et ton regard plein d’amour
A souri
Dans le mien
.
Tu m’as tenu
Ton bras
Ton bras droit
Comblé de promesses
.
Et ton regard s’est fondu
Dans mon regard
Et tes bras m’ont enveloppée
D’un long pagne d’espoirs
. . .
Le Pardon
.
J’ai regardé mon visage
Dans le bleu aquarelle de tes yeux.
Souvent, les soirs, j’ai lu
Ma destinée entre les lignes de tes mains
.
Et puis un temps je suis partie
Sans laisser de traces
.
Tu m’as cherchée
Partout
Sans me retrouver
Puisque je me dérobais à ton regard.
.
Pourtant ce soir je reviens
Émue et saisie de crainte
Parce que pendant longtemps
Je fus absente dans tes yeux
.
Mon ami
Présente-moi tes deux mains.
Pose sur moi ton regard infini
Livre-moi ton coeur
.
Que j’y lise l’immense pardon.
. . .
La nuit est venue
.
La nuit est venue,
plus tôt que je ne l’attendais
Ah! je savais qu’elle viendrait
Et je t’attendais
Avec son froid terrible
Qui mord dans l’âme.
.
Mais trop vite elle est venue.
Elle est venue exprès
Pour que j’aie froid
Dans mon corps et dans l’âme
.
Pour que les gens chuchotent
À mon passage,
Des mots qui naissent
Du grand messonge
Qui dort en eux.
Cris perdus
.
Ce soir
Le souvenir du sang sur l’eau
Le sang rouge et gras de mes frères
Le souvenir des corps délaissés
Sur la place déserte
À la faim des chacals et des aigles
Le souvenir des enfants égarés sur la berge
Encore rouge du sang frais des innocents
Le souvenir d’un petit être jeté
Comme un paquet
Dans le fleuve aux remous écarlates
Le souvenir du couteau qui s’enfonce
Dans la gorge de cette jeune fille ma soeur
Le souvenir des combats sanglants
Des cris de panique, du choc des corps
.
et des armes
Des pleurs dont retentissent forêts et plaines
Des clameurs d’un village pris au dépourvu
Le souvenir des résistances vaines
de jeunes filles
Que l’on viole…
.
Ce soir
Que de souvenirs
Renaissent dans ma mémoire.
. . .
Les quatre poèmes ci-dessus: du recueil Remous des feuilles
. . .
Sources:
Nouvelle Anthologie de la Littérature Congolaise: Jean-Baptiste Tati Loutard et Phillipe Makita (Éditions Hatier International, Paris, 2003)
Poète, ton silence est crime: Panorama de la poésie congolaise de langue française (Congo-Kinshasa): Antoine Tshitungu Kongolo (L’Harmattan, 2002)
. . . . .
Black History Month: “Won’t You Be My Valentine?”
Posted: February 14, 2016 Filed under: IMAGES | Tags: Black History Month: Won't You Be My Valentine? Comments Off on Black History Month: “Won’t You Be My Valentine?”Black History Month: Thomas Washington Talley’s “Negro Folk Rhymes –– Wise and Otherwise” (1922)
Posted: February 14, 2016 Filed under: English, English: Nineteenth-century Black-American Southern Dialect | Tags: Black History Month poems Comments Off on Black History Month: Thomas Washington Talley’s “Negro Folk Rhymes –– Wise and Otherwise” (1922)Selections from: Thomas Washington Talley’s “Negro Folk Rhymes –– Wise and Otherwise” (1922)
. . .
Love is just a Thing of Fancy
.
Love is jes a thing o’ fancy,
Beauty’s jes a blossom;
If you wants to git yo’ finger bit,
Stick it at a ‘possum.
.
Beauty, it’s jes skin deep;
Ugly, it’s to de bone.
Beauty, it’ll jes fade ‘way;
But Ugly’ll hold ‘er own.
. . .
Joe and Malinda Jane
.
Ole Joe jes swore upon ‘is life
He’d make Merlindy Jane ‘is wife.
W’en she hear ‘im up ‘is love an’ tell,
She jumped in a bar’l o’ mussel shell.
She scrape ‘er back till de skin come off.
Nex’ day she die wid de Whoopin’ Cough.
. . .
I love Somebody
.
I loves somebody, yes I do;
An’ I wants somebody to love me too.
Wid my chyart an’ oxes stan’in ‘roun’,
Her pretty liddle foot needn’ tetch de groun’.
.
I loves somebody, yes I do,
Dat randsome, handsome, Stickamastew.
Wid her reddingoat an’ waterfall,
She’s de pretty liddle gal dat beats ’em all.
. . .
Likes and Dislikes
.
I sho’ loves Miss Donie! Oh yes, I do!
She’s neat in de waist,
Lak a needle in de case;
An’ she suits my taste.
I’se gwineter run wid Mollie Roalin’! Oh yes, I will!
She’s pretty an’ nice
Lak a bottle full o’ spice,
But she’s done drap me twice.
.
I don’t lak Miss Jane! Oh no, I don’t.
She’s fat an’ stout,
Got her mouf sticked out,
An’ she laks to pout.
. . .
Sugar Loaf Tea
.
Bring through yo’ Sugar-lo’ tea, bring through yo’ Canday,
All I want is to wheel, an’ tu’n, an’ bow to my Love so handy.
.
You tu’n here on Sugar-lo’ tea, I’ll turn there on Candy.
All I want is to wheel, an tu’n, an’ bow to my Love so handy.
.
Some gits drunk on Sugar-lo’ tea, some gits drunk on Candy,
But all I wants is to wheel, an’ tu’n, an’ bow to my Love so handy.
. . .
Kissing Song
.
A sleish o’ bread an’ butter fried,
Is good enough fer yo’ sweet Bride.
Now choose yo’ Lover, w’ile we sing,
An’ call ‘er nex’ onto de ring.
.
“Oh, my Love, how I loves you!
Nothin’ ‘s in dis worl’ above you.
Dis right han’, fersake it never.
Dis heart, you mus’ keep forever.
One sweet kiss I now takes from you;
Caze I’se gwine away to leave you.”
. . .
Kneel on this Carpet
.
Jes choose yo’ Eas’; jes choose yo’ Wes’.
Now choose de one you loves de bes’.
If she hain’t here to take ‘er part
Choose some one else wid all yo’ heart.
.
Down on dis chyarpet you mus’ kneel,
Shore as de grass grows in de fiel’.
Salute yo’ Bride, an’ kiss her sweet,
An’ den rise up upon yo’ feet.
. . .
Sweet Pinks and Roses
.
Sweet pinks an’ roses, strawbeers on de vines,
Call in de one you loves, an’ kiss ‘er if you minds.
Here sets a pretty gal,
Here sets a pretty boy;
Cheeks painted rosy, an’ deir eyes battin’ black.
