Robert A. Heinlein- Letter from the Dean

“Nor do I feel responsible for the generally low state of the Negro—as one Negro friend pointed out to me; the lucky Negroes were the ones who were enslaved. Having traveled quite a bit in Africa, I know what she means. One thing is clear: Whether one speaks of technology or social institutions, “civilization” was invented by us, not by the Negroes. As races, as cultures, we are five thousand years, about, ahead of them. Except for the culture, both institutions and technology, that they got from us, they would still be in the stone age, along with its slavery, cannibalism, tyranny, and utter lack of the concept we call “justice.”–Robert Heinlein

Well at least he didn’t use the n-word…

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Wicked Jab

jabjabIt’s that time of year, when Jab emerge to haunt the streets of the Eastern Caribbean! I’ve always been fascinated (and slightly frightened) by Jab since I was a kid–Blue Jab, Red Jab, Green Jab, Mud Jab, Jab that spit fire, Jab with bat wings, Jab with devil mask, Jab in chains threatening to attack unless you “pay de devil!” But by far, my favorite are the Jab Molassie–oil slick, jet black, scowling, snarling, axe-carrying, rat-tail eating, rum-guzzling, conch-shell blowing, posse-deep and out-of-control like some horde climbed up from Hell! But wait, allyuh doesn’t know what Jab is? What? Well lemmee learn yuh…

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Pass the Chutney, Watch for Soucouyant and Beware Unclean Hands

“Don’t accept no food from Mr. Ramkisoon. Neighbor say Mr. Ramkisoon hands not clean.” The names have been changed to protect the accused, but this was the warning given by my parents before I got on a plane bound for our house in Trinidad. For those who might not be aware of the phraseology, the concern about Mr. Ramkisoon’s unclean hands has nothing to do with his hygiene. It was a warning that Mr. Ramkisoon possibly dabbled in some “simi dimi,” or more likely had done something foul to earn a curse placed upon him. My parents (who now live in the US) had it on good information–an Indian neighbor on our block who kept them apprised of the goings on back home. Like the song say, “Trini talk talk talk talk talk…”

So here were my Afro-Trinidadian parents, who are nominally Christian, concerned with superstitions rooted in Hindu (specifically Indian-Trinidadian) folklore. Welcome to the cultural mash-up of my childhood, or as I like to call it, a little bit chutney and a little bit pelau.

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The Afro-Asiatic Mashup

I attended an event at the Smithsonian this weekend called Asia After Dark: Afro-Asiatic Mash-Up. Held in the meditative Moongate garden, the evening featured a “mash-up” of Japanese vogue dance, theater, storytelling, hip-hop music and Afro-funk (Fela!) choreographed by visual artist iona rozeal brown. Among inventive cocktails, Japanese beer and floating origami lotus blossom lanterns, guests were invited to create masks using Asian botanical and Ashanti adinkra symbols from West Africa, while the highlight was a performance of soloist dancer Monstah Black–whose outfit was a dizzying array of Japanese Geisha meets Soulsonic Force topped off by a Gabon-Punu/Lumbo mask. Was pretty dope. And the only thing conspicuously missing in this Afro-Asian fusion was any mention of Wu-Tang Clan. Yet as novel and cutting-edge as all of this meeting of two seemingly un-related cultures and peoples may seem, it’s not really all that new. Asia and Africa have been melding and fusing for quite a long time.

*photo: (L) “…hold on…”–Erykah Badu, 2009 by artist iona rozeal brown- Courtesy of Robert Goff Gallery (R) Muhammad Khan, The Noble Ikhlas Khan With a Petition by Muhammad Khan (17th century), India. c. 1650. in San Diego Museum of Art

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Spears, Sorcery and Double-Consciousness- Part III

“I think that, especially if you’re a Westerner doing another culture, you have responsibilities to do the best darn research you can (and not just appropriate the cool bits). You must take care not to promote harmful stereotypes ; especially since, as a Western writer (especially, but not only, if you live in the West), you must be aware that your narrative is going to be privileged over that of locals. That gives you extra responsibility to get it as right as you can.”–Aliette de Bodard

French-American author Aliette de Bodard’s comment was made during a recent roundtable at The World SF Blog (TWSFB) on the issue of depictions of non-Western societies and cultures in speculative fiction. In this case, de Bodard was specifically addressing those writers in the West who take the (brave) plunge and attempt to write about cultures and societies outside of their own. I actually applaud this, and suggested in a recent blog that speculative fiction authors (of any racial/ethnic background, and specifically those in fantasy) should make this attempt more often. Yet, as I also noted in that same post, this comes with risks. As an outsider, it’s all too easy to fall back (intentionally or no) on stereotypes or exoticism as a means of depicting “difference.” So, continuing with this talk of spears, sorcery and black double-consciousness, how does a black Western writer create African fantasy that avoids (or at least tries to avoid) these pitfalls? I don’t have all the answers. Surprise. I don’t even know if anything I have to say qualify as answers. Double surprise. But here are some personal thoughts anyway, for what they’re worth…

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