Bibliographie
ALLEN Lillian, Psychic Unrest, Toronto: Insomniac Press, 1999.
----, “Poems are not meant to lay still,” in SILVERA Makeda (Ed.), The Other Woman. Women of Colour in Contemporary Canadian Literature, Toronto: Sister Vision Press, 1995, 353-262. ----, Women Do This Every Day, Women’s Press, 1993.
----, Rhythm an’ Hardtimes, Domestic Bliss, 1982.
BANNERJI Himani, “On the Dark Side of the Nation: Politics of Multiculturalism and the State of ‘Canada’,” in BANNERJI Himani, The Dark Side of the Nation: Essays on Multiculturalism, Nationalism and Gender, Toronto: Canadian Scholars’ Press, 2000, 87-124.
----, “The Paradox of Diversity: The Construction of a Multicultural Canada and ‘Women of Colour’,” in BANNERJI Himani, The Dark Side of the Nation: Essays on Multiculturalism, Nationalism and Gender, Toronto: Canadian Scholars’ Press, 2000, 15-61.
----, “Geography Lessons: On Being an Insider/Outsider to the Canadian
Nation,” in BANNERJI Himani, The Dark Side of the Nation: Essays on Multiculturalism, Nationalism and Gender, Toronto: Canadian Scholars’ Press, 2000, 63-86.
BISSOONDATH Neil, Selling Illusions: The Cult of Multiculturalism in Canada, Toronto: Penguin Books, 1994.
BRISTOW Peggy, BRAND Dionne, CARTY Linda, COOPER Afua, HAMILTON Sylvia, SHADD Adrienne, We’re Rooted Here and They Can’t Pull Us Up’: Essays in African Canadian Women’s History, Toronto: U of Toronto P, 1994.
BUCKNOR Michael Andrew, “Body-Vibes: (S)pacing the Performance in Lillian Allen’s Dub Poetry,” Thamyris, 5/2, Autumn 1998, 301-322.
CARR Brenda, “ ‘Come Mek Wi Work Together’: Community Witness and Social Agency in Lillian Allen’s Dub Poetry,” ARIEL, 29:3, July 1998, 7-40.
COLLINS Loretta, “Rude Bwoys, Riddim, Rub-a-Dub, and Rastas: Systems of Political Dissonance in Caribbean Performative Sounds,” in MORRIS Adalaide (Ed.), Sound States: Innovative Poetics and Acoustical Technologies, Chapel Hill: U of North Carolina P, 1997, 169-193.
COOPER Afua, The Hanging of Angelique, Canada: HarperCollins, 2004.
----, “Redemption Dub: ahdri zhina mandiela and the Dark Diaspora,” in SEARS Djanet (Ed.), Testifyin’. Contemporary African Canadian Drama, vol. I, Toronto: Playwrights Canada Press, 2000, 440-444.
----, “Doing Battle in Freedom’s Cause”: Henry Bipp, Abolitionism, Race Uplift, and Black Manhood, 1842-1854, PhD thesis, U of Toronto, 2000.
---- (Ed.), Utterances and Incantations. Women, Poetry and Dub, Toronto: Sister Vision Press, 1999.
----, Memories Have Tongue. Poetry by Afua Cooper, Toronto: Sister Vision Press, 1992.
DeCOSMO Janet L., “Dub Poetry: Legacy of Roots Reggae,” The Griot, 14/2, 1995, 33-41.
ELGERSMAN Maureen G., Unyielding Spirits. Black Women and Slavery in Early Canada and Jamaica, New York and London: Garland Publishing, 1999.
FISHER Jacqueline, “St. Andrew’s Burying Ground, Cambridge (Galt), Ontario,” The Ottawa Archaeologist, 33/3, 2005, 4-5.
HABEKOST Christian, Verbal Riddim: The Politics and Aesthetics of African-Caribbean Dub Poetry, Amsterdam, Atlanta: Rodopi, 1993.
HUTCHEON Linda and RICHMOND Marion (Eds.), Other Solitudes: Canadian Multicultural Fictions, Toronto: Oxford UP, 1990.