You kiss dat pretty gal, an’ I’ll stan’ back.
. . .
You love your Girl
.
You loves yo’ gal?
Well, I loves mine.
Yo’ gal hain’t common?
Well, my gal’s fine.
.
I loves my gal,
She hain’t no goose –
Blacker ‘an blackberries,
Sweeter ‘an juice.
. . .
Down in the Lonesome Garden
.
Hain’t no use to weep, hain’t no use to moan;
Down in a lonesome gyardin.
You cain’t git no meat widout pickin’ up a bone,
Down in a lonesome gyardin.
.
Look at dat gal! How she puts on airs,
Down in de lonesome gyardin!
But whar did she git dem closes she w’ars,
Down in de lonesome gyardin?
.
It hain’t gwineter rain, an’ it hain’t gwineter snow;
Down in my lonesome gyardin.
You hain’t gwineter eat in my kitchen doo’,
Nor down in my lonesome gyardin.
. . .
A Wind-Bag
.
A Nigger come a-struttin’ up to me las’ night;
In his han’ wus a walkin’ cane,
He tipped his hat an’ give a low bow;
“Howdy-doo! Miss Lize Jane!”
.
But I didn’t ax him how he done,
Which make a hint good pinned,
Dat I’d druther have a paper bag,
When it’s sumpin’ to be filled up wid wind.
. . .
Why look at Me?
.
What’s you lookin’ at me for?
I didn’ come here to stay.
I wants dis bug put in yo’ years,
An’ den I’se gwine away.
.
I’se got milk up in my bucket,
I’se got butter up in my bowl;
But I hain’t got no Sweetheart
Fer to save my soul.
. . .
A Short Letter
.
She writ me a letter
As long as my eye.
An’ she say in dat letter:
“My Honey –– Good-by!
. . .
A Request to Sell
.
Gwineter ax my daddy to sell ole Rose,
So’s I can git me some new clo’s.
Gwineter ax my daddy to sell ole Nat,
So’s I can git a bran’ new hat.
Gwineter ax my daddy to sell ole Bruise,
Den I can git some Brogran shoes.
Now, I’se gwineter fix myse’f “jes so”,
An’ take myse’f down to Big Shiloh.
I’se gwine right down to Big Shiloh
To take dat t’other Nigger’s beau.
. . .
Coffee grows on White Folks’ Trees
.
Coffee grows on w’ite folks’ trees,
But de Nigger can git dat w’en he please.
De w’ite folks loves deir milk an’ brandy,
But dat black gal’s sweeter dan ‘lasses candy.
.
Coffee grows on w’ite folks’ trees,
An’ dere’s a river dat runs wid milk an’ brandy.
De rocks is broke an’ filled wid gold,
So dat yaller gal loves dat high-hat dandy.
. . .
Kept Busy
.
Jes as soon as de sun go down,
My True-love’s on my min’.
An’ jes as soon as de daylight breaks
De white folks is got me a gwine.
.
She’s de sweetes’ thing in town;
An’ when I sees dat Nig,
She make my heart go “pitty-pat”,
An’ my head go “whirly-gig.”
. . .
Pretty little Pink
.
My pretty liddle Pink,
I once did think,
Dat we-uns sho’ would marry;
But I’se done give up,
Hain’t got no hope,
I hain’t got no time to tarry.
I’ll drink coffee dat flows,
From oaks dat grows,
‘Long de river dat flows wid brandy.
. . .
A bitter Lovers’ Quarrel – side One
.
You nasty dog! You dirty hog!
You thinks somebody loves you.
I tells you dis to let you know
I thinks myse’f above you.
. . .
Do I Love You?
.
Does I love you wid all my heart?
––I loves you wid my liver;
An’ if I had you in my mouf,
I’d spit you in de river.
. . .
She hugged Me and kissed Me
.
I see’d her in de Springtime,
I see’d her in de Fall,
I see’d her in de Cotton patch,
A cameing from de Ball.
.
She hug me, an’ she kiss me,
She wrung my han’ an’ cried.
She said I wus de sweetes’ thing
Dat ever lived or died.
.
She hug me an’ she kiss me.
Oh Heaben! De touch o’ her han’!
She said I wus de puttiest thing
In de shape o’ mortal man.
.
I told her dat I love her,
Dat my love wus bed-cord strong;
Den I axed her w’en she’d have me,
An’ she jues say “Go long!”
. . .
You have made Me weep
.
You’se made me weep,
you’se made me mourn,
you’se made me tears an’ sorrow.
So far’ you well, my pretty liddle gal,
I’se gwine away to-morrow.
. . .
Me and my Lover
.
Me an’ my Lover, we fall out.
How d’you reckon de fuss begun?
She laked licker, an’ I laked fun,
An’ dat wus de way de fuss begun.
.
Me an’ my Lover, we fall out.
W’at d’you reckon de fuss wus ’bout?
She loved bitters, an’ I loved kraut,
An’ dat wus w’at de fuss wus ’bout.
.
Me an’ my Lover git clean ‘part.
How d’you reckon dat big fuss start?
She’s got a gizzard, an’ I’se got a heart,
An’ dat’s de way dat big fuss start.
. . .
I wish I was an Apple
.
Oh:
I wish I wus an apple,
An’ my Sallie wus anudder.
What a pretty match we’d be,
Hangin’ on a tree togedder!
.
But:
If I wus an apple,
An’ my Sallie wus anudder;
We’d grow up high, close to de sky,
Whar de Niggers couldn’ git ‘er.
.
We’d grow up close to de sun
An’ smile up dar above;
Den we’d fall down ‘way in de groun’
To sleep an’ dream ’bout love.
.
And:
W’en we git through a dreamin’,
We’d bofe in Heaben wake.
No Nigger shouldn’t git my gal
W’en ‘is time come to bake.
. . .
Invited to take the Escort’s Arm
.
Miss, does you lak strawberries?
Den hang on de vine.
.
Miss, does you lak chicken?
Den have a wing dis time.
. . .
Sparking or Courting
.
I’se heaps older dan three.
I’se heaps thicker dan barks;
An’ de older I gits,
De mo’ harder I sparks.
.
I sparks fast an’ hard,
For I’se feared I mought fail.
Dough I’se gittin’ ole,
I don’t co’t lak no snail.
. . .
A clandestine Letter
.
Kind Miss,
If I sent you a letter,
By de crickets,
Through de thickets,
How’d you answer better?
.
Kind Suh,
I’d sen’ you a letter,
By de mole,
Not to be tol’;
Fer dat’s mo’ secretter.
. . .
Antebellum Marriage Proposal
(A proposal of marriage with the answer deferred)
.
He:
De ocean, it’s wide; de sea, it’s deep.
Yes, in yo’ arms I begs to sleep,
Not fer one time, not fer three;
But long as we-uns can agree.
