JAM Aiwuyor Academic Articles: Black Voices on the Hill, Race Ethnicity & Culture

The Drum As An Indicator of Cultural Unity In The African World

The Drum as indicator of cultural unity in the African World: from Hip Hop to Africa

By Remy Johnson

 

Introduction

Cultural unity exists throughout the African World. The cultural diversity in the African World can be contributed to regional conditions such as lifestyle, resources, and environment. In this way cultural diversity is closer to regional variations of ‘African culture’ rather than differences. It is imperative to focus on cultural unity in the African World to create the foundation for Pan African consciousness in the African World. To test this theory of “regional variations” in the African World I will compare the role of the drum in indigenous West/Central African cultures and Hip Hop in the United States.

Talking Drum in Africa  

            The drum is the oldest known instrument in the world dating back to 4000 BCE in Kemet on the northeast corner of Africa (Sowande, 1969). It is present throughout every region of Africa playing different roles amongst the various peoples (Bebey, 1975). Perhaps, more than any other object the drum has become a ‘cultural emblem’ of the African World culture. This is not a mistake, as Leonard Barrett states, “the drum is Africa” (Ani,1980). To understand the profound role of the drum in the African World we must consider it a tool of communication. The loud boom of a drum draws the attention of any person, but the ‘talking drum” speaks ‘to’ and ‘for’ African peoples.

The drum is used to communicate with the “supernatural” world as in the case of the Yoruba of Nigeria (Bebey,1975). Davis (1992) wrote, “Drums are known to transmit messages between God and people, and also an essential instrument in the ritual healing” (34). It is plays a prominent role in ceremonies, rituals, and rites as pace setter for dance and praise. The people follow the drum’s rhythm and their collective energies creates a ‘unseen’ link with the ancestors (Sowande, 1969).

Practical uses of the drum included signaling the start of the day, lead celebrations, and notifying the public of important information (Bebey,1975). The jeli (teacher/griot) uses the drum as musical backdrop to recite ‘historical poetry’ to educate the masses. The rhythm of the ‘drum’ forms a link between the listener and the griot while making learning as the child associates the knowledge with a particular rhythm. This is an effective form of education because children of African descent tend to retain information as result of their right brain cognitive learning style. (Hale, 1982).

Drums were used to communicate between villages and towns. This form of communication was not just random beats, but a ‘drum language’. Each group’s ‘drum language’ is influenced by the geographic topography, the style of drum, material, number of drums, size of the drum, and rhythm/beat pattern (Bebey,1975). Regional variations can be seen in the drum languages of African culture that are influenced by the peoples struggle with environmental conditions (Bebey,1975).

Talking Drum in the ‘New World’

Africans brought the knowledge of the “drum” to the Americas via the Maafa/Trans-Atlantic Slave Trade (Ani,1980). As a result many Diasporic traditions share fundamental cultural values with Africans from Sengambia, Central and Southern Africa (Bebey,1975). This includes the Oyo, Yoruba,, Dahomey, Fon, Bantu, and Ewe all of which are recognized by scholars as being the majority of enslaved Africans (Bebey,1975). The drum’s cultural “paper trail” is a virtual “Hansel and Gretel” type of deal where the Ancestors left cultural indicators as an inalienable way back to our origins.

Africans in the Diaspora also have practical uses for the drum similar to those on the continent. Maroon societies in the Caribean and Brazil used drums to notify, start a charge, and over long distances to synchronize guerilla operations (Rath, 2005). Africans in the U.S. played drums in public displays of dance, relief, praise, and expression the most notable of these places is Congo Square. The importance of the drum in communication is perhaps best judged by the establishment of the ‘drum laws’ in the 16th and 17th throughout the Americas as Europeans began to fear the ‘talking drum’ (Rath, 2005).

Diasporic religions worship similarly to African religions. Both use the drum to tap the participant’s inner spirit to induce a trance like state that culminates with a danced expression. The use of the drum to induce spirit possession is present throughout the diaspora: ‘Voodoo’ (Haiti, and Americas), Santeria (Cuba), Canbomble (Brazil), and Rastafari (Jamaica) (www.wikipedia.com). This phenomenon can also be seen in the southern Black church in the U.S. where it is known as catching the ‘holy ghost’, but similar it is brought on by a combination of drums and praise songs.

Diasporic music traditions including ‘Reggae’ in Jamaica, ‘Samba’ in Brazil, and Ramba in Cuba use the drum for similar purposes of African traditions. These genres share the basic musical concepts with African music traditions including the “2 – 4” beat pattern; syncopated beat rhythm that aims to emphasizes the lyrics; drum/beat maintain ‘timing’ relationship with vocals; initiating and synchronizing dancer; leads call and response; and repetition throughout the track (Sowande,1969;Davis,1992). This is known as the “heterogeneous ideal” where the core underlying concepts of the African world music are apparent in Diasporic music (Greenwald, 2002). If these core concepts survived in the ‘New World’ it is possible that knowledge of the drum as a tool of communication may have transmitted to the Hip Hop generation.