LI Peter S., “The Multiculturalism Debate,” in LI Peter S. (Ed.), Race and Ethnic Relations in Canada, Oxford et al.: Oxford UP, 1999, 148-177.
MANDIELA Ahdri Zhina, dark diaspora … in dub, Toronto: Sister Vision Press, 1991.
----, Speshal Rikwes, Toronto: Sister Vision Press, 1985.
MILZ Sabine, “Multicultural Canadian World Literature, or, the Cultural Logic of English-Canadian Economic and Political Power,” Zeitschrift für Kanada-Studien, 25/1, vol. 46, 2005, 147-161.
PHILIP Marlene Nourbese, “Why Multiculturalism Can’t End Racism,” in PHILIP Marlene Nourbese, Frontiers: Essays and Writings on Racism and Culture, Stratford, Ontario: The Mercury Press, 1992, 181-186.
SHADD Adrienne, COOPER Afua, SMARDZ FROST Karolyn, The Underground Railroad: Next Stop, Toronto!, Toronto: Natural Heritage Books, 2002.
SILVERA Makeda, “An interview with Ahdri Zhina Mandiela: the true rhythm of the language,” in SILVERA Makeda (Ed.), The Other Woman. Women of Colour in Contemporary Canadian Literature, Toronto: Sister Vision Press, 1995, 81-92.
TULLOCH Headley, “The History of Slavery in Canada,” in TULLOCH Headley, Black Canadians. A Long Line of Fighters, Toronto: NC Press Ltd., 1975, 71-90.
YOUNG Judy, “No Longer ‘Apart’? Multiculturalism Policy and Canadian Literature,” Canadian Ethnic Studies/Études ethniques au Canada, 33/2, 2001, 88-116.
WHYTE Maureen (Ed.), The Edges of Time. A Celebration of Canadian Poetry, Toronto: Seraphim editions, 1999.
Discography
ALLEN Lillian, Freedom and Dance, 1998.
----, Conditions Critical, 1988.
----, Revolutionary Tea Party, 1986.
----, “Colors,” in Family Folk Festival: A Multicultural Sing Along, 1993.
COOPER Afua, Worlds of Fire (In Motion), 2002.
MANDIELA Ahdri Zhina, First & Last, 1987.
----, barefoot & black, 1992.
----, step/into my head, 1996.
Filmography
ALLEN Lillian, (Writ.), Unnatural Causes, JUDGE Maureen, (Dir.), National Film Board of Canada, 1989, 6:45 min.
Internet Sources
Archaeological Assessment McBurney Park, Upper Burial Ground Kingston, Ontario at <http://www.cityofkingston.ca/pdf/engineering/McBurneyPark_Stage1.pdf>
“Babalawos”: Alternative Religions at <http://altreligion.about.com/library/glossary/bldefbabalawo.htm
Canadian National Anthem at http://www.pch.gc.ca/progs/cpsc-ccsp/sc-cs/anthem_e.cfm#h2>
CATO Jason, “Par for the Course”, <at http://www.free-times.com/archive/coverstorarch/golf_graveyard.html>
The Cemetery Act at <http://www.e-laws.gov.on.ca/DBLaws/Statutes/English/90c04_e.htm#BK9>
“Environmental Justice Case Study: Ipperwash Provincial Park and Stoney Point First Nation” at <http://www.umich.edu/~snre492/cheshire.html>
Griots Net at <http://www.griots.net>“The Ipperwash Inquiry” at <http://www.ipperwashinquiry.ca/index.html>
Legislative Assembly of Ontario, “Official Report of Debates,” 25 Nov. 2004 at <http://www.ontla.on.ca/hansard/committee_debates/38_parl/session1/justicepol/pdfJP018.pdf>
NOPPER Sheila, “The Dearth of a Nation,” Herizons, Summer 2003 at <http://www.herizons.ca/magazine/issues/sum03/index.html>
Ontario Genealogical Society Cemetery Transcriptions at <http://www.archives.gov.on.ca/english/interloan/cem_grey.htm> and <http://www.archives.gov.on.ca/english/interloan/cem_peel.htm>
TEATHER Lynne, “Transforming Museum Studies: Educating Museologists for Cultural Diversity” at <http://www.city.ac.uk/ictop/teather-2001.html>
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Notes
Cf. Peter S. LI, “The Multiculturalism Debate,” in Peter S. LI (Ed.), Race and Ethnic Relations in Canada, Oxford et al.: Oxford University Press, 1999, 148-156.
