2. CSULA Spring 2010
510 African Diasporic Poetics of Space
Dr. Ramey
• My goal in creating this PowerPoint was to explore how ‘Time’ and ‘History,’ and
‘Space’ and ‘Place’ could be visually represented. The images represent my
personal interior intellectual journey of discover.
• The first batch of images signify an anthropological attitude; the middle batch
suggest a more reflective attitude; and the third batch hopefully imply an
emotional connection.
• All of the images are of books from my library.
• Edward W. Soja stated "whenever you read a sentence that empowers history,
historicality, or the historical narrative, substitute space, spatiality, or geography
and think of the consequences”(Thirdspace, 182-83).
• In exploring the dynamic relationships between the texts, my goal is to realize the
aesthetic beauty I feel exists within the ideological plane of kaleidoscopic images
intersecting as these images pile and tumble around in our consciousness.
• I hope to not treat my learning as an exercise in Orientalism, for my belief is that
the song sung in the Diasporic Space is ‘beauty,’ as opposed to fetishizing a
convention.
2
12. • My goal in creating this PowerPoint was to explore how ‘Time’ and
‘History,’ and ‘Space’ and ‘Place’ could be visually represented. The images
represent my personal interior intellectual journey of discover.
• The first batch of images signify an anthropological attitude; the middle
batch suggest a more reflective attitude; and the third batch hopefully
imply an emotional connection.
• All of the images are of books from my library.
• Edward W. Soja stated "whenever you read a sentence that empowers
history, historicality, or the historical narrative, substitute space, spatiality,
or geography and think of the consequences”(Thirdspace, 182-83).
• In exploring the dynamic relationships between the texts, my goal is to
realize the aesthetic beauty I feel exists within the ideological plane of
kaleidoscopic images intersecting as these images pile and tumble around
in our consciousness.
• I hope to not treat my learning as an exercise in Orientalism, for my belief
is that the song sung in the Diasporic Space is ‘beauty,’ as opposed to
fetishizing a convention.
12
27. Algérie, Les hors la loi
الجزائر، الخارجون عن القانون
FRENCH HISTORIANS AND ARTISTS NOTED THAT THE ONGOING CAMPAIGN BY THE
"NOSTALGIC CIRCLES" OF COLONIZATION AGAINST THE FILM " HORS LA LOI" BY RACHID
BOUCHAREB, WHO WILL REPRESENT ALGERIA AT THE NEXT INTERNATIONAL FILM
FESTIVAL OF CANNES (2010), IS "PREVENTING FREEDOM OF CREATION AND THE
NECESSARY RECOGNITION OF THE COLONIAL PAST OF FRANCE." IN A TEXT ENTITLED "
RACHID BOUCHAREB’S ‘HORS LA LOI’ FILM: THE WAR’S MEMORIES ARE BACK, THOSE
HISTORIANS, AMONG THEM PASCAL BLANCHARD, GILLES MANCERON, JEAN-PIERRE
PEYROULOU, BENJAMIN STORA, MOHAMED HARBI, DIRECTOR YASMINA ADI,
CONSIDERED THAT THESE REACTIONS ARE "A SYMPTOM THE COMEBACK OF GOOD
COLONIAL CONSCIOUSNESS IN SOME SECTORS OF FRENCH SOCIETY.“
-HTTP://WWW.ELMOUDJAHID.COM/EN/CULTURE/5106.HTML
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30. • My goal in creating this PowerPoint was to explore how ‘Time’ and
‘History,’ and ‘Space’ and ‘Place’ could be visually represented. The images
represent my personal interior intellectual journey of discover.
• The first batch of images signify an anthropological attitude; the middle
batch suggest a more reflective attitude; and the third batch hopefully
imply an emotional connection.
• All of the images are of books from my library.
• Edward W. Soja stated "whenever you read a sentence that empowers
history, historicality, or the historical narrative, substitute space, spatiality,
or geography and think of the consequences”(Thirdspace, 182-83).
• In exploring the dynamic relationships between the texts, my goal is to
realize the aesthetic beauty I feel exists within the ideological plane of
kaleidoscopic images intersecting as these images pile and tumble around
in our consciousness.
• I hope to not treat my learning as an exercise in Orientalism, for my belief
is that the song sung in the Diasporic Space is ‘beauty,’ as opposed to
fetishizing a convention.
