Order ID 53563633773 Type Essay Writer Level Masters Style APA Sources/References 4 Perfect Number of Pages to Order 5-10 Pages Description/Paper Instructions
Week10_BiokoIsland_TransAtlanticSlaveryTubman.docx
analysis reflection
1Professor Heidi J Nast
Readings and Assignments A & B _ Week 10
Mini lecture
This week we explore how a niece and aunt musical duo from Bioko island (part of Equatorial Guinea (EG); see map, below), have used their music strategically within Spain to speak to both their pre-colonial matrilineal ancestry, and the private-property-related depredations of colonial Spanish rule. EG is the only colony in Africa that Spain continued to control until independence in 1968. Accordingly, Spanish is (still) the official language. Those ethnically Bubi persons on the island speak the Bubi language as well as Spanish. While the majority of people on the mainland are ethnically Fang (see map, below), the very first people to settle on Bioko island were the Bubi. Like the Mosuo, the Bubi are matrilineal.
Before you can do the first assignment, you will need to read this short scholarly article about a Bubi Afrobeat duo/band, known as the Hijas del Sol (Daughters of the Sun). While both women were born in Bioko and speak Bubi, Spain’s colonization of EG remains inside the Spanish-language name that the women have given to their band, and the language of some of their lyrics. (They sing in Spanish and in Bubi.) Take notes to help you actively read this work and to carry out the exericse, below. Note the logic by which the author notes why these women have made an especially important political difference in Spain. https://www.jstor.org/stable/20641707?casa_token=PjVScytkvTAAAAAA:gR0glKqBVES7UjFCOWj9vsH9SgCvw-VM5CuKKvNx55eOGbZ8tADk5Tdzw3aDIVZP2j3TjOZ2siPUHhgcNOIVXTQw2838HX8pJCACTG0Dhn1LR2kUVg&seq=1#metadata_info_tab_contents
The band is especially important to this course for a number of reasons. First, it speaks to the signal importance of ‘Black space,’ a concept that Black scholars have begun to formulate as places of freedom that operate unnoticed within places of oppression. Other scholars have referred to these spaces in terms of the ‘Wake,’ the ‘Black Outdoors’, and ‘Districting.’ These terms refer to how, despite being subjected to the most extreme forms of racialized cruelty (slavery, colonization, disenfranchisement), ‘Black’ folk have managed to create, generate, speak, and live beyond private property and power, even as they have been bound by and to it. Thus, in the midst of the cruelties of plantation life, African slaves created field songs, the blues, dance joints, moonshine, soul food, call and response, kindness, hospitality. In the 1950s US, African Americans created the Green Book that was entirely based on informal (unpaid, noncommodified, not-private property) maternal relations. They also created Afrofuturism, a genre of science fiction that has grown through domains of music and fashion (think, for instance, of Janelle Monae). Today, Black spaces are being forged through the real and virtual channels of Twitter and Instagram, which the BLM movement used to birth and grow itself and to organize real protests.
Race theorists suggest that African Americans and others who have been subjected to the cruelties of the system are also the most adept at creating spaces of subterfuge–of finding relational (maternal) ways of living beyond cruelty’s (private property, anti-maternal) laws. Dyadic relationality is here used to resist, to create worlds that operate ‘beyond’ private property. (Slaves could not own property or traffic in capitalism because they were considered chattel and, hence, non-persons.). This ability to create alternatives in a world whose imagination is otherwise smothered in the commodity world (shopping, waged word, entertainment), is a kind of prophecy-in-the-making that shows how another kind of life might be possible. This is needed since the anti-maternal capitalism that currently dominates social life is killing the planet.
So when you listen to the songs, below, you are in fact engaging in a theoretically complex act. The work brings you into an at-once survivalist and celebratory ‘Black space’ that talks back to the racism that has tried to quash Black lives through slavery, empire building, and colonization. The duo and their music show how the Bubi, despite over 300 years of plantation life and oppression, found spaces within which to continue generating and cultivating life and language.