The Talking Drum in Hip Hop

Hip Hop was created on the streets of the South Bronx, NY in the 70s (George, 1998). Hip Hop developed as a cultural expression and medium for marginalized urban youth in the United States to express their disapproval of the government, poverty, police, violence, and as a means of collective resistance (George,1998). The genre has spread like wildfire as youth all over the world realize the source of their struggles, the system, and begin to communicate with each other across national and racial boundaries.

It follows the African American (e.g. B.A.M) artist/oratory tradition that demands the “orator” express personal and communal convictions while maintaining African aesthetic forms (Keyes, 1996). The godfathers of this genre are Kool Herc, Afrika Bambaata, and Gil Scott Heron (George,1998). It is important to note that each ‘god father’ employed drums in their performances. Kool Herc brought the drum knowledge from Jamaica, Gil Scott Heron contributed drum knowledge as a Griot of the B.A.M, and Afrika Bambaata ‘consciousness’ of African heritage as a historian are the material “links” of drum knowledge. These links forms the basis for the use of the drum as tool of communication in Hip Hop.

There are four elements of Hip Hop: (1) the emcee (MC); (2) the DJ (Producer); (3) graffiti (visual art); (4) and breaking (dancing). The most influential is the DJ. He is responsible for communicating with the remaining three elements (Greenwald,1996). He also initiates moments of call and response with the crowd. The DJ is able to accomplish this through the administering of the beat similar to the drummer in Africa (Greenwald, 1996).

It is important to understand the transformative process that the drum under went in the United States. Conditions in the U.S. were not accepting of African cultural forms. This is seen in the establishment of “drums laws”, lack of access to natural resources, and various forms of racism. Perhaps the skill of making drums was lost, or simply phased out during these times of infamy. However, technology has filled this gap by transforming drum into the ‘beat’ via the beat machine, e.g. 808 (George, 1998). Hip Hop share concepts and musical forms with the drum in Africa including: 2/4 beat pattern; syncopated rhythm to pace dancers; repeats in integral parts of songs; signal call and response; repetitive beat pattern, and relationship to emphasizing the words of the orator (Keyes, 1996).  

The DJ uses the beat machine, a keyboard shaped machine with hundreds of drum sounds, to make the ‘beat’. The beat machine allows the DJ/Producer to make an overlapping rhythm pattern that is guided by a variety of percussion instruments usually the bass, snare drums, and cymbals. The beat then forms the foundation for other instruments, sounds, and/or ad-libs that act as the musical backdrop of the Rap lyrics (Greewald,1996). The beat communicates to and for the MC as it serves to accentuates his lyrics/ punch lines and paces him throughout the song. This all contributes to Hip Hop’s reputation as percussion heavy music (Greenwald, 1996).

It is through the beat the DJ communicates with concert participants. This seen in ‘call and response’ moments that also allows the MC to rest. The ‘beat’ is also used to communicate by persons of the Hip Hop culture. ‘Hip Hop heads’ place huge speakers in their cars and the bass produced by the beat in the song signals their arrival at parties, events, clubs, concerts, etc. Telling the public ‘I’m here’.

The beat also communicates with the subconscious of listeners. This is accomplished through the implementation of excerpts from hit songs looped over a new beat. This is called sampling (Greenwald, 1996). The familiar ‘beat’ forms sparks ‘memory’ and forms an unseen link between the DJ and the listener. The DJ exploits this link as he wields power of suggestion over the crowd. He is able to coerce the crowd to the dance floor or settle a riled up crowd waiting for a late performance (Greenwald, 1996). Sampling used properly is very effective as it works as a Trojan Horse method of introducing new artist to fans under the past success of a predecessor. This is an affective method of communicating to the subconscious via the beat.

Conclusion

As a tool of communication the drum is Africa’s telegraph system (Bebey,1975). It is through the implementation of the drum via the beat that makes Hip Hop the CNN of Black community (Chuck D, 1997). The drum has allowed and continues to allow African peoples all over the world to communicate. In Hip Hop culture it’s called from ‘hood to hood’ (neighborhood) as the Ghetto Boys state, ‘the world is a ghetto’. Our ancestors used the drum to communicate from village to village across the savannahs, mountains, and deserts of Africa. Now the urban youth in the Diaspora use the beat to talk across the oceans, hills, prison bars, and urban concrete jungles throughout the world.

Works Cited

1. Ani, M. (1980). Let the Circle be Unbroken: The implications of African Spirituality in the Diaspora. New York: Nkonimfo Publications.