Ibid., 149-150. For criticism of the cultural pluralism concept cf. Ibid., 164-166.
Evelyn KALLEN quoted in Peter S. LI, “The Multiculturalism Debate,” 151-152, 167.
Cf. Peter S. LI, “The Multiculturalism Debate,” 152, 155-156.
Ibid., 153, 158.
Ibid., 167-168.
Marlene Nourbese PHILIP, “Why Multiculturalism Can’t End Racism,” in Marlene Nourbese
PHILIP, Frontiers: Essays and Writings on Racism and Culture, Stratford, Ontario: The Mercury
Press, 1992, 186.
Neil BISSOONDATH, Selling Illusions: The Cult of Multiculturalism in Canada, Toronto: Penguin Books, 1994, 42-43.
Ibid., 43, 190.
Ibid., 192.
Himani BANNERJI, “On the Dark Side of the Nation: Politics of Multiculturalism and the State of ‘Canada’,” in Himani BANNERJI, The Dark Side of the Nation: Essays on Multiculturalism, Nationalism and Gender, Toronto: Canadian Scholars’ Press, 2000, 94.
Himani BANNERJI, “The Paradox of Diversity: The Construction of a Multicultural Canada and ‘Women of Colour’,” in Himani BANNERJI, op. cit., 45-48.
Ibid., 49.
Himani BANNERJI, “On the Dark Side of the Nation: Politics of Multiculturalism and the State of ‘Canada’,” in Himani BANNERJI, op. cit., 110-111.
Himani BANNERJI, “Geography Lessons: On Being an Insider/Outsider to the Canadian Nation,” in Himani BANNERJI, op. cit., 78.
Ibid., 79.
A term borrowed from John Porter in Linda HUTCHEON and Marion RICHMOND (Eds.), Other Solitudes: Canadian Multicultural Fictions, Toronto: Oxford University Press, 1990, 13.
Cf. Linda HUTCHEON and Marion RICHMOND (Eds.), op. cit., 7-8, 13-14; Himani BANNERJI, “The Paradox of Diversity: The Construction of a Multicultural Canada and ‘Women of Colour’,” 46.
Linda HUTCHEON and Marion RICHMOND (Eds.), op. cit., 14-15.
Ibid., 15, 9.
Judy YOUNG, “No Longer ‘Apart’? Multiculturalism Policy and Canadian Literature,” Canadian Ethnic Studies/Études ethniques au Canada, 33/2, 2001, 109.
Sabine MILZ, “Multicultural Canadian World Literature, or, the Cultural Logic of English-Canadian Economic and Political Power,” Zeitschrift für Kanada-Studien, 25/1, vol. 46, 2005, 153.
Cf. Janet L. DeCOSMO, “Dub Poetry: Legacy of Roots Reggae,” The Griot, 14/2, 1995, 33-34.
Lillian ALLEN, “Poems are not meant to lay still,” in Makeda SILVERA (Ed.), The Other Woman. Women of Colour in Contemporary Canadian Literature, Toronto: Sister Vision Press, 1995, 256-257.
Ibid., 254. This ‘roots reggae’ with its political messages differs from ‘dancehall reggae’ that is rather characterized by its slackness and sexy lyrics.
Loretta COLLINS, “Rude Bwoys, Riddim, Rub-a-Dub, and Rastas: Systems of Political Dissonance in Caribbean Performative Sounds,” in Adalaide MORRIS (Ed.), Sound States: Innovative Poetics and Acoustical Technologies, Chapel Hill: University of North Carolina Press, 1997, 174.
Ibid., 171, 173.
Afua COOPER, “Introduction,” in Afua COOPER (Ed.), Utterances and Incantations. Women,
Poetry and Dub, 2.
Brenda CARR, “‘Come Mek Wi Work Together’: Community Witness and Social Agency in
Lillian Allen’s Dub Poetry,” ARIEL, 29/3, July 1998, 12.
