#edward brathwaite

[ozkar-krapo]

Edward [Kamau] BRATHWAITE

"Masks"

(LP. Argo. 1972) [BB]

[preethecaribbean]

it is a beginning forests, canefields, move over the waters seeds of the dead fruit: cashew, grape, guinep, with their blind tendrils of freedom: a long way the one eyed stare of the coconut will travel steered by its roots, what its milk teaches, till its stalk, with its flag and its cross- sword, its mailed head and chained feet walks over the arawaks beaches

Edward Kamau Brathwaite, from “Harbour” in The Penguin Book of Caribbean Verse in English, Selected and edited by Paula Burnett

[alphareleasemedia]

Slow Guitar -- Edward Kamau Brathwaite

Bring me now where the warm wind blows, where the grasses sigh, where the sweet tongued blossom flowers

where the showers fan soft like a fisherman's net through the sweet- ened air

Bring me now where the workers rest, where the cotton drifts, where the rivers are and the minstrel sits

on the logwood stump with the dreams of his slow guitar.

[lboogie1906]

Dr. Edward Kamau Brathwaite (May 11, 1930 – February 4, 2020) was a Barbadian poet and academic, considered one of the major voices in the Caribbean literary canon. Formerly a professor of Comparative Literature at NYU, he was the International Winner of the Griffin Poetry Prize, for his volume of poetry Born to Slow Horses.

He held a Ph.D. from the University of Sussex and was the co-founder of the Caribbean Artists Movement. He received both the Guggenheim and Fulbright Fellowships and was a winner of the Neustadt International Prize for Literature, the Bussa Award, the Casa de las Américas Prize for Poetry, and the Charity Randall Citation for Performance and Written Poetry from the International Poetry Forum.

He was noted for his studies of Black cultural life both in Africa and throughout the African diasporas of the world in works such as Folk Culture of the Slaves in Jamaica; The Development of Creole Society in Jamaica, 1770–1820; Contradictory Omens; Afternoon of the Status Crow; and History of the Voice, the publication of which established him as the authority of note on nation language.

He made use of a combination of customized typefaces and spelling, referred to as the Sycorax video style. #africanhistory365 #africanexcellence

[finenews-247]

Top 10 Latest Cricket News Today

Here are the top 10 Latest Cricket News today:

Kolkata Knight Riders (KKR) beat Royal Challengers Bangalore (RCB) by 9 wickets in the IPL 2023 match.

Mumbai Indians (MI) captain Rohit Sharma scores his first century of the season against Rajasthan Royals (RR) in the IPL 2023.

New Zealand beat Australia by 4 wickets in the second T20I, taking an unassailable 2–0 lead in the three-match series.

Indian cricket team captain Virat Kohli has been rested for the upcoming limited-overs series against Sri Lanka.

England all-rounder Ben Stokes has been ruled out of the rest of the IPL 2023 due to a finger injury.

West Indies announce their squad for the upcoming Test series against South Africa, with Kraigg Brathwaite named as captain.

India women’s cricket team captain Mithali Raj becomes the leading run-scorer in Women’s ODI cricket history, surpassing England’s Charlotte Edwards.

The ICC announces that the 2023 Women’s World Cup will be held in South Africa, with eight teams participating in the tournament.

Bangladesh beat Sri Lanka by 8 wickets in the first ODI of the three-match series, with opener Tamim Iqbal scoring an unbeaten 90.

Pakistan Cricket Board (PCB) announces a 16-man squad for the upcoming limited-overs series against Zimbabwe, with Babar Azam named as captain.

For More Cricket News Update Visit Our Website : https://finenews247.com/

[soracities]

...[i] long too to be black be come part of that hool that shrinks us all to stars [...]

