All For You, E.T. Mensah and Black Atlantic Musical Currents

A beautiful example of Black Atlantic musical exchange from one of my favorite highlife orchestras, E.T. Mensah & The Tempos. Their song, "All For You," is based on the melody from the Caribbean tune, "Sly Mongoose." In addition to entering the highlife repertoire, "Sly Mongoose" surfaced in US jazz recordings, too, such as this lively rendition from Charlie Parker and Jack Sneed & His Sneezers. Don't forget to hear Lord Invader's take and Sam Manning's.

Some Images of Puerto Rico in 1899

Ponce in 1899. All images are from Margherita Arlina Hamm's Porto and the West Indies.

A laundress in Puerto Rico

Mayaguez

San Juan Marina

View of San Juan from the Harbor

Port-au-Prince mon seul et unique amour

Arnold Antonin's documentary on the life and work of Georges Corvington is endearing and nostalgic but avoids romanticizing Port-au-Prince's history. Beginning with the life of Georges Corvington, his education, and his vast library that was lost in the 2010 earthquake that nearly killed him, the rest of the film goes over his magisterial history of Port-au-Prince from the colonial era to Magloire in the republished CIDIHCA volumes of Port-au-Prince au cours de ans. Along the way, we see interviews with Georges Corvington and others who knew him, such as Michel Hector and Frankétienne discussing how Corvington was committed to the city of Port-au-Prince's history and how the city was his only love (Corvington never married). The greatest thing about this documentary was the plethora of photographs, images, and video clips of Port-au-Prince in the various stages of its history, including some delightful Haitian mereng (Lamothe's "La Dangereuse" can be heard at various times) and jazz music. 

Port-au-Prince's early history, its history of fires and political upheaval, the rapid urban growth, the rise of more architecturally beautiful public buildings in various phases, the impact of US Occupation (the rise of more public administration buildings, particularly under Borno's presidency), the colonial period (which was the origin of building most of the city in wood from the 18th century to the 20th century), the 19th century (which did feature monuments, such as the National Cathedral and various presidential palaces), etc. are all covered in the film (including development in Port-au-Prince of tramways, more monumental architecture, the Bicentennial Celebration, the Belle Époque years of the 1950s). The film challenges notions that no Haitian government has ever invested in or tried to change Haiti, and looking at Haiti's urban history is clearly something that merits further investigation beyond Port-au-Prince. Indeed, it would be excellent to find more urban historians who can carry on Corvington's legacy for different Haitian cities, such as Les Cayes (where the Corvington family resided before Port-au-Prince), Jacmel, and Gonaives.

Overall, this short documentary, under an hour in length, is a great introduction to the works of Corvington. Although his vast library was destroyed in the 2010 earthquake that left Corvington under rubble, his legacy can and should live on in additional scholarly work on Haiti's urban history. The astounding visuals also complement quite well the interviews with Corvington and those who knew him. My only complaint is the shortness of the film, which means less detail, and the lack of special features on the DVD to explore some of the sources for the visuals, music, and Corvington's works. Nontheless, the numerous details and tantalizing facts about Port-au-Prince (such as its first film projection, back in 1896, the development of the Bel-Air neighborhood and the rise of new residential areas, such as Turgeau and Bois Verna). Furthermore, Corvington's impressive work on Port-au-Prince's history was all the more so because he did not travel abroad to research, but collected his sources in Haiti and used his library to write instead of relying on foreign archives.

Stuart Hall in Haiti

Stuart Hall's documentary series episode on Haiti is, of course, too short, but a good introduction to Haiti from the great Caribbean scholar. The documentary also challenges the stereotypes of Henri Christophe's rule and the interviewed Haitian scholar alludes to Baron de Vastey's allusions to African architectural genius and grandeur resurfacing in the monuments of Christophe's Haiti. Unfortunately, the film tries to fit Haiti into a transplanted Africa in the Americas that was isolated from the rest of the world. Watch the second part of the video here, which discusses Haitian art. 

Ponce in 1898

Source

Ponce, Puerto Rico in 1898, a fateful year. I am in love with the Caribbean city, so all these views of Caribbean cities fascinate me.

