Showing posts with label Mojo. Show all posts
Showing posts with label Mojo. Show all posts

Thursday, 2 June 2011

Literature

African-American literature is the body of literature produced in the United States by writers of African descent. The genre traces its origins to the works of such late 18th century writers as Phillis Wheatley and Olaudah Equiano, reaching early high points with slave narratives and the Harlem Renaissance, and continuing today with authors such as the Nobel Prize-winning Toni Morrison and award-winning Walter Mosley being ranked among the top writers in the United States. Among the themes and issues explored in this literature are the role of African Americans within the larger American society, African-American culture, racism, slavery, and equality. African-American writing has tended to incorporate oral forms, such as spirituals, sermons, gospel music, blues and rap.
As African Americans' place in American society has changed over the centuries, so, has the focus of African-American literature. Before the American Civil War, the literature primarily focused on the issue of slavery, as indicated by the genre of slave narratives. At the turn of the 20th century, books by authors such as W. E. B. Du Bois and Booker T. Washington debated whether to confront or appease racist attitudes in the United States. During the American Civil Rights movement, authors such as Richard Wright and Gwendolyn Brooks wrote about issues of racial segregation and black nationalism. Today, African American literature has become accepted as an integral part of American literature, with books such as Roots: The Saga of an American Family by Alex Haley, The Color Purple (1982) by Alice Walker, which won the Pulitzer Prize; and Beloved by Toni Morrison achieving both best-selling and award-winning status.

History
Lucy Terry is the author of the oldest known piece of African-American literature: "Bars Fight". Although written in 1746, the poem was not published until 1855, when it was included in Josiah Holland's History of Western Massachusetts. The poet Phillis Wheatley (1753–84) published her book Poems on Various Subjects in 1773, three years before American independence. Born in Senegal, Wheatley was captured and sold into slavery at the age of seven. Brought to America, she was owned by a Boston merchant. By the time she was sixteen, she had mastered her new language of English. Her poetry was praised by many of the leading figures of the American Revolution, including George Washington, who thanked her for a poem written in his honor. Some whites found it hard to believe that a Black woman could write such refined poetry. Wheatley had to defend herself in court to prove that she had written her work. Some critics cite Wheatley's successful defense as the first recognition of African-American literature.
Another early African-American author was Jupiter Hammon (1711–1806?). Hammon, considered the first published Black writer in America, published his poem "An Evening Thought: Salvation by Christ with Penitential Cries" as a broadside in early 1761. In 1778 he wrote an ode to Phillis Wheatley, in which he discussed their shared humanity and common bonds.
In 1786, Hammon gave his "Address to the Negroes of the State of New York". Writing at the age of 76 after a lifetime of slavery, Hammon said, "If we should ever get to Heaven, we shall find nobody to reproach us for being black, or for being slaves." He also promoted the idea of a gradual emancipation as a way to end slavery. Hammon is thought to have been a slave until his death. His speech was later reprinted by several abolitionist groups.

Characteristics and themes
In broad terms, African-American literature can be defined as writings by people of African descent living in the United States. It is highly varied. African-American literature has generally focused on the role of African Americans within the larger American society and what it means to be an American. As Princeton University professor Albert J. Raboteau has said, all African-American study "speaks to the deeper meaning of the African-American presence in this nation. This presence has always been a test case of the nation's claims to freedom, democracy, equality, the inclusiveness of all. African-American literature explores the issues of freedom and equality long denied to Blacks in the United States, along with further themes such as African American culture, racism, religion, slavery, a sense of home. and more.
African-American literature has both been influenced by the great African diasporic heritage and shaped it in many countries. It has been created within the larger realm of post-colonial literature, although scholars distinguish between the two, saying that "African American literature differs from most post-colonial literature in that it is written by members of a minority community who reside within a nation of vast wealth and economic power."
African-American oral culture is rich in poetry, including spirituals, gospel music, blues and rap. This oral poetry also appears in the African-American tradition of Christian sermons, which make use of deliberate repetition, cadence and alliteration. African-American literature—especially written poetry, but also prose—has a strong tradition of incorporating all of these forms of oral poetry.