Afua COOPER (Ed.), op. cit., 1.
Loretta COLLINS, op. cit., 179.
Cooper explains that there are several forms of Jamaican Creole: “In areas with strong African influences as in Eastern St. Thomas, Southern Hanover, and in Maroon communities, the dialects spoken tend to be more ‘rootsy’.” Afua COOPER (Ed.), op. cit., 6.
By introducing Jamaican Creole into their poetics, dub artists retrieve it from the linguistic space of derivative, ‘mispronounced,’ and ‘wrong’ English. They employ it to disrupt the colonial linguistic matrix, where colonial English is established as the ‘non-audible’ center (as one aspect of the ‘invisible’ cultures), and where differing speech patterns are reduced to ‘incorrect derivations’ that become the ‘audible’ margin (as one aspect of the ‘visible’ cultures). Linguistic ‘non-audibility’ and ‘audibility,’ like ‘invisibility’ and ‘visibility,’ thus characterize non-’ethnic’ cultures and the ‘ethnic’ others.
See Christian HABEKOST, Verbal Riddim: The Politics and Aesthetics of African-Caribbean Dub Poetry, Amsterdam, Atlanta: Rodopi, 1993, 91-97. Habekost’s book is, beside its focus on African Caribbean dub poetry, a comprehensive analysis of the concept of rhythm, aesthetics, and performance styles of dub poetry in general and a must-read for anyone interested in this art form.
Cf. Janet L. DeCOSMO, op. cit., 34.
Brenda CARR, op. cit., 10.
For a discussion of the various performance styles and possibilities and procedures of printing dub poetry cf. Christian HABEKOST, op. cit., 98-112. Cf. Michael Andrew Bucknor who proposes that the binary of the oral/scribal inherent in the procedure of printing performance pieces is bridged in Caribbean performance/dub poetry. With his ‘theory of body-memory’ he argues that cultural codes, which to my view include historical, religious, and cultural knowledge and oral, music, and dance traditions, are inscribed into the material text by means of ‘vibrating currents,’ body currents that are “energy coded in the verbal rhythms of a text.” According to him, Caribbean body-memory and the oral character of a piece are translated into the printed text through graphic and spatial configuration, syntactic inversions, a vibrant mix of English and African Caribbean language structures, a mix of English and African Caribbean semantic, and even new word formations. Michael Andrew BUCKNOR, “Body-Vibes: (S)pacing the Performance in Lillian Allen’s Dub Poetry,” Thamyris, 5/2, Autumn 1998, 309-318.
Brenda CARR, op. cit., 9; Lillian ALLEN, op. cit., 258.
Lillian ALLEN, op. cit., 258-261; Afua COOPER (Ed.), op. cit., 7; personal conversation with Ahdri Zhina MANDIELA.
This paper focuses on her earlier work and does not deal with her latest CD.
This piece is included in Family Folk Festival: A Multicultural Sing Along (1993), a collection of children’s songs from the Caribbean, Africa, and North and South America.
Brenda CARR, op. cit., 24.
Here I am playing with the notion that Caucasian cultures understand themselves as non-ethnic, by that establishing themselves as the ‘invisible,’ unquestioned norm and applying ethnicity to cultures that become ‘visible’ through their deviations from that norm. The term ‘ethnic’ is thus only used when denoting all cultures in Canadian society or is otherwise put in inverted commas.
Himani BANNERJI, “The Paradox of Diversity: The Construction of a Multicultural Canada and ‘Women of Colour’,” 46.
Lillian ALLEN, Women Do This Every Day, Women’s Press, 1993, 139-140. A slightly different version already appeared in the self-published Rhythm an’ Hardtimes, the first book to include dub poetry in Canada. Lillian ALLEN, Rhythm an’ Hardtimes, Domestic Bliss, 1982, 15.
Brenda CARR, op. cit., 25, 10.
Ibid., 25.
Himani BANNERJI, “The Paradox of Diversity: The Construction of a Multicultural Canada and ‘Women of Colour’,” 47.
Himani BANNERJI, “Geography Lessons: On Being an Insider/Outsider to the Canadian Nation,” 70-72. On exploitation, marginalization, and criminalization of immigrant workers cf. also Himani BANNERJI, op. cit., 76-78.
