Showing posts with label afro-latino. Show all posts
Showing posts with label afro-latino. Show all posts

Friday, June 06, 2008

rise of the latin africans

hat tip to Tariq Nelson:

The Newsweek article, Rise Of The Latin Africans: A new black-power movement in Central and South America gives a quick overview of how different communities of people of African descent in Latin America are acting to improve their lot in Honduras, Ecuador and especially Colombia:

The epicenter of the new black activism [...] is Colombia. That's due as much to circumstance as design: more than a third of the 3.2 million Colombians uprooted by the country's long-running civil war are of African ancestry, as are many of the ragged street vendors and beggars who approach motorists at busy Bogotá intersections. Foreign and local NGOs are now working hard to publicize their plight. Though a landmark 1993 law enshrined the right of Afro-Colombians to obtain formal title to their ancestral lands, including 5 million hectares along the Pacific coast—a unique experiment in ethnic self-government—implementation has lagged, as unscrupulous agribusinesses and paramilitary warlords have seized communal property with near impunity. But recently, as part of its ongoing effort to win U.S. approval for a free-trade agreement, the government of President Alvaro Uribe has begun to expel these companies and restore 8,000 hectares of stolen land to Afro-Colombian community councils.

Tuesday, June 03, 2008

Wednesday, May 07, 2008

memin pinguin: the structural violence of an image



Here is an interesting short film which connects the Memin Penguin controversy to the larger context of the history of people of African descent in Mexico.

the mexican stamp controversy
understanding pickaninnies and improving the race
memin pinguin pulled
duh! there are black mexicans
ending poem

no le pegue a la negra (rebelion)

At first I was going to argue that Joe Arroyo's Salsa classic, No le pegue a la negra, was too understated in terms of criticizing racism (along the lines of Ismael Rivera's Negro Bembon). But then as I started to get this blog entry together I changed my mind and decided that it has more of an "edge" to it, but it still isn't at the level of I Shot the Sheriff.
Quiero cantarle mi hermano un pedazito de la historia negra, de la historia nuestra caballero y dice asi: En los anos 1600 Cuando el tirano mando Las calles de Cartagena Aquella historia vivio Cuando aqui Llegaban esos negreros Africanos en cadenas Besaban mi tierra Esclavitud perpetua (coro) Esclavitud perpetua Esclavitud perpetua Que lo diga Salome Ucatele Eh. Chango, Chango, Chango, Chango. Un matrinomio africano Esclavos de un espanol El les daba muy mal trato Y a su negra le pego Y fue alli Se revelo el Negro guapo Tomo venganza por su amor Y aun se escucha en la verja No le pegue a mi negra (coro) No le pegue a la negra No le pegue a la negra etc.
see also: negro bembon mami el negro esta rabioso (el africano)

Sunday, May 04, 2008

buddhist sufi

The Buddhist Sufi

Last night my soul ask a question of existence.
Why are you upside down with flames in your belly?
Happy, unhappy, indigo-orange like the sky?

Why are you an off-balance wobbling millstone,
like the Buddhist Sufi Ibrahim Balkhi?
who was king, beggar, buddha, and dervish?

Existence answers, All this was made
by the one who hides inside you.

You are like a beautiful new bride,
quick to anger, stubborn,
hot, naked, but still veiled.
~Rumi




When I went to the Rumi event this past Friday, I actually met an Afro-Latino "Buddhist Sufi" (or to be more precise, he described himself as a bee who takes from more than one flower). He reminded me of the Zensunnis from the Dune novels. In fact, just last week I was thinking about them and asking myself how tennable that particular form of syncretism would be.

Dune Quotes
guess who's coming to dharma
religion in science fiction

Sunday, April 13, 2008

an "unusual" blend of cultures: mexican and black

Costa Chicans

Los Angeles Times: An unusual blend of cultures: Mexican and black is similar to other pieces I've linked to before. It seems like every couple of months I come across an article or webpage which touches on the communities of African-descent Mexicans who live along the coast. Personally, I think it will be a great day when the LA Times can do a story with the title: Duh! There are Black Mexicans

Monday, March 03, 2008

negro bembon




Mataron al negro bembón
Mataron al negro bembón
Hoy se llora noche y día
Porque el negrito bembón
Todo el mundo lo queria
Porque el negrito bembón
Todo el mundo lo queria

Y llegó la policia
Y arrestaron al maton
Y uno de las policias
Que tambíen era bembón
Le toco la mala suerte
De hacer la investigación
Le toco la mala suerte
De hacer la investigación

Y saben la pregunta
que le hizo al maton
Porque lo mato
Diga usted la razon
Y saben la respuesta
que le dio el maton :
yo lo mate
por ser tan bembón
El guardia escondio
la bemba y le dijo :
Eso no es razon



I was recently thinking about the ways in which race shows up in Latin music when the song "Negro Bembon" by Ismael Rivera popped into my head. The song makes me think of how Afro-Latinos in Latin America didn't really undergo US-style civil rights / Black power movement. So instead of making a loud and angry statement like NWA's "F*** tha Police" or a righteous and defiant statement like Marley's "I Shot the Sheriff", "Negro Bembon" gives us the muted and insufficient "Eso no es razon" from a Black cop who, even with a gun and badge, is still not strong or brave enough to truly challenge a racist system. Occasionally I wonder if the song's refrain is deliberately understated as way of making a powerful social critique, but most of the time I tend to think that the voice of protest is so muted because certain white supremacist assumptions are pervasive and taken for granted in Latin culture, even in the music of Afro-Latino artists like Ismael Rivera.

tego calderon: latin america needs its own civil rights movement
a rising voice: afro-latin americans

Wednesday, February 06, 2008

bits of grenada

A couple of new Grenada-esque links out there in cyberspace:

Yusuf Sanchez recently started a rather informative blogspot blog on Latino Muslims.