2. Bebey, F. (1975). African Music: A People’s Art. New York: Lawerence Hill Books.

3. Cullen-Rath, R. (2005). How Early America Sounded. New York: Cornell University Press.

4. Chuck D. with the assistance of Yusuf Jah. (1997). Fight the Power. New York: Delacorte Press.

5. Davis, S. (1992). Reggae Bloodlines: In search of the music and culture in Jamaica. New York: De Capo.

6. George, N. (1998). Hip Hop America. London: Penguin Books.

7. Greenwald, J. (2002). Hip Hop Drumming: The Rhyme may define, but the Groove makes you move. Black Music Research Journal. Vol. 22, No. 2. Autumn. pp. 259 – 271.

8. Hale-Benson, J. (1982). Black Children, Their Roots, Culture, and Learning Styles. Maryland: Brigham Young University Press.

9. Keyes, C. (1996). At the crossroads: Rap music and its African Nexus. Ethnomusicology, Vol. 40, No.2. Spring-Summer. pp. 223 – 248.

10. Sowande, F. (1969). The Role of Music in African Society. A speech given at Howard University in Washington, D.C.

Introduction

Cultural unity exists throughout the African World. The cultural diversity in the African World can be contributed to regional conditions such as lifestyle, resources, and environment. In this way cultural diversity is closer to regional variations of ‘African culture’ rather than differences. It is imperative to focus on cultural unity in the African World to create the foundation for Pan African consciousness in the African World. To test this theory of “regional variations” in the African World I will compare the role of the drum in indigenous West/Central African cultures and Hip Hop in the United States.

Talking Drum in Africa  

            The drum is the oldest known instrument in the world dating back to 4000 BCE in Kemet on the northeast corner of Africa (Sowande, 1969). It is present throughout every region of Africa playing different roles amongst the various peoples (Bebey, 1975). Perhaps, more than any other object the drum has become a ‘cultural emblem’ of the African World culture. This is not a mistake, as Leonard Barrett states, “the drum is Africa” (Ani,1980). To understand the profound role of the drum in the African World we must consider it a tool of communication. The loud boom of a drum draws the attention of any person, but the ‘talking drum” speaks ‘to’ and ‘for’ African peoples.

The drum is used to communicate with the “supernatural” world as in the case of the Yoruba of Nigeria (Bebey,1975). Davis (1992) wrote, “Drums are known to transmit messages between God and people, and also an essential instrument in the ritual healing” (34). It is plays a prominent role in ceremonies, rituals, and rites as pace setter for dance and praise. The people follow the drum’s rhythm and their collective energies creates a ‘unseen’ link with the ancestors (Sowande, 1969).

Practical uses of the drum included signaling the start of the day, lead celebrations, and notifying the public of important information (Bebey,1975). The jeli (teacher/griot) uses the drum as musical backdrop to recite ‘historical poetry’ to educate the masses. The rhythm of the ‘drum’ forms a link between the listener and the griot while making learning as the child associates the knowledge with a particular rhythm. This is an effective form of education because children of African descent tend to retain information as result of their right brain cognitive learning style. (Hale, 1982).

Drums were used to communicate between villages and towns. This form of communication was not just random beats, but a ‘drum language’. Each group’s ‘drum language’ is influenced by the geographic topography, the style of drum, material, number of drums, size of the drum, and rhythm/beat pattern (Bebey,1975). Regional variations can be seen in the drum languages of African culture that are influenced by the peoples struggle with environmental conditions (Bebey,1975).

Talking Drum in the ‘New World’

Africans brought the knowledge of the “drum” to the Americas via the Maafa/Trans-Atlantic Slave Trade (Ani,1980). As a result many Diasporic traditions share fundamental cultural values with Africans from Sengambia, Central and Southern Africa (Bebey,1975). This includes the Oyo, Yoruba,, Dahomey, Fon, Bantu, and Ewe all of which are recognized by scholars as being the majority of enslaved Africans (Bebey,1975). The drum’s cultural “paper trail” is a virtual “Hansel and Gretel” type of deal where the Ancestors left cultural indicators as an inalienable way back to our origins.

Africans in the Diaspora also have practical uses for the drum similar to those on the continent. Maroon societies in the Caribean and Brazil used drums to notify, start a charge, and over long distances to synchronize guerilla operations (Rath, 2005). Africans in the U.S. played drums in public displays of dance, relief, praise, and expression the most notable of these places is Congo Square. The importance of the drum in communication is perhaps best judged by the establishment of the ‘drum laws’ in the 16th and 17th throughout the Americas as Europeans began to fear the ‘talking drum’ (Rath, 2005).

