Culture and Customs of HaitiBloomsbury Academic, 2001 - 161 pages Culture and Customs of Haiti begins with an overview of the mountainous island that seemed forbidding to European colonizers. Historical periods, including French colonization, U.S. occupation in the early 20th century, Independence and the Duvaliers' reigns, until today, are reviewed and provide the framework for the volume. A chapter on the people and society details the pride of the black state that managed the only successful slave revolution in history. The extremes of society from the elite to the peasantry and slum dwellers are depicted, along with Haitians in diaspora. Religion in Haiti, with the strong amalgamation of Roman Catholicism and vaudou, a West African import, is then explained. A Social Customs chapter notes the joy that is found in such an economically depressed culture. The media and literature and language chapters necessarily unfold in the context of Haiti's political history. A section on writing in Creole is especially intriguing. Finally, chapters on the performing arts and visual arts evoke the energy and color of the people in such forms as vaudou jazz and dance, contemporary rara rock, and the folkloric influence on Haitian painting. A chronology and glossary supplement the text. |
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Page 140
J. Michael Dash. The promotion of Haitian painters would benefit enormously from this emerging international appreciation of Caribbean art . The Cuban painter Wilfredo Lam is perhaps a key figure in the explosion of interest in Haitian ...
J. Michael Dash. The promotion of Haitian painters would benefit enormously from this emerging international appreciation of Caribbean art . The Cuban painter Wilfredo Lam is perhaps a key figure in the explosion of interest in Haitian ...
Page 141
... painters came mostly from outside Haiti - from Europe and , increasingly , North America . This raised controversial issues within Haiti and in the Centre d'Art in particular . There were those in the elite who felt that once more ...
... painters came mostly from outside Haiti - from Europe and , increasingly , North America . This raised controversial issues within Haiti and in the Centre d'Art in particular . There were those in the elite who felt that once more ...
Page 146
... painters did well commercially and were the only group of main- stream painters to challenge the success of the self - taught artists . However , their success came at a cost , as commercialization increased the ornamental quality of ...
... painters did well commercially and were the only group of main- stream painters to challenge the success of the self - taught artists . However , their success came at a cost , as commercialization increased the ornamental quality of ...
Table des matières
The People and Society 29 255 | 29 |
Religion | 51 |
Social Customs | 75 |
Droits d'auteur | |
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Expressions et termes fréquents
African Aristide's army artists became Boukman Boukman Eksperyans Cap-Haïtien Caribbean Catholic Church Catholicism Centre d'Art colonial color compas countryside created Creole Cuban dance dechoukaj Dessalines diaspora dominated Domingue Dominican Republic drum Duvalier regime Duvalierism Duvalierist early economic elections emergence exile film foreign Francois Duvalier French Haitian American Haitian art Haitian culture Haitian history Haitian literature Haitian music Haitian peasant Haitian politics Haitian popular Haitian society Haitian writers houngan ideology important independence indigenous Jacques Roumain Jean Claude Duvalier land Lavalas Legliz Lescot liberal literary loas Macoutes major marvelous realism masses meant military mini-jazz movement mulatto mulatto elite nationalist nineteenth century noiriste novel painters paintings peasantry Peter Costantini plantation population Port-au-Prince President Aristide Press protest ra ra Radio Soleil radio stations religious seen slaves social songs success tian Tonton Macoutes traditional U.S. occupation United Vatican vaudou vaudou priest vaudou religion York