Ibid., 65.
The sound track on the record and in the video is the same.
Lillian ALLEN, Psychic Unrest, Toronto: Insomniac Press, 1999, 43-45.
Ibid., 65.
Lillian ALLEN, Conditions Critical, 1988.
See <www.griots.net>.
Personal conversation with Ahdri Zhina Mandiela.
Ahdri Zhina MANDIELA, “Introduction,” in Ahdri Zhina MANDIELA, Speshal Rikwes, Toronto: Sister Vision Press, 1985.
Makeda SILVERA, “An interview with Ahdri Zhina Mandiela: the true rhythm of the language”, in Makeda SILVERA (Ed.), The Other Woman. Women of Colour in Contemporary Canadian Literature, Toronto: Sister Vision Press, 1995, 82.
Ahdri Zhina MANDIELA, Speshal Rikwes, 38, 40-41. “Black Ooman” also features on Ahdri Zhina MANDIELA, step/into my head, 1996.
Makeda SILVERA, op. cit., 89.
Ahdri Zhina MANDIELA, “evolution of this dub,” in Ahdri Zhina MANDIELA, dark diaspora … in dub, Toronto: Sister Vision Press, 1991, x-xii; Afua COOPER, “Redemption Dub: ahdri zhina mandiela and the Dark Diaspora,” in Djanet SEARS (Ed.), Testifyin’. Contemporary African Canadian Drama, vol. I, Toronto: Playwrights Canada Press, 2000, 443-444.
Personal conversation with Ahdri Zhina Mandiela.
Ibid. Mandiela explains that she envisions the piece also be performed by fifteen to fifty women.
Ahdri Zhina MANDIELA, dark diaspora … in dub, 18; Ahdri Zhina MANDIELA, step/into my head, 1996. Mandiela explained that step/into my head is not reggae-based but that in each piece the instrumentals embellish the spoken words. Personal conversation with Ahdri Zhina Mandiela.
Of course there are exceptions and also members of ‘visible’ minorities sit in the Canadian parliament and work in higher levels of the industry. But only through exaggeration Mandiela is able to make her point.
Ahdri Zhina MANDIELA, dark diaspora … in dub, 32-34. The poem appears as second part of the piece “sugar & spice/ on ice” on Ahdri Zhina Mandiela, step/into my head, 1996.
Makeda SILVERA, op .cit., 89.
Ahdri Zhina MANDIELA, dark diaspora … in dub, op. cit., 42-47.
Personal conversation with Ahdri Zhina Mandiela.
Afua COOPER, Worlds of Fire (In Motion), 2002. A slightly different version is published in Maureen WHYTE (Ed.), The edges of time. A celebration of Canadian poetry, Toronto: seraphim editions, 1999, 30-32.
Cf. COOPER in Sheila NOPPER, “The Dearth of a Nation,” Herizons, Summer 2003; Maureen G. ELGERSMAN, Unyielding Spirits. Black Women and Slavery in Early Canada and Jamaica, New York and London: Garland Publishing, 1999; Headley Tulloch, “The History of Slavery in Canada”, in Headley TULLOCH, Black Canadians. A Long Line of Fighters, Toronto: NC Press Ltd., 1975, 71-90.
Although under the Cemetery Act the disturbance of a burial site is prohibited, there are instances when neglect of former burial grounds or inappropriate background research has allowed real estate development on the lots of former cemeteries without the (complete) removal of the human remains. Cf. the case of the St. Andrew’s Burying Ground, Jacqueline FISHER, “St. Andrew’s Burying Ground, Cambridge (Galt), Ontario,” The Ottawa Archaeologist, 33:3, 2005, 4-5 and the case of the Upper Burial Ground in Kingston, Ontario, <http://www.cityofkingston.ca/pdf/engineering/McBurneyPark_Stage1.pdf>. Cf. also Jason CATO who relates an incident in the US where a golf course is situated above a former burial ground, <http://www.free-times.com/archive/coverstorarch/golf_graveyard.html>. Under the same law, a cemetery might be closed and the disinterment and reinterment of human remains at a different location ordered if the closing is in the public interest. Cf.