.
She:
Please gimme time, Suh, to “reponder”;
Please gimme time to “gargalize”;
Den ‘haps I’ll tu’n to “cattlegog”,
An’ answer up ‘greeable fer a s’prise.
. . .
Courtship
(A proposal of marriage with its acceptance)
.
Kind Miss,
I’se on de stage o’ action,
Pleadin’ hard fer satisfaction,
Pleadin’ ‘fore de time-thief late;
Darfore, Ma’m, now, “cravenate”.*
.
If I brung to you a gyarment;
To be cut widout scissors,
An’ to be sewed widout thread;
How (I ax you) would you make it,
Widout de needle sewin’
An’ widout de cloth spread?
.
Kind Suh,
I’d make dat gyarment
Wid love from my heart,
Wid tears on yo’ head;
We never would part.
. . .
Presenting a Hat to Phoebe
.
Sister Phoebe,
Happy wus we,
W’en we sot under dat Juniper tree.
Take dis hat it’ll keep yo’ head warm.
Take dis kiss, it’ll do you no harm.
Sister Phoebe,
De hours, dey’re few;
But dis hat’ll say I’se thinkin’ ’bout you.
Sugar, it’s sugar; an’ salt, it’s salt;
If you don’t love me, it’s sho’ yo’ own fault.
. . .
Wooing
.
W’at is dat a wukin
At yo’ han’bill on de wall,
So’s yo’ sperit, it cain’t res’,
An’ a gemmun’s heat, it call?
.
Is you lookin’ fer sweeter berries
Growin’ on a higher bush?
An’ does my combersation suit?
If not, w’at does you wush?
. . .
When I go to marry
.
W’en I goes to marry,
I wants a gal wid money.
I wants a pretty black-eyed gal
To kiss an’ call me “Honey”.
.
Well, w’en I goes to marry,
I don’t wanter git no riches.
I wants a man ’bout four foot high,
So’s I can w’ar de britches.
. . .
Good-by, Wife!
.
I had a liddle wife,
An’ I didn’ want to kill ‘er;
So I tuck ‘er by de heels,
An’ I throwed ‘er in de river.
“Good-by, Wife! Good-by, Honey!
Hadn’t been fer you,
I’d a had a liddle money.”
.
My liddle fussy wife
Up an’ say she mus’ have scissors;
An’ druther dan to fight,
I’d a throwed ‘er in three rivers.
But she crossed dem fingers, w’en she go down,
An’ a liddle bit later
She walk out on de groun’.
. . .
My Baby
.
I’se de daddy of dis liddle black baby.
He’s his mammy’s onliest sweetes liddle Coon.
Got de look on de forehead lak his daddy,
Pretty eyes jes as big as de moon.
.
I’se de daddy of dis liddle black baby.
Yes, his mammy keep de “Sugar” rollin’ over.
She feed him wid a tin cup an’ a spoon;
An’ he kick lak a pony eatin’ clover.
. . .
My Folks and your Folks
.
If you an’ yo’ folks
Likes me an’ my folks
Lak me an’ my folks
Likes you an’ yo’ folks;
You’s never seed folks
Since folks ‘as been folks
Like you an’ yo’ folks
Lake me an’ my folks.
. . .
Fed from the Tree of Knowledge
.
I nebber starts to break my colt,
Till he’s ole enough to trabble.
I nebber digs my taters up
W’en dey’s only right to grabble.
So w’en you sees me risin’ up
To structify in meetin’,
You can know I’se climbed de Knowledge Tree
An’ done some apple eatin’.
. . .
The Tongue
.
Got a tongue dat jes run when it walk?
It cain’t talk.
Got a tongue dat can hush when it talk?
––It cain’t squawk.
. . .
Don’t tell All You know
.
Keep dis in min’, an’ all ‘ll go right;
As on yo’ way you goes;
Be shore you knows ’bout all you tells,
But don’t tell all you knows.
. . .
Thomas Washington Talley (1870 – 1952) taught chemistry and biology at Fisk University in Nashville, Tennessee. He also sang with the New Fisk Jubilee Singers and conducted the Fisk choir for several seasons. But mainly, today, he is known as a seminal scholar of African-American rhymes and folksongs. Some of the rhymes he compiled dated as far back as the mid-19th-century – the final decades of slavery. In middle age Talley had begun to search out and collect rural black folk songs, many of which were disappearing with the gradual demise of the older generation. Professor Talley compiled several hundred rhymes and songs, and in 1922 published his anthology: Negro Folk Rhymes (Wise and Otherwise).
Negro Folk Rhymes is divided into sections: nursery rhymes, child’s-play call&response rhymes, dance rhymes, “wise sayings” and so forth. But it being Valentine’s Day today, we have chosen our selection from the Love, Courtship, and Marriage chapters of Talley’s volume!
. . . . .
Sexploitation, Politics, Anger, God, and Happiness: Poems by Gerald Kithinji (Kenya, 1976)
Posted: February 11, 2016 Filed under: English, Gerald Kithinji | Tags: African poets: Kenya, Black History Month poems Comments Off on Sexploitation, Politics, Anger, God, and Happiness: Poems by Gerald Kithinji (Kenya, 1976)
Gerald Kithinji (Kenya)
Selections from Whispers at Dawn
. . .
Magic Woman
.
I am the black magic woman
I feed from the dartboard
served by the wine drunkards
.
I am the female equivocator
I provoke the male prostitutes
by a lisp of “guinness is good for you!”
.
I am the adding machine
computing your poverty
by a controlled throw of the dart
.
I am the ‘mother-in-law’
sucking your slumberous prick
for want of a longer trip
.
I am the ever-thirsty sleuth
whose eternal furnace
consumes your holy waters
.
If in any reasonable doubt
follow that last stagger
to the edge of the moonlight
– to the last tango away from the dartboard.
. . .
Sexploitation
.
The talk took a comic turn
adding dry wood to the fire
lit by the sex debate
– or was it the women’s lib
.
Yes; I think it was that lost battle
now come from the mists of antiquity
through currents of a missionary zeal
to plague the human race
.
They were not ‘fiddlers on the roof’
nor sexperienced population exploders
but just college infuriates
that must have sexquality – or die!
.
“What men can do
that women can do
what men can do
let women do”
.
The lioness roamed the jungle
the zebras rubbed noses
and the birds on the equality twig sung:
“were I an ilk with all her ilk”
.
And the lights dimmed
leaving only the fireglow
leaving the sons of strife
in clouds of misty speculation
.
The wind carried no pollen
the flowers refused to bloom
the world stood still
in the wake of a woman’s protest
.
The world of merit
shed a light on sexpression
but the question persisted
“what if they played hard to get?”
. . .
In Praise of Work
.
The possibility is there
that I might write
with the poet’s inbuilt inspiration
what comrade time
has reason to portend
.