Civil Rights Movement era
A large migration of African Americans began during World War I, hitting its high point during World War II. During this Great Migration, Black people left the racism and lack of opportunities in the American South and settled in northern cities like Chicago, where they found work in factories and other sectors of the economy.
This migration produced a new sense of independence in the Black community and contributed to the vibrant Black urban culture seen during the Harlem Renaissance. The migration also empowered the growing American Civil Rights movement, which made a powerful impression on Black writers during the 1940s, '50s and '60s. Just as Black activists were pushing to end segregation and racism and create a new sense of Black nationalism, so too were Black authors attempting to address these issues with their writings.
One of the first writers to do so was James Baldwin, whose work addressed issues of race and sexuality. Baldwin, who is best known for his novel Go Tell It on the Mountain, wrote deeply personal stories and essays while examining what it was like to be both Black and homosexual at a time when neither of these identities was accepted by American culture. In all, Baldwin wrote nearly 20 books, including such classics as Another Country and The Fire Next Time.
Baldwin's idol and friend was author Richard Wright, whom Baldwin called "the greatest Black writer in the world for me". Wright is best known for his novel Native Son (1940), which tells the story of Bigger Thomas, a Black man struggling for acceptance in Chicago. Baldwin was so impressed by the novel that he titled a collection of his own essays Notes of a Native Son, in reference to Wright's novel. However, their friendship fell apart due to one of the book's essays, "Everybody's Protest Novel," which criticized Native Son for lacking credible characters and psychological complexity. Among Wright's other books are the autobiographical novel Black Boy (1945), The Outsider (1953), and White Man, Listen! (1957).

Mojo

Mojo is a term commonly encountered in the African-American folk belief called hoodoo. A mojo is an amulet of African-American hoodoo practice, a flannel bag containing one or more magical items. It is related to the West African word "mojuba," meaning a prayer of praise and homage. It is a "prayer in a bag", or a spell that can be carried with or on the host's body. Alternative American names for the mojo bag include hand, mojo hand, conjure hand, lucky hand, conjure bag, trick bag, root bag, toby, jomo, and gris-gris bag.

How a mojo bag is made
Even though most Southern Style conjure bags are made out of red flannel material, most seasoned conjurers use color-symbolism. This practice embodies itself within the practice of hoodoo, where green flannel is used for a money mojo, white flannel is used for a baby-blessing mojo, red flannel is used for love mojo, and so on and so forth. West Indians also use mojo bags, but frequently use leather fabric. The contents of each bag vary directly with the aim of the conjurer. For example, a mojo carried for love-drawing will contain different ingredients than one for gambling luck or magical protection. Ingredients can include roots, herbs, animal parts, minerals, coins, crystals, good luck tokens, and carved amulets. The more personalized objects are used to add extra power because of the symbolic value.

Hiding the mojo
Mojos are traditionally made for an individual, and as such, must be carried on the person always out of sight. Men usually keep the trinkets hidden in the pants pocket, while women are more prone to clip it to the brassiere. They are also commonly pinned to clothes below the waist. Depending on the type of mojo, the hiding place will be crucial to its success, as those who make conjure bags to carry love spells sometimes specify that the mojo must be worn next to the skin. A story from the book For My People described the story of Moses, and the task he went through in order to bring his people out of slavery. It described how "Hoodoo Lost his Hand", as Moses' mojo was hidden through his staff. When he turned it into a snake, the pharaoh made his soothsayers and magicians create the same affect. As a result, the Pharaoh's snake was killed by Moses' snake; and that is how Hoodoo lost his hand.

Ideology behind the mojo
Gris Gris is the most commonly known synonym of Mojo, which literally means "fetish" or "charm",thus a gris gris bag is a charm bag.[citation needed] In the Caribbean, an almost identical African - derived bag is called a wanga or oanga bag, but that term is uncommon in the United States. The word "conjure" is an ancient alternative to "hoodoo",which is a direct variation of African American folklore. Because of this, a conjure hand is also considered a hoodoo bag; usually made by a respected community conjure doctor. The word "hand" in this context is defined as a combination of ingredients. The term may derive from the use of finger and hand bones of the dead in Mojo bags made for various purposes, or from ingredients such as the Lucky Hand root (used for gamblers)to analogies between mixed ingredients and several cards that make up a "hand" in card games. Mojo reaches as far back as West African culture, where it is said to drive away evil spirits, keep good luck in the household, manipulate a fortune, and lure and persuade lovers. The ideology of the ancestors and the descendants of the Mojo hand used this "prayer in a bag" based on their belief of spiritual inheritance, where the omniscient forefathers of their families would provide protection and favor; especially when they used the Mojo. Through this, a strong belief was placed in the idealism of whomever used Mojo, creating a spiritual trust in the magic itself.