Kamau Brathwaite, from ‘Red Rising’, Sun Poem

[annacswenson]

And limbo stick is the silence in front of me / limbo limbo / limbo like me / limbo / limbo like me long dark night is the silence in front of me limbo / limbo like me

Edward Kamau Brathwaite, From his poem Limbo

[thechasefiles]

Kamau Brathwaite Is DEAD

Acclaimed poet Edward Kamau Brathwaite, one of the godfathers of modern West Indian literature, who coined the term ” nation language” in championing creolisation in Caribbean culture and thought has died, four months short of his 90th birthday. He is credited with extensive writing and thought in developing the concept of Creole identity, a predominantly Afrocentric mindset.Poet, scholar, and editor, Brathwaite was a towering figure in Caribbean literature and intellectual life for half a century. Rest Easy Kamau.....89 years of pure light. Shine On in the afterlife.

[ncutigatwafans]

Banner and Poster for ‘The Outsiders?’

Synopsis: The series profiles a pioneering cast of Black talent from around the world, shaping entertainment, technology, sport, and culture as we know it. Painting a raw and unfiltered picture of succeeding while Black in today’s society, through intimate and frank interviews, we witness young Black visionaries take the helm in telling their own stories and hear how they  are turning the tables on the very same society that initially rejected them, fighting back against the status quo and overcoming adversity to become the luminaries of our time.The line-up includes a powerhouse of UK talents; Reni Eddo-Lodge, Mo Gilligan, Clara Amfo, Campbell Addy, Leigh-Anne Pinnock, Vanessa Kingori, Jamal Edwards, Fenn O’Meally, Candice Brathwaite, Sophie Duker, Suli Breaks, Chidera Eggerue, Julie Adenuga, Alex Scott, MNEK, Munya Chawawa, Celeste, George the Poet, Eunice Olumide, Niko Omilana, Jeremy Lynch, Jordan Stephens, Dumi Oburota, Rachel Ama, Chanel Ambrose and Ncuti Gatwa. 

[fatehbaz]

Western nuclear testing in the Pacific, and in particular the French programme, which stretched across three decades (1966–96), has generated protest movements and literatures that – in keeping with Hauʻofa’s model – transcend imposed colonial divisions in the Pacific by fostering regional solidarity. [...]

Gorodé is a significant figure to consider within this context of transoceanic anti-nuclear protest, as like many Indigenous Pacific women she has been closely involved in the Nuclear Free and Independent Pacific Movement. She was also one of the founders of Groupe 1878 (a Kanak independence movement named after a 19th-century Indigenous uprising against French colonial rule), and when she was jailed in Camp-Est prison (in Noumea) for “disturbing the peace” during a 1974 sit-in at local law courts, she wrote two anti-nuclear poems: “Clapotis” (“Wave Song”) and “Zone Interdite” (“Forbidden Zone”). As the title of “Clapotis” (which could be translated more literally as “the lapping of water”) suggests, imagery of the sea is central to the poem, which begins by contrasting the sere, inhospitable environment of the prison exercise yard with the plentitude and dynamism of the sea beyond the prison walls.

Anticipating Hauʻofa’s model of an interconnected Oceania, Gorodé posits the movement of the waves as conveying ripples of protest from Oceania’s easternmost island, Rapanui, against the violence of the Chilean political regime that holds jurisdiction over “Easter Island”, and subsequently bearing witness to the nuclear violence “infecting the sky” over Moruroa. The wave also holds the potential to “carry” Indigenous Pacific peoples forward in their resistance to imperialism, gathering and imparting radical energies through its transoceanic trajectories [...].

Thus the poem establishes what Édouard Glissant terms a “poetics of relation”, a referential system that, rather than remaining rooted in individual national contexts, engages in a horizontal, transoceanic dialogue with other cultures, languages and value systems in its critique of colonialism (Glissant 1997, 44–46). Glissant’s theory (which takes the Caribbean as its main point of reference) is comparable to Hauʻofa’s in positing the sea as a basis for elaborating a regional, interpelagic identity, and as Elizabeth DeLoughrey has noted, Edward Kamau Brathwaite’s concept of tidalectics (another Caribbean theoretical model) is also a productive paradigm for analysing the “cyclic” ebb and flow of the Pacific, and of the diasporic populations that have moved across and within it [...].