Of our aims
I might write
or even our dreams
.
But our destinations?
Even the Pope’s edict…
hist–
I pledge my doubt
.
Of greater moment
is our faith
in the plough.
.
Hail plough!
Hail abundance!
. . .
A Pause
.
On that hot afternoon
even the creatures of heaven
could feel the heat in hell
and paused awhile
to let it pass
.
But as for me, a wayward son
doomed to labour and toil
there was no pause, no rest
but an eternal longing
an eternal thirst
.
Had I not been sleepy
I might have witnessed
the comings and goings
of the multitudes
I might have lived!
.
Hey, birds on the twig
what became of your nests
and your thousand promises
of a thousand nestlings?
I might have witnessed!
.
Looking back on that day
I see the present through a crack
and I know I have arrived
at the edge of my sanity
at the top of the precipice
.
Will the heat now abate
and let me fondle the coolness
of the moonlit evening
and let me lick the honey
on my latest fount!
. . .
I have come to take away my Love
.
I have been thinking about you
all night long;
and re-thinking, asking myself
which is the mid-point
between now and eternity.
.
And in that one night
I lived three centuries into the past
and three others into the future
(into the ‘dim regions
whence my fathers came’
and into a void
far from my native clime)
.
And in that one night, too,
I peered deep into your heart
and saw seated there
(as on a pile of loot!)
cupid – silently beckoning…
.
Ha-ha-ha I have come
to take away my love!
and you whose faces I see
remain invisible to Wanja.
.
I tried to write in rhyme
of nights I’ve spent awake
weaning my infant love
humming a silent lullaby.
.
I took my ball-point pen
and jotted down your name
in the space of an hour an’ a half
begging the letters to come.
.
Every letter I wrote spelt love
and every pause, a prayer
that those that love
should rhyme in love.


Politics
.
Listen to the deafening silence
of the politician
Behold the benevolence
of this native tyrant
.
Listen to the transcendental claptrap
of the lonely pauper
Endure the ordeal of change
and the quintessential shock
.
Beyond freedom and dignity
aspiration and accomplishment
and remember your kinsmen
dancing on a volcano.
. . .
My Ballot Paper
.
I have long waited
this sunny day
to chide myself
.
Should I cast for this clown
who with dripping mouth
sang his electorate his ambitions?
.
Or this home-made angel
who with wings of kites
would myrrh his disciples?
.
And then again I wonder
should the heavens rock
who will restrain the storm?
.
So I take the little ballot
and with raging words
in verse expend my anguish.
. . .
The Candidates
.
They promised us
all manner of pleasant solace
as this manifesto witnesseth;
and to show our reliance
we implored them to denounce
older forms of dishonesty
with charity appreciable by view.
.
They and each of them
and all their ilk
swore to buy our support
in gross and in detail
and so on and so forth
mutatis mutandis
per omnia saecula saeculorum!!
.
But we were lowly natives
and matched with local casuistry
and various verbal falsehoods
what code of necromancy
would misfortunes forestall!
.
Nefarious candidates
the time has come:
purge your consciences!

Power
.
I hate your wife – capitalism
I hate your daughter – socialism
I also detest their suitors –
fascism, militarism, nazism
and even communism!
.
I clung, yes, clung
to that alien stupor
sapped that suave subastral quintessence
that makes us
cry…
and seldom
laugh.
.
And I woke up
rabid
as familiars quirked,
“He will bite them,
these racists.”
Not my Continent
.
Do not deride me
Do not mistake my identity
Do not kill my image
.
You ask me to drive you
to the cocktail in a Benz
You ask me to fly you to Addis
.
My friend, you’ve got me wrong
Put the cart before the horse
Want me to run before I can walk
.
If you want me you take me as I am
Not fragments of my torn mouldings
Not imitations of my constitution
.
Or else leave me alone
I have admirers enough
I have my continent to defend
.
Would you I sold my self
to the fullest coffer
Would you gnaw at my existence
.
I will not ration my inherited pride
I will not solicit your return
I will not wail your departure
.
Take your gifts away
They smack of blackmail
They smell of betrayal
.
I want nothing from you
And nothing will I take
Save this: Leave my continent!
. . .
Anger!
.
And anger
is a friend
that the oppressed
must seize –
a purgative drug
to cleanse and preserve
the knowledge
and indignation
with which they affront
agglutinated
the excesses of apartheid.
.
Come, behold the scars
that those who angered
seized, arms outstretched
their spears flaming!
.
And you who dither
de-ice your souls
with flames of anger:
and unreason
will succumb
to reason.
.
Hail, vanguard
of our freedom. Hail!
. . .
The Palm Tree
.
We had fought and won
the internecine war;
The foreigners had demarcated
their spoils on our land:
but our spirit of struggle
our thirst for freedom –
kept burning within our hearts.
.
Our vow and determination
to recapture our terre
to tender our palm tree –
this, too, kept burning
with rage and vengeance.
Our thoughts no longer hazy
Our deeds no longer wavy:
but studied and firm
our men advanced sure of foot.
.
Vengeance is ours
(and not the Lord’s!)
For we know, liberated,
even here
all manner of genius
may grow…
turning pages of transformation
from centuries of silent mutation
to an eternity of unqualified progress.
.
Where the wheels of oppression
have finally ground to a halt
There shall be found
the masses that struggle!
. . .
A Dream
.
None dare call it a dream
to be born and to die
to walk to the market
with a bag empty
and back home
with the bag full
to take cattle to the river
to take calves to the slaughter
.
None dare call it wisdom
to laugh and to cry
to mourn and to sigh
to be able to reap
what one has sown
to slaughter the ram
to feed their offspring
.
They die in the evening
they rise in the morning
they live in the day
.
Each life confirms a death
each death promises a life
and I watch these at my window
. . .
A God
.
While you are catholic
And I am protestant
We shall remain slaves
.
Let us shed christianity
And together
Cultivate the African God
.
Let us learn the creed
That says
Black is Beautiful…
And believe it.
. . .
Happiness
.
Friends
if ever you be happy
let it be
for things done
dreams come true
possibilities realised
.
Let it be
for aspirations attained
ambitions accomplished
extremities fathomed
.
Let it be
for misfortunes overcome
wrongs righted
life well spent
.
But above all else
let it be
for love bestowed
extended
assured
.
For these
dear friends
we longed
and lived
to miss.
. . .
The Dreamers
.
Let us dream
dream our dream
seated
lying here
naked
loving here
Our hearts naked
stripped bare
telling tales
dreaming our naked truth.
.
Our nakedness
loving
My ego
dreaming
Perhaps boozing
oozing with hatred
with love
dreams
with child.
.
A sore on foot
on breast
on lip
Like dream – love dream
bending, lame…
bleeding
like nose
like tick.
.