Haiti on Tumblr

Sadly, my favorite history blog will likely never return. Haitian History Blog was not only high quality, sourced, and nuanced, but one of the few serious blogs on Haitian history. For a variety of reasons, the administrators got sick of disrespect and the Tumblr community, and while I sympathize with their plight and agree with them on some of the flaws of Tumblr, I hope they return to blogging with a wordpress. At the very least, they will keep the blog open so we can always return. In the meantime, we still have Haiti In the Americas, a great Tumblr blog associated with a graduate course at Yale on Haiti.

Toby Green on the Trans-Atlantic Slave Trade

I first read Toby Green's "The Rise of the Transatlantic Slave Trade in Western Africa: 1300-1589" a while back, but I love how Green emphasizes African agency and history that shaped creolization, trade, and slavery in the broader Atlantic World context.  He emphases internal African diasporas that linked North Africa with West Africa and global markets, which paved the way for international trade with Europeans, the slave trade, and cultural mixing that facilitated the exchange of people, goods, and culture that shaped the Atlantic World. Listen to podcasts with Toby Green here and here.

Port-au-Prince, 1917

Source

Port-au-Prince in 1917, with a public market in the foreground and US ships in the background. Image found in Hans Schmidt's "The United States Occupation of Haiti, 1915-1934."

Hinche, Haiti in 1935

Source

A photograph from 1935 of Hinche's public square. One can see the Haitian-styled architecture of Hinche. Hinche was one of the centers of Toussaint's volte-face after entering the service of Spain with other early leaders of the slave unrest in the north of Saint Domingue. Ada Ferrer's new book on Haiti and Cuba actually delves deeper into the presence of Cuban soldiers in Saint Domingue during the Haitian Revolution, and the complete dependence of Spain on these black 'auxiliaries,' which made it quite easy for Toussaint Louverture's forces to recapture Saint Dominguan towns occupied by Spain, as well as seize new cities along the border of the Spanish colony (Hincha became Hinche). 

1912 and the Other 1937

I had the fortune to see Gloria Rolando's documentaries on the 1912 massacre of Afro-Cubans as well as Reembarque, which puts a human face on the experiences of Haitians and Cubans of Haitian descent. The humiliating and demeaning repatriations of Haitians in 1937 are vividly retold by Haitians in eastern Cuba and Haitians within Haiti, and the viewer sees Haitian culture alive and well in Cuba. Although the musical performances and interviews were beautiful, I think the documentary would have benefited from a deeper analysis or context of Haiti at the time, particularly the push factors for Haitians in the specific regions of Okay, Aquin, Bainet, Leogane, etc. where most of the emigrants in the period between 1910-1930 were born. Nonetheless, Reembarque breathes life into Matthew Casey's well-known study on Haitians in Cuba during the same period. 

As for Rolando's other documentary series, the film accomplishes a similar task of bringing to life through interviews, newspapers, historians, and descendants of the historical actors or people from Oriente and Santa Clara, the rise and fall of the Partido Independiente de Color, culminating in the massacres of thousands of blacks. The world needs more documentaries and studies of these crucial episodes in Cuban history, also important for emphasizing inter-Caribbean links and cultural exchange, even in the midst of US imperialism. Fortunately, the presence of Dr. Patrick Bellegarde-Smith and Gloria Rolando epitomizes the importance of inter-island historical relationships and provided an excellent overview of the connections between 1912 and 1937, 1804 and 1959, in the short discussion after the showing. I intend to watch more of Rolando's work. 

Jazz for Malcolm X

Haven't heard this one in a while. "Mr. X" is Max Roach's tribute to Malcom, recorded in 1956. Already in the mid to late 1950s, one could see a shift in Max Roach's political orientation and views on the Civil Rights Movement, which included his admiration of Malcolm X and some forms of black nationalism.

Merengue Sounds from West Central Africa

Lovely Congolese 'rumba' band plays a merengue. It's uncanny how similar these Congolese merengue songs were to the guitar-based merengue from the Dominican Republic, and the widespread appeal of Caribbean and Latin music in Central Africa (in addition to influences from Europe, such as Tino Rossi). I highly recommend Dr. Nico's music, African Jazz, and an Angolan band, África Ritmos, for Angolan takes on merengue. If I remember correctly, some members of Les Bantous de la Capitale ended up in the French Antilles, further complicating the waves of musical exchange that connected the Caribbean and Africa during this time. Here's one more merengue from Les Bantous, here!