Notably, Gorodé’s “Wave Song” extends its poetics of relation not just to francophone and hispanophone cultures elsewhere in Oceania, but also to the internal politics of Chile in the 1970s, making reference to the deposing of Salvador Allende’s [...] government and the torture and murder of left-wing activists [...]. Chile’s internecine violence, enacted on its own nationals, is shown to be redolent of its colonial conquest of Easter Island/Rapa Nui, and resonates, in a tidalectic pattern of ebb and flow, with the waves of French colonial violence rippling out from New Caledonia, via French Polynesia, towards the easternmost point of Oceania and back again.

-------

In an effort to transcend these [colonial, Euro-American-imposed] divisions, in the 1990s Hauʻofa produced a series of influential essays advocating a new regional “Oceanic” politico-ideological identity that would not only help unite and protect Pacific Islanders against the vicissitudes of global capitalism and climate change (a significant consideration given that Pacific Islanders are among the earliest casualties of rising sea levels, as well as suffering the long-term effects of nuclear imperialism), but could also serve as a source of inspiration to contemporary Pacific artists and creative writers (see Hauʻofa 2008). Hauʻofa’s model acknowledges the complex and interweaving local, regional and global networks that shape the lives of contemporary Pacific peoples [...].

-------

When Algeria gained its independence from France in 1962, France was forced to end its nuclear testing programme in what is now the Algerian Sahara, and chose French Polynesia as its new testing site, establishing facilities on two atolls in the Tuamotu Island group: Fangataufa and Moruroa [...]. As knowledge of the adverse impact of French nuclear testing became more widely publicized in the 1970s, increasing numbers of newly independent Pacific island nations (as well as settler and Indigenous communities in Australia and New Zealand) expressed vigorous opposition to the tests. [...] [I]n the ensuing years the movement intersected with other campaigns against large-scale military manoeuvres, the testing of intercontinental ballistic missiles at Kwajalein in the Marshall Islands, test bombing at Kahoʻolawe Island in Hawaiʻi, the mining of uranium in Australia, and the dumping of radioactive waste in the Pacific by Japan [...].

While such events created severe schisms between the nuclear powers and white settler nations [”New Zealand”] in the Pacific, they also prompted Indigenous Pacific peoples to unite against the nuclear desecration of their homelands, triggering affiliations that transcended the geopolitical and linguistic divides that often hamper creative dialogue between, for example, anglophone and francophone [...] writers. (This has particular significance given that it was the French explorer Dumont d’Urville who devised the tripartite geocultural division between Polynesia, Melanesia and Micronesia that still operates to this day [see Dumont D’Urville 1832].)

Maori artist Ralph Hotere, for example, made a significant gesture of solidarity with French Polynesians in his “Black Rainbow” series of lithographs and paintings produced in 1986, lamenting not just the bombing of the Rainbow Warrior, but also the French nuclear testing programme that continued in the wake of the attack. Hotere’s work inspired Samoan author Albert Wendt (1992) to write a dystopian novel, also entitled Black Rainbow, which establishes a homology between nuclear testing and other forms of environmental degradation and exploitation as a result of European incursion into the Pacific [...].

-------

Michelle Keown. “Waves of destruction: Nuclear imperialism and anti-nuclear protest in the indigenous literatures of the Pacific.” Journal of Postcolonial Writing. February 2019.

[96thdayofrage]

To view history in terms of absolutes, whether absolute truths or absolute lies, was to oversimplify a complex set of forces and circumstances that historians, if they are honest, can only ever guess at. It made no sense whatsoever to talk of “slaves” or “abolitionists” as homogenous groups who had acted in unison or spoken with a unanimous voice. Even established notions of race, class, and gender proved a blur of contradictions. By the end of that sabbatical year, the only conclusion I could embrace with any certainty was that the respective actions of the enslaved and those who championed their emancipation—diverse and disparate as they were—had combined with the economic imperatives of the day to work like a pincer until the abolition of the Africa trade became an increasingly urgent and persuasive option.