Blood
thick blood
sticky, haunting –
like ghost
like dream
like fairies
dreaming
loving
hating…
living.
. . .
Shade
.
Let’s rest here
under this shade
of ignorance
it is so cool
and so empty
there is only you
and me
and our host
.
Come, let’s quick
to the shade
lest, exposed,
we become wise
and waste ourselves
on things philosophic
psychologic, pathologic…
.
There, under the shade,
there is no literature
no law, nor art
no science of deceit
no poetry, music or life:
just ignorance and ourselves
.
Just ignorance and ourselves
just ignorance
ignorance
.
I came out here
to record nature
but found nature
had herself recorded
in greater detail
and better form:
‘Nature has done her part –
Do thou but thine!’
. . .
The above poems from Whispers at Dawn were composed while Gerald Kithinji attended university, and were published in 1976 by East African Literature Bureau (Dar es Salaam / Kampala / Nairobi). The poet’s Dedication at that time read as follows:
Dedicated to those whose imagination fired my own; whose beauties yearned for recognition; whose hearts overflowed with warmth; whose interest laid bare my secrets; whose magic still conjures my dreams.
. . .
Gerald Kithinji grew up along the eastern slopes of Mt. Kenya, about 250 kilometres from Nairobi. He speaks Kimeru (his natal Kenyan language), and has expanded his reading to include books in French and Portuguese. He has continued to write over the past several decades, but he concentrates now on collections of short stories. Recent titles (2014 and 2015) have included: Hear Me Angry God, Kiss the Handcuffs, Pastor X, Set Her Free, and Masai Mara Adventures with Olê Ntutu. He writes adult fiction as well as children’s books.
In a February 2015 interview Mr. Kithinji was asked What inspires you to get out of bed each day? And his reply: Unfinished business – and that means writing.
. . .
Images: Richard Kimathi (born 1971, Kenya): recent works in mixed media on canvas: “Churches in Africa”, “The Kiss”, “The Couple: Motherly Love”, and “Soldiers in Pyjamas”.
. . . . .
Marcus Bruce Christian: “I am New Orleans” and “The Masquerader”
Posted: February 9, 2016 Filed under: English, English: Black Canadian / American, English: Nineteenth-century Black-American Southern Dialect, French, Marcus Bruce Christian | Tags: Black History Month poems Comments Off on Marcus Bruce Christian: “I am New Orleans” and “The Masquerader”Marcus Bruce Christian
(1900 – 1976, Louisiana poet, historian and folklorist)
. . .
I am New Orleans: A Poem (excerpts)
.
I have known
Many people –
Many voices –
Many languages.
I have heard the soft cries of the African,
Jargoning an European tongue:
“Belles des figures!”
“Bon petit calas! Tout chauds, chère, tout chauds!”
“Pralines – pistaches! Pralines – pecanes!”
“Ah got duh nice yahlah bananas, lady!”
“Bla-a-a-a-a-ack ber-r-r-r-r-r-e-e-e-e-z!”
“Peenotsa! Peenotsa! Cuma gitta fromee!”
.
“Ah wanna qua’tee red beans,
Ena qua’tee rice,
Ena piece uh salt meat –
Tuh makkit tas’e nice:
En hurry up, Mr. Groceryman,
En put dat lan-yap in mah han’!”
.
“Papa Bonnibee, beat dem hot licks out! –
Ah sed, Poppa Stoppa, let dat jazz cum out!
En efyuh donh feet it,
‘Tain’t no use tellin’ yuh
Jess what it’s all about!
Now, gimme sum High Cs on dat horn ‘n’ let dem
Saints go marching in!”
Way Down Yonder In New Orleans…
Take it away, Mister Charlie!”
. . .
I am New Orleans,
A perpetual Mardi Gras
Of wild Indians, clowns, lords and ladies,
Bourbon Street Jezebels, Baby Dolls, and Fat Cats;
Peanut-vendors, flower-sellers, organ-grinders,
chimney-sweepers, and fortune-tellers.
And then, at the end, bone-rattling skeletons
and flying ghosts.
I am New Orleans –
A city that is a part of, and yet apart from all,
America;
A collection of contradictory environments;
A conglomeration of bloods and races and classes
and colours;
Side-by-side, the New tickling the ribs of the Old;
Cheek-by-jowl, the Ludicrous making faces at the Sublime.
. . .
The Masquerader
.
Here, as a guest esteemed,
I do not hide;
None would dare laugh at me –
None dare deride.
.
For I am white now –
Far whiter than you;
How did I get that way?
Ah! if you knew!
.
You have been very nice!
Took me to tea,
Took me to dinners –
And made love to me.
.
You have been very kind –
Begged for a date –
Me — in whose veins there flows
Blood that you hate.
.
I, who am cherished
And part of your joy –
I am more alien than
Those you employ.
.
You say I am a dream?
Dreams do not last.
When I am lost to you,
Whisper, “She passed.”
. . .
Resolution
.
I shall take your image
From out of my heart
And sweep your tracks
From its floor,
Forgetting
Dead yesterdays
And you.
Step by step,
As you walk away,
I go behind you
Sweeping . . .
Sweeping . . .
. . .
Inconvenient Love
.
Love is an inconvenient thing –
Out of nowhere it slips,
And grows into something that saves or slays,
Or something that binds or grips;
And it sets a seal upon one’s lips.
.
Love has its own peculiar way –
Knowing its own blind art;
Bending strong souls like reeds to the wind,
And then – when it does depart –
Stamping in frantic and frenzied pain
A signet upon one’s heart.
. . .
Bachelor’s Apartment
.
The curtains from Daphne,
The curtains from Chloe;
The doilies from Helen;
The pillows from Flo;
The towels from Myrtle,
The teapot from Rose;
The book-ends from Marion –
Anything goes!
.
The comb-set from Muriel,
The lampshade from Delia;
The picture from Mabel,
The vases from Celia;
From Bertha – the candlesticks;
.
Those women left things
In my heart and my home!
. . .
The Craftsman
.
I ply with all the cunning of my art
This little thing, and with consummate care
I fashion it—so that when I depart,
Those who come after me shall find it fair
And beautiful. It must be free of flaws—
Pointing no labourings of weary hands;
And there must be no flouting of the laws
Of beauty—as the artist understands.
.
Through passion, yearnings infinite—yet dumb—
I lift you from the depths of my own mind
And gild you with my soul’s white heat to plumb
The souls of future men. I leave behind
This thing that in return this solace gives:
“He who creates true beauty ever lives.”
. . .
After the Years…
.
After the years have carted away
The grief and the shame;
After the years have carted away
The crime and the lust;
After the years have carted away
The faith and the trust:
After the years have carted them all
I claim
–The humblest claim–
Oblivion in the dust.
. . .
The Dreamer
(for Arturo Toscanini)
.