Some Photos of Jacmel

Source

Some nice images of Jacmel and its City Hall from The Blue Book of Haiti, 1919-1920. 

Port-au-Prince in 1907

Source

A view of the Haitian capital in 1907, which can be found in Jacques Nicolas Léger's Haiti: Her History and Her Detractors.

The Caribbean After Slavery

Check out this informative lecture on the Caribbean after slavery by Gad Heuman. It's mostly focused on the British Caribbean, but it's also inclusive of the other European colonies of the region. Heuman also strives to include women into the experiences of Afro-Caribbean people in post-emancipation societies.

Cap-Haitien in 1907

Source

Enjoy these lovely images of Cap-Haitien in 1907, courtesy of Wikimedia and a digitized version of Jacques Nicolas Leger's Haiti, Her History and Her Detractors. The first photograph is of Cap-Haitien, the second of the Union Club, and the final photo is the bishop's house.

I believe Orchestre Septentrional's "Cite du Cap-Haitien" is essential listening for this post.

Haiti From Independence to US Occupation

"In the end Haiti was undone by a combination of imperialist intrigue by the United States, abusive behaviour by the core and an economic model that was too dependent on coffee and customs duties."

Victor Thomas-Bulmer's "Haiti From Independence to US Occupation" is a worthwhile read on Haitian economic history from independence to 1915. His work demolishes some of the silly myths for understanding Haitian economic underdevelopment by placing Haiti into a broader Caribbean and Latin American framework as well as discussing foreign merchant communities and imperialist core powers intervening in Haitian affairs. Foreigners had multiple ways of maneuvering around laws prohibiting foreign ownership, Haiti was actually paying debts on a consistent basis, and yes, political instability and poor governance played a role, but the economic impact of the political instability was usually limited and the extent to which the foreign community fomented or contributed to Haiti's economic troubles does not get acknowledged. In the end, Haitian economic underdevelopment is a result of both internal and external factors, which Thomas-Bulmer's work defends. Moreover, for most of the 19th century, Haiti's economic output was not as abysmal or horrific as one would think, actually faring quite well if one excludes Cuba from the Caribbean average. It seems that only by the 1890s and assuredy by 1910 that Haiti can be seen as "lagging" by many indicators in comparison to Latin America, the Dominican Republic, and the Caribbean. Even then, some argue that Haiti's economic stability and 'vibrance' lasted into the 1930s, when the Dominican Republic began to surpass Haiti in terms of revenue (Bernardo Vega discusses this here) and only in terms of education and other indicators did the Dominican Republic began to pass Haiti only in the 1950s and 1960s (read).

A Concise History of the Caribbean

I believe A Concise History of the Caribbean by B.W. Higman is a useful read in conjunction with Frank Moya Pons's book I recently reviewed. While the latter emphasizes economic history and the plantation system, Higman offers a much more informative and enlightening introductory chapter on the indigenous peoples of the Caribbean while offering a much broader history of the Caribbean that encompasses, social history, creolization, slavery, resistance, and coverage of the Caribbean after 1945 (Frank Moya Pons concludes his analysis at 1930). So, when read together, both books offer very accessible and informative general histories of the Caribbean. Furthermore, Frank Moya Pons's obvious specialization in the Dominican Republic and Spanish Caribbean is balanced by Higman's background in the Anglophone West Indies, thereby bridging together the archipelago.

History of the Caribbean: Plantations, Trade, and War in the Atlantic World

For those looking for short but efficient reads on the economic history of the Caribbean as it relates to the plantation complex that unites the region as a productive unit (in a subordinate space to the dominance of western Europe and North America), read Frank Moya Pons's History of the Caribbean: Plantations, Trade, and War in the Atlantic World. I was expecting more social history and mention of slave resistance and cultural creolization, but the title of the book makes it quite clear there will be an emphasis on economic history as it relates to the development of plantation colonies (or neocolonies) and conflicts over resources and profitability of tropical products. In addition, Pons ends his analysis of the economic purpose that connects all Caribbean societies in 1930, although one could easily argue that the modern Caribbean after 1930 is still serving the same role for North American and European powers. Furthermore, at times it felt the text was much more effective, informed and concerned regarding Hispaniola and the Spanish Antilles than elsewhere, although Pons does an excellent job integrating the Lesser Antilles and the various European powers into a single analysis.