A myspace page called BFN Latino deals with Afro-Latino and it appears as if it will give way to www.bfnlatino.com which also strives to be "an international portal to Afro Latin America"

And finally, IslamCrunch announced a community forum in Oakland, CA with the unfortunate title Should Muslims use the N word? My hope is that whoever named the forum was simply trying to stir up attendance and was not imagining that the affirmative position should be seriously considered.

Saturday, January 26, 2008

y tu abuela, a’onde esta?

La Chola (formerly Brownfemipower) recently linked to a post over at Waiting 2 Speak: Y tu abuela, a'onde esta? which touches on and fleshes out some of the gendered hassles faced by Afro-Latinas. especially in the contexts of personal relationships. The title is a reference to a poem by Fortunato Vizcarrondo (which is a central text in terms of Afro-Latino identity and which has appeared before on Planet Grenada in y tu abuela donde esta?)

The author over at Waiting 2 Speak also links to Latinopundit and the more explicitly political post: Barack Obama and Latinos: ¿Sí se puede?

Also check out:
obama and black latinos
nigger-reecan blues by willie perdomo (maybe it should be nigger-rican blues?)

Saturday, January 19, 2008

obama and black latinos

I just "discovered" the blog Multiplicative Identity through the entry Obama and the Latino Vote in the NY Times by Cuban blogger Alisa Valdes-Rodriguez. The article rightfully rips the NY Times a new one for the clumsy way in which they describe the demographic issues around Obama's efforts to campaign among Latinos in New York.

She also turned me on to the Blacktino e-News Network (BNN)

Sunday, October 21, 2007

who is black?

rasheed ali & rain people

I don't know if Rasheed Ali is Muslim but he is a musician who identifies as Afro-Caribbean and whose musical influences extend from Africa to all over the diaspora. I was drawn in to him through an article on his blog called: The African in Puerto Rico: An Overview

To read more of his thoughts and listen to his music, check out:
Myspace: Rasheed Ali & Rain People
CD Baby: Rasheed Ali & Rain People
Blogspot: One Tribe, Many Voices
Spanish blog: Una Tribu, Muchas Voces

Wednesday, October 17, 2007

transafrica forum and afro-colombians

Two items from TransAfrica forum on Afro-Colombians:
First: Call Your Representative to Support HR618 Recognizing Afro-Colombian Rights in the US House of Representatives. And secondly: TransAfrica Calls for Support for the Peace Process and Highlight the Issues facing Afro-Colombians which starts to describe a little of what the situation is and talks about the positive humanitarian involvement of the Chavez government.

is there a black vote in venezuela?

Venezuelanalysis.com: Is There a "Black Vote" in Venezuela? is an older piece which touches on how far Venezuelan society still has to go when it comes to its Black citizens, even under Hugo Chavez.

Sunday, October 14, 2007

everything is separated by water

water

A few weekends ago I was able to catch Everything is separated by water; an exhibition of 17 major pieces by María Magdalena Campos-Pons, an Afro-Cuban artist from Matanzas. I was stuck by how several of the pieces touched on questions of identity in a way which could be generalized to people of African descent, Latinos and immigrant Muslims. Whether you are talking about the Rio Grande, the Atlantic Ocean or the 90 miles which separate Miami from Cuba, 'everything' really is separated by water.

Memory, historical connections to Cuba and Africa, her dislocation and that of her ancestors fuel the 17 major works that comprise the Campos-Pons retrospective Everything is Separated by Water at the Bass Museum in Miami Beach.

''Her work is about constructing identity and cultural histories,'' says curator Lisa D. Freiman, who organized the retrospective for the Indianapolis Museum of Art, where it was staged more amply in 12,000 square feet of space. ``It's about who we become when we move to new places, and the feeling of not completely being whole in any place.''

'In my country, in my setting, in my town, `the problem' of being African wasn't about physical placement or about land,'' Campos-Pons explains. ``When we talked about Africa, we didn't talk about the continent. Africa was in my Cuban backyard.

''Africa was my father, my mother, my cousins and my aunts and uncles,'' she adds. ``They played the drums in the patio at all hours. The question of Africa arose from the point of view of the United States. When I was in Cuba, it was never a question.''

Using paint, herbs and wood sculpture -- sight, sounds and smells -- Campos-Pons conjures the image of the forest where the gods of santería are said to dwell. The forest also is the realm of their messenger and keeper of the roads, Eleguá, the orisha after whom Campos-Pons titles another work, The One Who Opens the Path (1997), a composition of 10 mammoth Polaroid Polacolor photographs.

Likewise, in another piece, The Seven Powers Come by Sea (1992), the seven orishas of the Yoruban pantheon are present in large wood sculptures that resemble slave ships and are carved with stick figures, showing how slaves were tightly stacked on ships sailing to the New World.


For the rest of the story, check out the Miami Herald: Cuban artist connects memories of a fragmented life

Saturday, October 13, 2007

tony gleaton aims lens at black mexicans

From the LA Times: Tony Gleaton aims lens at black Mexicans is yet another piece I "found" due to a heads-up from George Kelly. Tony Gleaton is a light-skinned Black photographer who was one of the earliest people to visually document the presence of Mexicans of African descent. And part of his purpose in starting the project was to explore his own experience of racial identity.