I am the dreamer – one whose dream
Is a diaphanous strange thing;
I top the crags, I bridge the stream,
I make the dead page glow and sing.
.
I plumb the depths, I count the stars,
I strain the sinews of my soul
To break through earth’s material bars
And seek perfection at its goal.
.
For I he who never halts –
I never say, “This task is done.”
I climb through subterranean vaults
To tilt my lance against the sun.
.
I am the essence of all art –
Javelins of gold from darkness hurled
Into the light – I break my heart
To set my dream against the world.
. . .
Source for the above poems:
I Am New Orleans & Other Poems By Marcus B. Christian, edited by Rudolph Lewis & Amin Sharif
. . .
ZP Editor’s note:
Tuesday, February 9th (Mardi Gras, 2016):
Wishing to feature Black History Month poems for Mardi Gras in New Orleans, we chanced upon a poet too little known: Marcus Bruce Christian. Themes of love and loss, love across “the colour line”, labour and economic struggle, and the spirit of place (I am New Orleans: A Poem) run throughout Christian’s close to 2000 poems. Our Special Thanks to editor Rudolph Lewis of Chicken Bones: A Journal, for introducing us to this fine poet from the past!
. . . . .
Lord Shorty’s “Endless Vibrations” (1974)
Posted: February 8, 2016 Filed under: English, English: Trinidadian Comments Off on Lord Shorty’s “Endless Vibrations” (1974)
Garfield Blackman
(“Lord Shorty”, later “Ras Shorty”, 1941 – 2000)
Endless Vibrations (1974)
.
(Hey!)
(Hit the horns!)
(Sexy.)
.
Change the accent of Carnival
to a groovy, groovy Bacchanal.
Wailing, expressing – de old feeling do needs changing.
Wake up, people, examine your minds –
get with it, get with it, the change of the times.
It’s a new generation, endless vibrations
– right on, right on, right on, right on!
.
Lay lay lay lay lay lay lay lay lay (Hey!)
Lay lay lay lay lay lay lay lay lay – (Hit the horns!)
.
Come baby, oh baby, dance with me.
Come baby, oh baby, rock with me.
Wine! It’s Carnival time! Make Bacchanal!
(Groovy.)
.
Change your musical structure, make it super sweeter.
J’ouvert morning, when we wailing, bring on this funky feeling.
Uptight, uptight, feeling so fine
– come on, come on, come on, let the music take your mind.
Get with the feeling, it’s so exciting
– right on, right on, right on, right on!
.
Lay lay lay lay lay lay lay lay lay (Hey!)
Lay lay lay lay lay lay lay lay lay – (Hit the horns!)
.
Come baby, oh baby, jump with me.
Come baby, oh baby, rock with me.
Wine! It’s Carnival time! Make Bacchanal!
(Right on.)
.
A new musical expression to ease today’s frustration.
Move it, come on, groove it.
Endlessly let me feel it.
Come on, people, check out de scene.
Take a side, take a side, de music is mean.
Can you dig it, brudduh? Get it all together?
Right on, right on, right on, right on!
.
Lay lay lay lay lay lay lay lay lay (Hey!)
Lay lay lay lay lay lay lay lay lay – (Hit the horns!)
Wine! It’s Carnival time! Make Bacchanal!
.
Fêtin’ Carnival Sunday night, don’t dig no blues, don’t dig no fight.
Eh, we winin’, lord we prancin’.
Rock your baby, rock your baby, kungfu fightin’.
Music so bad, fuss your hip,
rock your boat, rock your boat, rock your ship.
It’s really outta sight, makes you feel like dynamite
– right on, right on, right on, right on!
.
Lay lay lay lay lay lay lay lay lay (Hey!)
Lay lay lay lay lay lay lay lay lay – (Hit the horns!)
.
Come baby, oh baby, jump with me.
Come baby, oh baby, rock with me.
Wine! It’s Carnival time! Make Bacchanal!
. . .
“Lord Shorty”, born Garfield Blackman in Lengua Village, Princess Town, Trinidad, is credited as one of the innovative calypsonians who modernized the music, picking up the tempo and adding more propulsive rhythms and instrumental arrangements – giving us Soca. During the same period (the mid-1970s) he also experimented with fusing Calypso and Indian music in Om Shanti Om. Though the song lyrics above (Endless Vibrations) may seem dated to us now – with their Hippy-&-Black-American-‘speak’ mixed in with the Trini – the overall sound of this song was fresh and inventive in its day.
A musical blast from the past on this Monday–J’ouvert–of Carnival 2016!
Another innovator from the 1970s: The Mighty Shadow
https://zocalopoets.com/2013/08/31/classic-kaiso-bass-man-by-the-mighty-shadow/
. . . . .
Kaiso to Soca: a brief history of Calypso music
Posted: February 8, 2016 Filed under: English | Tags: Black History Month: Calypso music Comments Off on Kaiso to Soca: a brief history of Calypso music
Devon Seale, the 2016 Trinidad Carnival Calypso Monarch, seen performing on Dimanche Gras, February 7th, 2016_photograph by Stephan Doobay for Trinidad Express
CALYPSO: a Brief History
by Philip W. Scher
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CALYPSO is a style of Caribbean music associated with the nation of Trinidad, and is linked to the annual celebration of the pre-Lenten Carnival. The music, as well as the name itself, has a myriad of roots, and although there is no general agreement as to the origin of the term, there are references in Trinidadian newspapers of the nineteenth century to cariso and kaiso, both song forms characterized by the performance of extemporaneous, satirical lyrics. The term kaiso, which was shouted to encourage or praise successful singers, is considered a possible source for the word calypso, and indeed is still used instead of calypso. The cariso is only one of many song forms to emerge from the colonial era in Trinidad. Creole slaves and free Africans contributed a variety of songs and dances, including the bel air (derived from both African and French sources), the juba, the bamboula, the calinda (both a martial art and a song style), and the lavway (a road chant performed during Carnival processions). Combined with these forms were British ballads, French folk songs, Venezuelan string music, and other types of Creole West-Indian songs. As new musical forms were created or introduced to the island—American jazz, Venezuelan paseos, and ultimately such diverse forms as Hindi film music, reggae and dancehall, soul, and rhythm and blues—they were incorporated into Calypso.
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Trinidad was “opened” by Spain to French colonists first in the later part of the eighteenth century. The French dominated the cultural life of the island up to and even beyond the English conquest in 1797. The French imported their pre-Lenten festival of Carnival, and much of the earliest carnival music was sung in Creole or Patois. During the nineteenth century, English culture, language, and religion increased in importance and influence, and many of the folk musical styles gradually changed from French Creole to English. As the English extended their hegemony over the island, they also embarked on a mission of reforming Carnival. By the 1880s unruly masqueraders and riots against police repression resulted in a massive campaign to control and channel the public celebration into a more structured event. By the early 1900s calypso music, marked lyrically now by social satire, political commentary, humour and sexual innuendo, was largely being performed in “calypso tents,” temporary venues in which calypsonians competed against each other for prizes offered by private sponsors.
