You've got to dig to dig it, you dig?
Black thought might offer a more taxing ecological critique too.
A Coal Mine for Every Wildfire Can we circumvent politics with direct action? by James Butler
via Property Will Cost Us the Earth : Direct Action and the Future of the Global Climate Movement, Edited by Jessie Kindig.
… we put That on everything we love
Related : petaq
“… une réalité est venue à l’existence” Doris L. Garraway, Callaloo Vol. 29, No. 1 (Winter, 2006).
I remembered this short story, more comically but with a pointed criticality.
No, I’ve never personally used them (never needed to, thank you very much). But I know that every fetish priest in every village sells them. The potions are made according to a recipe passed down from an unidentified ancestor, with a list of ingredients that we mere mortals are not allowed to know. The fetish priests all store their potions in similar-looking white bottles, and charge the same ludicrous fee to those who come to buy them—a goat, a pig, and three hens. But who has that kind of wealth to spare for the sake of love? Do you? I didn’t think so. That is why I’m going to give you invaluable directions on how to obtain a love potion for free and get yourself a romance that will leave your face brighter than the morning sun.
The Case for and Against Love Potions, Imbolo Mbue, March 15, 2021.
The rose is the beloved, the beloved is a destination, and the human lover a little like a bee pursues and celebrates this … at the center of [their] walled garden.
RS
The contemporary world’s work has become policing, forming policy regarding, and trying to administrate the perpetual movement of people. Nationhood—the very definition of citizenship—is marked by exile, refugees, guest arbiter, immigrants, migrations, the displaced, the fleeing, and the under siege. Hunger for home is entombed among the central metaphors in the discourse on globalism, transnationalism, nationalism, the breakup of nations, and the fictions of sovereignty. Yet these dreams of home are frequently as raced themselves as the originating racial house that has defined them. When they are not raced, they are, as I suggested earlier, landscape, never inscape; utopia, never home.
Toni Morrison, Race Matters, The Source of Self-Regard.
“What one does not wish to change can be the desirable condition realized, and it’s where aesthetic and ethical standards meet.”
“…beauty can be both what one does not wish to change and where one wishes to go…”
“Beauty is not only formal…it lies in patterns of meaning, in invocations of values, and in connection to the life the reader is living and the world she wants to see.”
RS
quoique d’origine rurale, … la manifestation des bandes de Rara est loin d’être quelque chose d’exclusivement champêtre. En effet, de la campagne à la ville comme dans la capitale d’Haïti, c’est une période rythmée, entre autres, par les tambours et les vaksin.
Abimaël Lindor, Palmes Magazine, 13 Août 2021.
De son site ou lakou (espace comprenant plusieurs unités de logement, souvent un lieu de culte vodou), une bande se déplace avec quelques dizaines de personnes et augmente en cours de route
[…]
Les déplacements des bandes avaient surtout lieu la nuit et se déroulaient dans les sites vodou et leur périphérie. L’activité d’une bande de rara était comparable à celle d’une petite armée appelée à défendre un territoire. La dénomination de plusieurs bandes à Léogâne en témoigne : «Chien méchant», «Renommée», «Taureau lakou», «Tirailleurs», ce dernier étant le nom d’une ancienne unité d’élite de l’armée d’Haïti. L’effectif d’une bande de rara ne dépassait pas une cinquantaine de personnes, souvent des adeptes du vodou. Les musiciens jouaient de petits instruments traditionnels : coquille de lambi, vaksin, râpe en fer blanc, tige de fer et tambour.
Avec l’organisation du festival de rara à partir de 1992 et l’arrivée de nouveaux dirigeants scolarisés et/ou issus de la diaspora, le rara s’est transformé totalement. Il est devenu, lors des fêtes de Pâques, le rendez-vous de plusieurs milliers d’Haïtiens.
Joseph Ronald Dautruche, l’Inventaire du patrimoine immatériel d’Haïti
One thing you find running through Haitian music throughout its history is a focus on
Haitian identity. Haitians are really keenly aware that they are a small nation, a particular
people, with a very singular identity.[…]
Haitians are always aware that they’re in a transnational, global order, in a hemisphere full of other
Elizabeth McAlister
nations.
Transcript of podcast. More in archived page rara.wesleyan.edu
Related : obscénités et vulgarités–catharsis pour les Haïtiens de toutes les classes sociales
