Tolson’s recognition of history and the future

Although it is hard to understand at times, The Libretto for the Republic of Liberia is a condemnation of Western colonialism and imperialism and a celebration of Libera as an African nation. The first stanza which reads, “Liberia?/No micro-footnote in a bunioned book/Homed by a pendant/With a gelded look:/You are/The ladder of survival dawn men saw/In the quicksilver sparrow that slips/The eagle’s claw!” (Tolson) seems to be a recognition of Libera’s greatness in spite of slavery and colonialism. the line “No micro-footnote in a bunioned book,” speaks to Tolson’s belief that Liberia is a country to be remembered, while the lines “The ladder of survival dawn men saw/In the quicksilver sparrow that slips/The eagle’s claw!” seem to speak to Tolson’s celebration of Liberia’s freedom from Western domination. He is speaking about the greatness of an African country that has overcome subordination on the part of the West, which most definitely aligns with the values of Afrofuturism.

I began to become confused with the poem beginning with the section that reads, “The Futurafrique, the chef d’oeuvre of Liberian/Motors slips through the traffic/swirl of axial Parsi-Feirefiz/Square, slithers past the golden/statues of the half-brother as/brothers, with cest prace…” (Tolson). At first, I could not understand any reference in this stanza, but upon further investigation, I found that Tolson wrote this poem to celebrate the centennial of the founding of Liberia. In this context, I read this stanza as a look into modern-day Liberia, as Tolson ties the first section of the poem, which talks about a more archaic Libera, to this new section of the poem, which discusses a thriving, contemporary Libera that has withstood the test of time. He clearly discusses the relationship between history and the future.

 

Thinking in Confusion: Commentary on Libretto for the Republic of Liberia

“The Futurafrique glitters…the Momolu Bukere Black-Hound winging along the seven-lane Equatorial Highway toward Khopirû”(610). While reading M.B. Tolson’s Libretto for the Republic of Liberia I was intrigued and more than a little confused by Tolson’s allusions and vocabulary. The above quotation in particular confused me, although initially, my interest was sparked simply by my curiosity about the meaning of the word “Khopirû”. I discovered in the poem appendix that Khopirû means “To Be”. I learned further that Khopirû is linked with a concept known as; the “Eternity of Thence”. The “Eternity of Thence” is in my understanding, an existential idea that involves individuals living their lives not concentrated on the future, instead concentrating on the current moment–all of which aids one in living “the good life”. I was a little confused as to what this word, and by extension concept, was doing in this particular poem. What is its relevance? What does it have to do with Liberia and “Futurafrique”? Upon further thought I believe that the word in this circumstance is being used to alluded to what Tolson believes to be the improved future of Liberia. He wants Liberia and possibly all of the above mentioned “Equatorial Highway” to go forth with this idea of just “being” as countries. Perhaps he wants Liberia to learn from this philosophy? I am not sure and would like to dissect further in future conversations, classes and writings.

 

 

Repetition in culture

“Cultures then are virtually all varieties of ‘long term’ coverage, against both external and internal threats- self dissolution, loss of identity or repression, assimilation, attachment (in the sense of legal seizure); or attack from neighboring or foreign cultures – with all the positive and negative connotations of the ‘cover-ups’ thus produced.”

This quote seemed to have the greatest impact on me because what Snead is saying here is that we form cultures and create these societies in order to protect ourselves. It is no different from black panther which we discussed in class. The biggest decision for T’Challa throughout the whole movie is whether or not he opens his gates to the people of the outside world. He knows that they have the capability to help them, however he also knows that if he does do that, Wakkandan culture may be forced upon or changed as history has shown and as Snead discussed. Forming a culture offers an individual protection from both physical and mental threats. However black culture has seen their culture destroyed by foreigners many many times, which is why T’Challa is so hesitant to lead his people into the open world. It is also why many tribes in Africa are seen as not as advanced or behind the rest of society. They do this because they are trying to preserve their culture and their way of life in order to protect themselves. Snead argues that culture is constantly evolving which I also agree with. As new factors come into play such as foreigners and new technology, culture will continue to evolve with it.

Afrofuturism Week 1 post

Hegel’s excerpt starts almost immediately with a harsh criticism of Africans. “The Negro, as already observed, exhibits the natural man in his completely wild and untamed state. We must lay aside all thought of reverence and morality – all that we call feeling – if we would rightly comprehend him; there is nothing harmonious with humanity to be found in this kind of character.” Hegel makes his prejudice clear right away, juxtaposing black people with other humans, but noting a clear difference in the way he perceives Africans and humans as a whole. By saying that Negroes are untamed – and using that as a slight against their humanity – he is just exposing his thinking that in order to be at a point of equality with other people, black people need to be controlled, presumably by a [white] majority. Throughout the text, Hegel’s language and just the overall tone in which he describes Negroes/Africans reveals that he sees them as a different entity of people, an outcast group that is taking up space in his preferred society. He accuses them of hypocrisy for selling their own children into slavery in Africa even though “their own people” are being enslaved in the Americas by Europeans. Hegel reads like someone who is on the outside looking in to a topic in which he speculates in the absence of knowledge.

Weekly Response #1

During class this week we spoke about the one of the opening scenes in “Black Panther” when T’Challa enters the city. Specifically, the scene’s special attention to detail and the culture of Wakanda itself. I noticed the language imprinted on the buildings in class wasn’t English which brought about a new class conversation about the idea of inclusion. There seems to be a common theme juxtaposing “reality” and “what could have been” with comparisons between America/Wakanda and T’Challa/Killmonger. To speak some more on that, I believe that since Wakanda is such a secluded nation that it began to evolve on its own without influence from the western world which explains while there was such a thick mixture of tradition and technology. I also believe that the filmmakers were trying to bring attention to how successful black people could’ve been if slavery had not occurred. However, the “what if it hadn’t?” question about slavery always troubled me because as a black man I honestly believe that oppression is honestly a sizeable part of what makes black culture so strong and unique. Maybe this is the wrong interpretation on my part but honestly, I think that the idea of using the fact that my ancestors died for me to fuel me to honor them by being one of the most influential people to walk the Earth.

On Religion and African Tradition

While reading through Hegel’s piece, I could not believe what I was reading with my own two eyes. Phrases such as “the negro, as already observed, exhibits the natural man in his completely wild and untamed state”, clearly defines Hegel’s opinion on fellow members of humanity (150). However reading through most of the excerpt, I was mystified at how Hegel manages to create a story around the African person, that they are self-serving, believing they are the creators of the rains, the reason for a death, sounds oddly like the Christianity that Hegel so desperately tries to compare the Africans to. Continue reading “On Religion and African Tradition”

Michelle Wolf in Effigy: The White House Correspondents’ Dinner

As we finished our last class today, I thought it was only appropriate that I attempt to apply course concepts to an outside event. I stand a mere 10 days from finishing my time at Geneseo (as long as I survive my Capstone!), and I wanted to be sure that concepts like those presented by Joseph Roach were applicable to me outside of the microcosm of our classroom. Which is lucky, because I’ve got something on my mind. Continue reading “Michelle Wolf in Effigy: The White House Correspondents’ Dinner”

Fem Future Unchained

Similar to Clio in her blog post “Janelle Monae’s ‘Make Me Feel’ and Commemorating the Dead”, I was so inspired to write a post of my own after watching Monae’s recently released emotion picture*, “Dirty Computer” (which if you haven’t taken the 48 minutes and 37 seconds out of your day to watch it, I highly suggest you do as soon as possible). Monae’s visual album is steeped in political sentiment with notions of queerness, blackness, and femininity float to the surface.

Continue reading “Fem Future Unchained”