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The first calypso recordings were made in 1914, and by the 1920s and 1930s Trinidad’s finest calypso singers, such as Attila the Hun, Roaring Lion, and Lord Invader, were regularly recording and performing in the U.S.A. “Rum and Coca-Cola”, recorded by the Andrews Sisters in 1944, was a sanitized re-interpretation of a Lord Invader song. It became an American hit, and also spawned a landmark lawsuit by Lord Invader against the American actor Morey Amsterdam, who illegally copyrighted the lyrics. Invader won the suit.
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Although they faced routine censorship by the British colonial authorities, calypsonians of this period displayed enormous creativity in circumventing restrictions to create songs rife with double-entendre, inside jokes, and subtle parody. Audiences relied on clever calypsonians for insight into the ironies of colonial rule, the hypocrisy of the ruling classes, and the meaning of certain scandals and outrages. Savvy politicians could often “take the temperature” of the public based on the attitudes of their calypsonians.
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From its earliest days, Calypso music served as a forum for the expression of social and political views within the Caribbean. Remarkably, the criticism mounted by calypsonians was not limited to broad appeals against inequality, racism, poverty, and oppression, but tackled precise laws, domestic policy, proposed legislation, foreign policy, labour relations, actions by public figures, and even speeches given by notable persons. Thus, in addition to humorous rivalries between singers, songs about the beauty of the land, and compositions with a ribald flavour, calypsos were composed with such titles as “Prison Improvement,” “Shop Closing Ordinance,” “The Commissioner’s Report,” “The European Situation,” “Devaluation,” “Slum Clearance,” “Reply to the Ministry,” etcetera.
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The arrival of indentured labourers from South Asia from the mid-nineteenth century until 1917 changed the ethnic makeup of Trinidad. Competition for work and land created tensions between the island’s Black populace and South Asians that ultimately manifested in political divisions being drawn along ethnic lines. The presence of Indians in Trinidad was closely followed by calypsonians. Initially, many calypsos dealing with Indians discussed “strange” customs, delicious food, and beautiful women. Creole calypsonians often commented in song on how they fell in love with an Indian girl or how they were able to participate in an Indian feast. As political tensions heated up during the 1950s, however, calypsos became more pointedly political. By 1961 the calypsonian Striker, registering his dismay at the deep ethnic division present in local politics, remarked in song that “Negro can’t get a vote from Indian.” Today there are a number of noted Indian calypsonians, both men and women, as well as Black musicians performing in the Indian-influenced genre of chutney soca. Yet tensions between the two communities have been played out musically over the airways and in the calypso tents of Trinidad.
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Though rebelliousness and resistance could characterize calypso, still there was a strong dose of pro-British patriotism during the two World Wars of the twentieth century. Calypsonians recorded achievements of the British Empire and the royal family, along with all their other social/political and lyrical commentaries. And compositions in favour of the Empire co-existed alongside songs detailing the oppressive conditions under which the populaces of the Empire laboured.

1947 photograph by William P. Gottlieb_probably at the Renaissance ballroom in Harlem_Calypsonians from Trinidad that included Lord Invader, Macbeth the Great, the Duke of Iron, and the Count of Monte Cristo
1956 was a turning point in Calypso…
The Mighty Sparrow penned “Jean and Dinah,” a song about the sudden availability and desperation of prostitutes in Port of Spain after the departure of the free-spending American sailors stationed in Trinidad during World War II. “Jean and Dinah” became an international hit, and won the calypso “crown” for Sparrow – yet it is even more important as a testimony to a sense of cultural and political confidence then being experienced across the Caribbean as Independence movements were gathering steam.
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As Trinidad, Jamaica, Barbados, and other English-speaking islands continued their drive toward independence from the United Kingdom, folk idioms such as calypso, Carnival, Pan (steel band), the musical form ska, and even sports such as cricket, began to take on a nationalist tone. Nation-building calypsos, as they are sometimes called, emerged to praise the efforts of certain political parties and politicians and to encourage proper behaviour and decorum among the people.


The 1960s brought to the Caribbean not only Independence but the Black Power movement. Calypso reflected this new cultural consciousness lyrically; it also reflected the cultural source from which it came—the United States. One of the most important figures to emerge at this time was the Mighty Chalkdust, a teacher and calypsonian who has, under his given name, Hollis Liverpool, researched and published widely on Calypso, Carnival, and Trinidadian culture in general.
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Traditionally accompanied by acoustic music, Calypso increasingly came to incorporate electronic instrumentation and the influence of North-American musical styles such as rhythm and blues and soul. Alongside Black Power came the women’s liberation movement and increasing (though still small) numbers of women singers. Indeed, women as calypsonians are not given nearly the attention they deserve in the literature. Although largely excluded from the ranks of early recorded calypsonians, and often derided in songs such as “Jean and Dinah,” women have been instrumental in the development of Trinidadian music as chantwells (praise singers for stickfighters and singers of road marches) and in religious music. In the 1960s, attitudes toward women calypsonians began to change, and it was, perhaps ironically, the Mighty Sparrow who gave the then-unknown singer Calypso Rose her start. Along with Singing Francine and Denyse Plummer, Rose has become one of the most popular calypsonians of all time.
With the rise of outside influences from North America came further influences from diverse musical sources, including Jamaican reggae and (due to the presence of a large and thriving Indian population) Hindi film music. The result has been the development of new musical forms, such as soca, chutney soca, rapso, and so forth.
Born in 1941, Garfield Blackman, later known as Lord Shorty (and, finally, Ras Shorty), would become the “creator” of soca music. Concerned that calypso was declining in relation to reggae, Shorty experimented in combining Indian instruments such as the dholak, tabla, and dhantal with traditional calypso instrumentation. The result was a new musical hybrid that he called solka. With his 1974 album Endless Vibrations and the single “Shanti Om,” Shorty sparked a revolution in Caribbean music. Initially the term solka referred to an attempt to recapture the “soul of calypso,” which he felt was one of inclusion, common struggle, and resistance to oppression. Shorty hoped that the “Indianization” of calypso would bring together the musical traditions of Trinidad and Tobago’s two major ethnic groups, the descendants of African slaves and of indentured labourers from India. The name was later changed to soca, and it is routinely if erroneously explained as a fusion of soul and calypso.