Even the name of the band, Daughters of the Sun (like Zap Mama) runs counter to private property in that it speaks of dyadic posthuman life: the Sun, the title tells us, gave birth to Daughters. A similar dyadic relation between “Pure Light and Human Life’ is seen in the Malian film you watched, Yeelen. As we finish this course, then, you are invited to see how the dyadic, while inspired by the biologically pregnant body, speaks to any dyadic relation through which planetary life generates itself.
Initially, Hijas del Sol sang about specifically Bubi sensibilities, often in the Bubi language. You will listen to one of these early songs called, Boko’i, which in Spanish is, Rito de fertilidad and, in English, the Fertility Ritual. You will hear the two women splashing in the water, suggesting that they are near the ocean. They subsequently cadence their song through ‘call and response,’ not speaking directly to each other but to a relational ‘beyond.’
Assignment A:
Listen to this song from their first album, Sibèba (1995)
https://open.spotify.com/album/4kKQiSs1Y6Q0t3B0idNog7?highlight=spotify:track:5fgoq4pxTpoYIIgvjzQhjs The song to which you will listen will automatically be highlighted within the album.
1) Relay how the music makes you feel (any/all senses) even if you don’t understand the language in which the duo is singing. (150-200 words)
2) Now go back and review the scholarly article (above) as well as your notes. Highlight those sections in the article that you think suggest why this first album and this song, in particular, are important, first, in relation to EG and, secondly, in relation to Spain. Write a paragraph for each relation, in turn.
3) For those of you who may not know much about Afrobeat (of which the Daughters could be seen as a part), see the link below. If you do listen, let me know which of the groups you like and why! (100 words). This is an optional question and will be used (if done well) to offset any points taken off in other parts of the exercise.
https://ethnomusicologyreview.ucla.edu/content/producing-culture-afar-equatoguinean-musicians-spain
Assignment B
While we can see the Daughters as creating ‘Black spaces’ of freedom (the maternal) within EG (as a nation state) and Spain (former colonizer), there is another example that is far more straightforward, namely, Harriet Tubman’s creation of the Underground Railway. The dyadic nature of her creation is evident in the fact that she considered herself a ‘conductor,’ reaching out and taking hold of other persons’ hands (Black and white) to bring them to freedom. Before watching the assigned film, you will reading a short biography of her and secondly, a brief entry on how she included Chicago in the Railway.
What is important here is the idea of ‘Black spaces,’ that is, the relational spaces of freedom that appear through acts of care that oppose possession. These dyadic acts of care might involve a relatively privileged white man who empathizes with the great dangers that a slave running away faces and who, despite knowing that he also could be injured, decides to use his privileges to help runaways get to Canada. Here, slave and non-slave relationally ‘connect’—despite their mutual strangeness. They do so through their love of (each other’s) life, recognizing that it is life rather than property that sustains us.
Relational life cannot help but to defeat possession. Dyadic life ‘naturally’ breaks the ‘law’ of a ‘father’ whose only authority comes from diminishing life through owning it. The Underground Railway is a ‘Black space’ in that it is not created through the privatized material world of actual railroad ties, railway cars, and engines. Rather it is an imaginary railway whose movements are propelled by a relational reaching out and pulling in; reaching out and pulling in; reaching out and pulling in. Each coupling a form of vitality or generativity fueled by breaking laws that kill life. The Underground Railway is a Black space in that it involves a door that opens and a person who whispers, “Quickly! Come in!”. In forming this relational pact against possession, both are freed, whites helping in the making of relational freedom.
1) https://www.biography.com/activist/harriet-tubman
2) http://www.encyclopedia.chicagohistory.org/pages/1281.html
3) Rent ($5.99) and watch the 2019 film, Harriet. https://www.amazon.com/Harriet-Cynthia-Erivo/dp/B07Z85VF9Q
4) Create an enumerated list of FIVE dyads of freedom. Using the active voice, detail who connected with who (specific instances) and under what conditions (where when why) and the real spaces that emerged as a result.
RUBRIC
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