<http://www.e-laws.gov.on.ca/DBLaws/Statutes/English/90c04_e.htm#BK9>. The Oka crisis of 1990 developed because the Oka municipality decided to extend a nine-hole golf course onto the area of the Sacred Pines, an Iroquois burial ground. Similarly, the Stoney Point community holds that Ipperwash Provincial Park is situated above a ceremonial burial ground. Cf. <http://www.umich.edu/~snre492/cheshire.html>. Also the Ontario government ordered to relocate the St Alban’s Anglican Church cemetery in Palgrave, Ontario, for real estate development. Cf. <http://www.ontla.on.ca/hansard/committeedebates/38_parl/session1/justicepol/pdfJP018.pdf>. Likewise, in Peterborough, Ontario, the Armoury was built on a historical burial ground. Meaford Golf Course in Grey County and Devil’s Pulpit Golf Course in Peel County, Ontario, are located on the lots of former burial grounds, cf. <http://www.archives.gov.on.ca/english/interloan/cem_grey.htm> and <http://www.archives.gov.on.ca/english/interloan/cempeel.htm>. I am much indebted to Carmen Bauer, Archaeological Consultant, Ottawa, Ontario, for supporting my research in this matter.
“Damballah and Ogun are deities/spirits in the Voudou and Yoruba religious pantheons.” COOPER in Maureen WHYTE (Ed.), The edges of time, Toronto: seraphim editions, 1999, 32; Babalawos are the highest priest ranks in the African Cuban syncretic religion of Santeria/Lukumi. <http://altreligion.about.com/library/glossary/bldefbabalawo.htm>.
Cf. Afua COOPER, “Doing Battle in Freedom’s Cause”: Henry Bipp, Abolitionism, Race Uplift, and Black Manhood, 1842-1854, PhD thesis, University of Toronto, 2000; Adrienne SHADD, Afua COOPER, Karolyn Smardz FROST, The Underground Railroad: Next Stop, Toronto!, Toronto: Natural Heritage Books, 2002; Peggy BRISTOW, Dionne BRAND, Linda CARTY, Afua COOPER, Sylvia HAMILTON, Adrienne SHADD, We’re Rooted Here and They Can’t Pull Us Up’: Essays in African Canadian Women’s History, Toronto: University of Toronto Press, 1994; Afua COOPER, The Hanging of Angelique, Canada: HarperCollins, 2004; The poem “Marie Joseph Angelíque” tells the story of this Montreal slave woman, who, after setting parts of the city on fire in an attempt to escape, was tried and hanged.
Afua COOPER, Memories Have Tongue. Poetry by Afua Cooper, Toronto: Sister Vision Press, 1992, 43-46.
Again, these ignorant opinions seem overdone but only by this overdoing Cooper achieves the intended effect.
Afua COOPER, Memories Have Tongue,op.cit., 85.
Cf. the official lyrics of the Canadian anthem at <http://www.pch.gc.ca/progs/cpsc-ccsp/sc-cs/anthem_e.cfm#h2>.
Brenda CARR, “‘Come Mek Wi Work Together:’ Community Witness and Social Agency in Lillian Allen’s Dub Poetry,” 27. Aboriginal man Dudley George was shot during a protest of Aboriginal representatives at Ipperwash Provincial Park in 1995. Tapes of conversations among police officers during the raid of the Ipperwash protest have revealed racist phrases used in regard to Aboriginal people. Cf. <http://www.ipperwashinquiry.ca/index.html>. The website does not, however, give access to the tapes.
Afua COOPER, Memories Have Tongue, op.cit., 73.
Cf. Lynne TEATHER, “Transforming Museum Studies: Educating Museologists for Cultural Diversity”,<http://www.city.ac.uk/ictop/teather-2001.html>.
“Canadian Multiculturalism Act,” in Linda HUTCHEON and Marion RICHMOND (Eds.), op.cit., 371.
Himani BANNERJI, “On the Dark Side of the Nation: Politics of Multiculturalism and the State of ‘Canada’,” op.cit., 104.
Canadian Multiculturalism Act, in Linda HUTCHEON and Marion RICHMOND (Eds.), op.cit., 369.
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