Koze Koze

I am loving this Septen song today. Lovely singing and perfectly jazz yet distinctly Haitian. Read more about Orchestre Septentrional here and immerse yourself into Haitian big band sounds, "Vodou-jazz," and Cap-Haitien.

Devastaciones de Osorio and the Depopulating of Western Hispaniola

Source

Devastaciones de Osorio, a perfect example of poor policy by Spain in the 17th century Caribbean and the root of the division of Hispaniola into two separate colonies. By ordering for the depopulation of the sparsely settled western Hispaniola, the destruction of the towns there, and forcing the inhabitants to leave without taking their cattle, western Hispaniola after 1606 was open to anyone willing to seize it from the crumbling Spanish empire in the Antilles. Based on popular resentment, colonial officials did not try to depopulate parts of Puerto Rico, but the damage to Hispaniola was done. Now vast herds of quickly feral cattle attracted French and other European "buccaneers," nobody was around to stop settlements on Tortuga and northern Hispaniola's coast, and smuggling continued as a way of life in the Spanish Caribbean. By the end of the century western Hispaniola was under French control and transforming from a tobacco-based colony to a slave society based largely on sugar. The French would later build towns on the old Spanish settlements (La Yaguana became Leogane, for instance). If the whole idea of depopulating the western section of the island was to curb smuggling and prevent the infiltration of Protestants (Dutch and English in the early 1600s) in the Caribbean, Spain failed miserably. For good sources on this, Eugenio Matibag and Frank Moya Pons are quite useful. 

When the Drum Is Beating

Source

I finally watched this endearing documentary! Orchestre Septentrional has been one of my favorite orchestras of Haitian music for some time now, and I have been meaning to learn more about the band through this documentary for quite some time. The documentary covers the bands 6 decades of history with interviews, video footage, live performances, some background history, and brief analysis of Haitian music in relation to Haitian culture and politics. The viewer is treated to some of the infighting and tensions in the band (debate over the change in sound, conflicts over pay and leadership, complains by and about the older members like Michel Tassy, the legendary singer) and how the band's long history relates to the proud people of the North of Haiti, Cap-Haitien's history, and Haitian history. The documentary shows both sides of Cap-Haitien, the pollution, horrible roads, and poverty, but also the palace of Sans Souci, Cap-Haitien's elegant, older styles of architecture, and the beauty of Haitian music, culture, and history (one of the founders of the band, Maestro Ulrick Pierre-Louis is shown at Sans Souci speaking about the need for another Henri Christophe). 

The documentary does a good job of showing how Septen's music falls into the "Vodou-jazz" style popularized by bands like Jazz des Jeunes, which formed around the same time (unfortunately, Jazz des Jeunes is not mentioned at all, and Ulrick Pierre-Louis is presented as being the only Haitian artist wishing to fuse Vodou rhythms with jazzy, dance bands). One could have done much more with this by covering Haitian cultural nationalism in the 20th century, the influence of Vodou music on Haitian classical music, or even exploring further the links between Septen and Cuban music, supposedly an influence. The band even plays examples of different rhythms, emphasizes the importance of Vodou, music, and dance in Haitian culture and history, and the orchestra's current director, Nikol Levy, also leads a Vodou music choir. Unfortunately, the documentary was a little lacking on Haitian politics, and presented biased clips from the 1940s and 1950s that made Haiti before Duvalier seem like some amazing place (I suspect at least one of those clips was for promoting tourism). Despite Robert Fatton's inclusion, Haitian politics only gets marginal attention, focusing on Duvalier and the rise and fall of Aristide is covered. 

The band's fate under Duvalier also reminded me of how Haitian compas and other "Vodou-jazz" bands like Jazz des Jeunes were all, at one point or another, forced to compose pro-Duvalier songs (after a makout opened fire at the Rumba nightclub and killed a member of the band), exemplifying how, as Gage Averill argues, music is power in Haiti and was inherently linked to politics and ideological movements (noiriste, for instance, in the case of Duvalier). Regardless of some of the misses of the documentary, it's nice to see the band members tell their own story, though those expecting a fully detailed year-by-year breakdown of the band and its musical evolution will be disappointed. Also, I was not sure exactly how comparing the leadership in Septen can be compared to political leadership, but fortunately, that aspect of the director's vision is not too apparent. Enjoy!