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Interactuality and inheritance: 'Images in the Caribbean'

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  1. The Molting snake
  2. A flight of wild geese
  3. Dancing with wolves
  4. The appetite of an ogre
  5. Crickets and ants
  6. A tiger in the engine
  7. Personal opinion

While following the principles of West Indian Creole writers, like D. Maximin or P. Chamoiseau or E. Glissant, Caribbean identity was born from the meeting of four continents, forming the hub of the Caribbean islands. The contributions of Africa, America, Europe and Asia are the basis on which the Caribbean identity is constructed. But while this identity is derived from a mixture of cultures and traditions from around the world, it has its specificities in each island of the Caribbean, according to its history of colonization. Thus, in the West Indies and Guiana, French culture is very pronounced. Often rejected, sometimes denied and often devalued, the French heritage is important as this is what comes from Africa and India.

Take for example, the Creole storyteller: he wants to be 'the heir of the griot and troubadours'. If France had no influence on the French Caribbean, then they would not have been the islands they are today. What is important to understand is that the Creole identity is conceived as a fruit that feeds all the drops of water that penetrate the roots of the tree. It would thus be the product of interbreeding and desires for freedom. According to D. Maximin, it is also the product of 'painful experiences of the slave trade, slavery and alienation suffered by these populations, the life-giving sense of longing for freedom, fight for love and strength to live free'. The Caribbean identity is not something fixed. It evolves by building on the difficult history of its people, to be reborn from their displacement, like trees grow after being transplanted.

Borrowing his illustrations to the history and geography, literature, music, visual arts, D. Maximin offers a geo-poetics view of the Caribbean: Cuba to West Indies, Haiti, West Indies, to Antilles which is "an archipelago of islands,reeds born of resistance to chains, bent without breaking under the geographical hurricanes and cyclones in history. Through the voice of all storytellers and dancers, architects and farmers, seamstresses and cooks, musicians and poets, proclaimed the Caribbean for four centuries after the "deluge" of which it emerged, "we pick insults to make diamonds, for her and for every man. "

The "Middle Passage" is a "documentary film" that knows how to illustrate that the Caribbean is still an area in search of history. The angle of view before one is unlike anything that has been previously shown in Western movies, whose sole purpose, so far, has been to self-forgive, to exonerate themselves vis-a-vis the most inhuman treatment of fellow beings and that was slavery.
The scenario takes place on a boat "slave" across the ocean towards the "New World" with African slaves, as a cargo.

It is customary to refer to the curse of Ham, from the biblical text of Genesis and to clarify that it is on this basis that the Western imagination has built its system of representation of the "Black World." The "black man" would have been cursed through a biblical text, but therefore does it makes it legitimate, the way he was treated in ancient times, and after?

Tags: Interactuality and inheritance: 'Images in the Caribbean'; D'Maximin; slavery and the slave trade

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