In the 1980s soca was to have its first international hit…
A singer from Montserrat – Alphonsus Celestine Edmund Cassell – better known as Arrow – recorded “Hot Hot Hot” in 1982 and the musical genre soca became known far and wide. The globalization of the music industry has meant that soca too has evolved, incorporating many influences, and branching out into ragga soca and chutney soca. But along with its increasing popularity soca has been regarded by critics within the Caribbean region as showing a reluctance to be anything more than just “party music.” The political and social commentary once so central to calypso has had to find new expression in other Caribbean musical genres. In Trinidad this mantle has largely been taken up by rapso. Rapso is a unique style of street poetry from Trinidad and Tobago that originated in the 1970s – though it was not named rapso until the 1980s – by Brother Resistance. Often credited to Lancelot Layne, rapso was created in a spirit of political protest and social justice. Layne’s 1970 hit “Blow Away” is considered to be the first rapso recording.
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[The above essay – A Brief History of Calypso Music by Philip W. Scher – has been edited for length. It was originally published via the International Encyclopedia of the Social Sciences, © 2008 Thomas Gale ]
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Robert Nesta “Bob” Marley: “Chanson de Rédemption”
Posted: February 6, 2016 Filed under: Bob Marley, English, French Comments Off on Robert Nesta “Bob” Marley: “Chanson de Rédemption”Robert Nesta “Bob” Marley (6 février, 1945 – 11 mai, 1981)
Chanson de Rédemption (1980)
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Vieux pirates, oui – ils m’ont volés
et vendus aux bateaux d’esclaves,
quelques minutes après qu’ils m’aient attrapé
du puits sans fond.
Mais par la main du Tout-Puissant
nous avançons dans cette génération – triomphante.
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Voudrais-tu m’aider à chanter ces chansons de liberté?
Parce que tout ce que j’avais
– c’est des chansons de rédemption,
des chansons de rédemption.
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Emancipez-vous de l’esclavage mental;
personne d’autres que nous-mêmes ne peut libérer nos esprits.
N’ayons pas peur pour l’énergie atomique,
car personne ne peut arrêter le temps.
Combien de temps encore tueront-ils nos prophètes
pendant que nous nous tenons à part et regardons?
Oui, il y a certains qui disent que c’est juste un passage,
et nous devons accomplir la Prophétie.
Ne voudrais-tu pas m’aider à chanter ces chansons de liberté?
Parce que tout ce que j’avais
– c’est des chansons de rédemption,
des chansons de rédemption
– ces chansons de liberté, chansons de liberté!
Redemption Song (1980)
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Old pirates, yes they rob I
– sold I to the merchant ships;
minutes after they took I
from the bottom-less pit.
But my hand was made strong
by the hand of the Almighty;
we forward in this generation
– triumphantly.
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Won’t you help to sing these songs of freedom?
’cause all I ever had: redemption songs, redemption songs.
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Emancipate yourself from the mental slavery;
none but ourselves can free our minds.
Have no fear for atomic energy,
’cause none o’ them can stop the time.
How long shall they kill our prophets
while we stand aside and look? (ouuuu!)
Some say it’s just a part of it;
we’ve got to fulfill the Book.
Won’t you help to sing these songs of freedom?
’cause all I ever had: redemption songs, redemption songs…
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Emancipate yourselves from mental slavery;
None but ourselves can free our mind.
Woah! have no fear for atomic energy,
’cause none o’ them can stop the time.
How long shall they kill our prophets
while we stand aside and look?
Yes, some say it’s just a part of it;
we’ve got to fulfill the Book.
Won’t you help to sing these songs of freedom?
’cause all I ever had: redemption songs.
All I ever had: redemption songs.
(These songs of freedom, songs of freedom!)
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Du Cake-Walk au Patinage artistique sur la glace: une Énergie qui danse!
Posted: February 3, 2016 Filed under: A FEW FAVOURITES / UNA MUESTRA DE FAVORITOS, Du Cake-Walk au Patinage artistique sur la glace..., French | Tags: Le mois de l'histoire des noirs Comments Off on Du Cake-Walk au Patinage artistique sur la glace: une Énergie qui danse!“Chocolat”, le clown nègre: son vrai nom était Rafael Padilla, esclave né à Cuba vers 1868, devenu célèbre au Cirque de Paris à partir de 1886. Il forma un duo avec Footit, le clown blanc, qui les propulsa jusqu’à la scène des Folies-Bergère. Padilla a été peint par Toulouse-Lautrec en 1896 qui le montre dansant dans un cabaret de Montmartre.
Le vrai Cake-Walk dansés par les vrais Ratons Laveurs (un terme raciste de la fin du siècle): les acteurs de vaudeville Aida Overton Walker et son épouse George Walker
Les Walker photographiés dans la comédie musicale “In Dahomey”_Londres, 1903
Deux hommes font Le Cake Walk, et l’un “joue” à la femme.
Rudy and Fredy Walker_Les Enfants Nègres de 1903_Le Cake Walk dansé au Nouveau Cirque de Paris
Josephine Baker était l’Américaine exotique qui se transforma à la première star noire – à cause de ses danses fraises et originales.
La danseuse la plus libre et ingénieuse des années 20: Josephine Baker_photo par Wolf von Gudenberg (Berlin, 1925)
Josephine Baker: du livre Le Tumulte Noir (1927)_illustration par Paul Colin
Danseuses de vaudeville_Washington, D.C., 1930
Frankie Manning, l’inventeur de la danse “Lindy Hop”, et sa partenaire
Les Frères Nicholas: Danseurs de claquettes des années 30 et 40: Hommes audaces, athléthiques et élégants! (photographie du film “Stormy Weather”, 1943)
Les Frères Nicholas: Fayard (né 1914) et Harold (né 1921)
Alvin Ailey (1931-1989), fondateur et choréographe du Alvin Ailey American Dance Theater_photographie de 1955 (Carl Van Vechten)
Danielle Gee et Leonard Meek de la troupe Alvin Ailey_1995
James Brown “fait le zouave” avec un de ses mouvements / pas de danse caractéristiques
Couverture de l’album Avance avec ton Bon Pied (1972)
Le patin à roulettes au roller-discothèque — la fureur heureuse de l’ère de la musique disco et funk
Publicité pour Coca-Cola dans un magazine américain de 1977
Michael Jackson (1958-2009), un danseur inventif et excentrique, célébré pour sa “Moon Walk” (photographie © 1983, Jim McCrary/Redferns)
Des jeunes B-boyz ou “breakdanseurs” New-Yorkais des années 80_photographies © Martha Cooper
Surya Varuna Claudine Bonaly (née 1973), la patineuse artistique française-américaine
Yannick Bonheur (né 1982) et Vanessa James (née 1987)_le premier couple noir de l’histoire des jeux olympiques en patinage artistique_Vancouver, Canada_février de 2010_ (photo par Ivan Sekretarev)
Savion Glover_danseur de claquettes de la nouvelle génération_photo © Lois Greenfield, 2012
Le Carnaval au Brésil_Salvador da Bahia, 2012_Des racines africaines les gens cultivèrent une fête de la Danse et Musique – pour Tout le Monde!