30
32. Who are we looking for,
who are we looking for?
It's Equiano we're looking for.
Has he gone to the stream?
Let him come back.
Has he gone to the farm?
Let him return.
It's Equiano we're looking for.
- Kwa chant about the disappearance
of an African boy, Equiano
32
44. "This propaganda of dis-associating Western
Negroes from Africa is not a new one. For
many years white propagandists have been
printing tons of literature to impress scattered
Ethiopia, especially that portion within their
civilization, with the idea that Africa is a
despised place, inhabited by savages, and
cannibals, where no civilized human being
should go, especially black civilized human
beings. This propaganda is promulgated for
the cause that is being realized today. That
cause is COLONIAL EXPANSION for the white
nations of the world."
—Marcus Garvey (Philosophy & Opinions of
Marcus Garvey,
edited by Amy Jacques-Garvey
44
57. POEM BY MUTABARUKA –
Reggae Artist/Dub Poet
dis poem
shall speak of the wretched sea
that washed ships to these shores
of mothers cryin for their young
swallowed up by the sea
dis poem shall say nothin new
dis poem shall speak of time
time unlimited time undefined
dis poem shall call names
names like lumumba kenyatta nkrumah
hannibal akenaton malcolm garvey
haile selassie
dis poem is vexed about apartheid rascism fascism
the klu klux klan riots in brixton atlanta
jim jones
dis poem is revoltin against 1st world 2nd world
3rd world division man made decision
dis poem is like all the rest
dis poem will not be amongst great literary works
will not be recited by poetry enthusiasts
will not be quoted by politicians nor men of religion
dis poem s knives bombs guns blood fire
blazin for freedom
yes dis poem is a drum
ashanti mau mau ibo yoruba nyahbingi warriors
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59. uhuru uhuru
uhuru namibia
uhuru soweto
uhuru afrika
dis poem will not change things
dis poem need to be changed
dis poem is a rebirth of a peopl
arizin awaking understandin
dis poem speak is speakin have spoken
dis poem shall continue even when poets have stopped writin
dis poem shall survive u me it shall linger in history
in your mind
in time forever
dis poem is time only time will tell
dis poem is still not written
dis poem has no poet
dis poem is just a part of the story
his-story her-story our-story the story still untold
dis poem is now ringin talkin irritatin
59
61. makin u want to stop it
but dis poem will not stop
dis poem is long cannot be short
dis poem cannot be tamed cannot be blamed
the story is still not told about dis poem
dis poem is old new
dis poem was copied from the bible your prayer book
playboy magazine the n.y. times readers digest
the c.i.a. files the k.g.b. files
dis poem is no secret
dis poem shall be called boring stupid senseless
dis poem is watchin u tryin to make sense from dis poem
dis poem is messin up your brains
makin u want to stop listenin to dis poem
but u shall not stop listenin to dis poem
u need to know what will be said next in dis poem
dis poem shall disappoint u
because
dis poem is to be continued in your mind in your mind
in your mind your mind
61
127. It's a long road, but I'm gonna find the end
It's a long road, but I'm gonna find the end
And when I get back, I'm gonna shake hands with a friend
On the side of the road, I sat underneath a tree
On the side of the road, I sat underneath a tree
Nobody knows the thought that came over me
Weepin' and cryin', tears fallin' on the groun'
Weepin' and cryin', tears fallin' on the groun'
When I got to the end I was so worried down
Picked up my bag, baby, and I tried it again
Picked up my bag, baby, and I tried it again
I got to make it, I've got to find the end
You can't trust nobody, you might as well be alone
You can't trust nobody, you might as well be alone
Found my long lost friend and I might as well stayed home
127
201. Yinka Shonibare: The anarchist
artist
Yinka Shonibare MBE:
Where Art meets
Post-Colonial African Artifice
“I am very interested in using the idea of
something which is visually very beautiful
because I think that I want my audience to
engage with my work even though I am actually
tackling quite serious issues…” Yinka Shonibare
202
202. sounds
• kenya nchi yetu
• http://www.youtube.com/watch?v=Qu9PIAzG
kCI&feature=PlayList&p=66DC1475DB49EE81
&playnext_from=PL&playnext=1&index=21
203