I came to realize that studying history was like detective work. However bloodied or one-sided the evidence, it could be interrogated and interpreted in an infinite number of ways. Then as now, lying by omission was common practice, and nowhere was this more apparent than in regard to black and brown-skinned women. The records, diaries, plantation inventories, abolitionist debates, much of the primary evidence, in fact, had either been written, compiled or interpreted by white males who assumed their experience was not only central but all-embracing. So, despite immersing myself in specialist history texts for months on end, my question continued to rankle: in over 400 years of slavery, with all of its documented horrors, what happened to the women?

I soon discovered that a growing number of Afrocentric historians, many of them based in the Caribbean, had been asking the selfsame question—women like Lucille Mathurin Mair, Barbara Bush, Pat Bishop, Erna Brodber, Mavis Campbell, Beverly Carey, Elsa Goveia, Olive Senior, Monica Schuler, Verene Shepherd and Sylvia Wynter, to name a few. Men like Hilary Beckles, Edward Kamau Brathwaite, Richard Sheridan, and Michael Craton had also been doing invaluable research in this area. By delving into surviving medical and plantation records, reviewing parliamentary reports and newspaper archives, rereading old diaries and trawling through private letters, they had unearthed insights into the experience of enslaved women that not only challenged prevailing stereotypes but might otherwise never have seen the light of day. Their work has also helped to challenge the notion that the experience of enslaved people in the American South was all-encompassing, for while it was similar in many respects, it was by no means the same.

[lboogie1906]

The Honourable Edward Kamau Brathwaite, (11 May 1930 – 4 February 2020) was a Barbadian poet and academic, considered one of the major voices in the Caribbean literary canon. Formerly a professor of Comparative Literature at NYU, he was the International Winner of the Griffin Poetry Prize, for his volume of poetry Born to Slow Horses. He held a Ph.D. from the University of Sussex and was the co-founder of the Caribbean Artists Movement. He received both the Guggenheim and Fulbright Fellowships and was a winner of the Neustadt International Prize for Literature, the Bussa Award, the Casa de las Américas Prize for poetry, and the Charity Randall Citation for Performance and Written Poetry from the International Poetry Forum. He was noted for his studies of Black cultural life both in Africa and throughout the African diasporas of the world in works such as Folk Culture of the Slaves in Jamaica; The Development of Creole Society in Jamaica, 1770–1820; Contradictory Omens; Afternoon of the Status Crow; and History of the Voice, the publication of which established him as the authority of note on nation language. He made use of a combination of customized typefaces and spelling, referred to as the Sycorax video style. #africanhistory365 #africanexcellence https://www.instagram.com/p/CdammhCLIZe_G94UcrX-FjJOt1nmEL9DFLCZNc0/?igshid=NGJjMDIxMWI=

[kalamu]

ESSAY + INTERVIEW: Edward Kamau Brathwaite Edward Kamau Brathwaite is a titan, a literary savant, the greatest poet/thinker of the western hemisphere. > http://ow.ly/7m7t30qfFQ3

[soracities]

[He] wishes he could burn his memories to ashes like some old notorious emperor / of rome...

Kamau Brathwaite, from ‘Trane’, Black + Blues

[annacswenson]

knees spread wide / and the water is hiding / limbo / limbo like me / knees spread wide / and the dark ground is under me / down / down / down / and the drummer is calling me / limbo / limbo like me / sun coming up / and the drummers are praising me / out of the dark / and the dumb god are raising me / up / up / up / and the music is saving me / hot / slow / step / on the burning ground.” ---- Edward Kamau Brathwaite my commentary: life is fun / it’s like a danse. one of the harder steps is prob doing the limbo—both intimidating & rly silly. remember that some 2 flawed ppl put that stick there for u to bend under, not u, and not to worry b/c it’s meant to be 1 of the most awkward moves to be asked of u. K.