American culture maintained a complicated relationship with Haiti from its revolutionary beginnings onward. In this study, Peter P. Reed reveals how Americans embodied and re-enacted their connections to Haiti through a wide array of performance forms. In the wake of Haiti's slave revolts in the 1790s, generations of actors, theatre professionals, spectators, and commentators looked to Haiti as a source of both inspiring freedom and vexing disorder. French colonial refugees, university students, Black theatre stars, blackface minstrels, abolitionists, and even writers such as Herman Melville all reinvented and restaged Haiti in distinctive ways. Reed demonstrates how Haiti's example of Black freedom and national independence helped redefine American popular culture, as actors and audiences repeatedly invoked and suppressed Haiti's revolutionary narratives, characters, and themes. Ultimately, Haiti shaped generations of performances, transforming America's understandings of race, power, freedom, and violence in ways that still reverberate today.
Staging Race casts a spotlight on the generation of black artists who came of age between 1890 and World War I in an era of Jim Crow segregation and heightened racial tensions. As public entertainment expanded through vaudeville, minstrel shows, and world's fairs, black performers, like the stage duo of Bert Williams and George Walker, used the conventions of blackface to appear in front of, and appeal to, white audiences. At the same time, they communicated a leitmotif of black cultural humor and political comment to the black audiences segregated in balcony seats. With ingenuity and innovation, they enacted racial stereotypes onstage while hoping to unmask the fictions that upheld them offstage. Drawing extensively on black newspapers and commentary of the period, Karen Sotiropoulos shows how black performers and composers participated in a politically charged debate about the role of the expressive arts in the struggle for equality. Despite the racial violence, disenfranchisement, and the segregation of virtually all public space, they used America's new businesses of popular entertainment as vehicles for their own creativity and as spheres for political engagement. The story of how African Americans entered the stage door and transformed popular culture is a largely untold story. Although ultimately unable to erase racist stereotypes, these pioneering artists brought black music and dance into America's mainstream and helped to spur racial advancement.
This international analysis of theatrical case studies illustrates the ways that theater was an arena both of protest and, simultaneously, racist and imperialist exploitations of the colonized and enslaved body. By bringing together performances and discussions of theater culture from various colonial powers and orbits—ranging from Denmark and France to Great Britain and Brazil—this book explores the ways that slavery and hierarchical notions of "race" and "civilization" manifested around the world. At the same time, against the backdrop of colonial violence, the theater was a space that also facilitated reformist protest and served as evidence of the agency of Black people in revolt. Staging Slavery considers the implications of both white-penned productions of race and slavery performed by white actors in blackface makeup and Black counter-theater performances and productions that resisted racist structures, on and off the stage. With unique geographical perspectives, this volume is a useful resource for undergraduates, graduates, and researchers in the history of theater, nationalism and imperialism, race and slavery, and literature.
Growing from their early roots in Caribbean voodoo to their popularity today, zombies are epidemic. Their presence is pervasive, whether they are found in video games, street signs, hard drives, or even international politics. These eighteen original essays by an interdisciplinary group of scholars examine how the zombie has evolved over time, its continually evolving manifestations in popular culture, and the unpredictable effects the zombie has had on late modernity. Topics covered include representations of zombies in films, the zombie as environmental critique, its role in mass psychology and how issues of race, class and gender are expressed through zombie narratives. Collectively, the work enhances our understanding of the popularity and purposes of horror in the modern era. Instructors considering this book for use in a course may request an examination copy here.
Chapter 15. The "Alpha and Omega" of Haitian Literature: Baron de Vastey and the U.S. Audience of Haitian Political Writing, 1807-1825 -- Epilogue. Two Archives and the Idea of Haiti
This wide-ranging comparative study argues for a fundamental reassessment of the literary history of the nineteenth-century United States within the transamerican and multilingual contexts that shaped it. Drawing on an array of texts in English, French and Spanish by both canonical and neglected writers and activists, Anna Brickhouse investigates interactions between US, Latin American and Caribbean literatures. Her many examples and case studies include the Mexican genealogies of Nathaniel Hawthorne, the rewriting of Uncle Tom's Cabin by a Haitian dramatist, and a French Caribbean translation of the poetry of Phillis Wheatley. Brickhouse uncovers lines of literary influence and descent linking Philadelphia and Havana, Port-au-Prince and Boston, Paris and New Orleans. She argues for a new understanding of this most formative period of literary production in the United States as a 'transamerican renaissance', a rich era of literary border-crossing and transcontinental cultural exchange.
Haiti has long played a significant role in global perception of the western hemisphere, but ideas about Haiti often appear paradoxical. Is it a land of tyranny and oppression or a beacon of freedom as site of the world's only successful slave revolution? A bastion of devilish practices or a devoutly religious island? Does its status as the second independent nation in the hemisphere give it special lessons to teach about postcolonialism, or is its main lesson one of failure? Haiti and the Americas brings together an interdisciplinary group of essays to examine the influence of Haiti throughout the hemisphere, to contextualize the ways that Haiti has been represented over time, and to look at Haiti's own cultural expressions in order to think about alternative ways of imagining its culture and history. Thinking about Haiti requires breaking through a thick layer of stereotypes. Haiti is often portrayed as the region's nadir of poverty, of political dysfunction, and of savagery. Contemporary media coverage fits very easily into the narrative of Haiti as a dependent nation, unable to govern or even fend for itself, a site of lawlessness that’s in need of more powerful neighbors to take control. Essayists in Haiti and the Americas present a fuller picture developing approaches that can account for the complexity of Haitian history and culture.
The Haitian Revolution began in 1791 as a slave revolt on the French colonial island of Saint Domingue and ended thirteen years later with the founding of an independent black republic. Waves of French West Indians -- slaves, white colonists, and free blacks -- fled the upheaval and flooded southern U.S. ports -- most notably New Orleans -- bringing with them everything from French opera to voodoo. Alfred N. Hunt discusses the ways these immigrants affected southern agriculture, architecture, language, politics, medicine, religion, and the arts. He also considers how the events in Haiti influenced the American slavery-emancipation debate and spurred developments in black militancy and Pan-Africanism in the United States. By effecting the development of racial ideology in antebellum America, Hunt concludes, the Haitian Revolution was a major contributing factor to the attitudes that led to the Civil War.