Diasporic religions worship similarly to African religions. Both use the drum to tap the participant’s inner spirit to induce a trance like state that culminates with a danced expression. The use of the drum to induce spirit possession is present throughout the diaspora: ‘Voodoo’ (Haiti, and Americas), Santeria (Cuba), Canbomble (Brazil), and Rastafari (Jamaica) (www.wikipedia.com). This phenomenon can also be seen in the southern Black church in the U.S. where it is known as catching the ‘holy ghost’, but similar it is brought on by a combination of drums and praise songs.

Diasporic music traditions including ‘Reggae’ in Jamaica, ‘Samba’ in Brazil, and Ramba in Cuba use the drum for similar purposes of African traditions. These genres share the basic musical concepts with African music traditions including the “2 – 4” beat pattern; syncopated beat rhythm that aims to emphasizes the lyrics; drum/beat maintain ‘timing’ relationship with vocals; initiating and synchronizing dancer; leads call and response; and repetition throughout the track (Sowande,1969;Davis,1992). This is known as the “heterogeneous ideal” where the core underlying concepts of the African world music are apparent in Diasporic music (Greenwald, 2002). If these core concepts survived in the ‘New World’ it is possible that knowledge of the drum as a tool of communication may have transmitted to the Hip Hop generation.

The Talking Drum in Hip Hop

Hip Hop was created on the streets of the South Bronx, NY in the 70s (George, 1998). Hip Hop developed as a cultural expression and medium for marginalized urban youth in the United States to express their disapproval of the government, poverty, police, violence, and as a means of collective resistance (George,1998). The genre has spread like wildfire as youth all over the world realize the source of their struggles, the system, and begin to communicate with each other across national and racial boundaries.

It follows the African American (e.g. B.A.M) artist/oratory tradition that demands the “orator” express personal and communal convictions while maintaining African aesthetic forms (Keyes, 1996). The godfathers of this genre are Kool Herc, Afrika Bambaata, and Gil Scott Heron (George,1998). It is important to note that each ‘god father’ employed drums in their performances. Kool Herc brought the drum knowledge from Jamaica, Gil Scott Heron contributed drum knowledge as a Griot of the B.A.M, and Afrika Bambaata ‘consciousness’ of African heritage as a historian are the material “links” of drum knowledge. These links forms the basis for the use of the drum as tool of communication in Hip Hop.

There are four elements of Hip Hop: (1) the emcee (MC); (2) the DJ (Producer); (3) graffiti (visual art); (4) and breaking (dancing). The most influential is the DJ. He is responsible for communicating with the remaining three elements (Greenwald,1996). He also initiates moments of call and response with the crowd. The DJ is able to accomplish this through the administering of the beat similar to the drummer in Africa (Greenwald, 1996).

It is important to understand the transformative process that the drum under went in the United States. Conditions in the U.S. were not accepting of African cultural forms. This is seen in the establishment of “drums laws”, lack of access to natural resources, and various forms of racism. Perhaps the skill of making drums was lost, or simply phased out during these times of infamy. However, technology has filled this gap by transforming drum into the ‘beat’ via the beat machine, e.g. 808 (George, 1998). Hip Hop share concepts and musical forms with the drum in Africa including: 2/4 beat pattern; syncopated rhythm to pace dancers; repeats in integral parts of songs; signal call and response; repetitive beat pattern, and relationship to emphasizing the words of the orator (Keyes, 1996).  

The DJ uses the beat machine, a keyboard shaped machine with hundreds of drum sounds, to make the ‘beat’. The beat machine allows the DJ/Producer to make an overlapping rhythm pattern that is guided by a variety of percussion instruments usually the bass, snare drums, and cymbals. The beat then forms the foundation for other instruments, sounds, and/or ad-libs that act as the musical backdrop of the Rap lyrics (Greewald,1996). The beat communicates to and for the MC as it serves to accentuates his lyrics/ punch lines and paces him throughout the song. This all contributes to Hip Hop’s reputation as percussion heavy music (Greenwald, 1996).

It is through the beat the DJ communicates with concert participants. This seen in ‘call and response’ moments that also allows the MC to rest. The ‘beat’ is also used to communicate by persons of the Hip Hop culture. ‘Hip Hop heads’ place huge speakers in their cars and the bass produced by the beat in the song signals their arrival at parties, events, clubs, concerts, etc. Telling the public ‘I’m here’.

The beat also communicates with the subconscious of listeners. This is accomplished through the implementation of excerpts from hit songs looped over a new beat. This is called sampling (Greenwald, 1996). The familiar ‘beat’ forms sparks ‘memory’ and forms an unseen link between the DJ and the listener. The DJ exploits this link as he wields power of suggestion over the crowd. He is able to coerce the crowd to the dance floor or settle a riled up crowd waiting for a late performance (Greenwald, 1996). Sampling used properly is very effective as it works as a Trojan Horse method of introducing new artist to fans under the past success of a predecessor. This is an affective method of communicating to the subconscious via the beat.

Conclusion

As a tool of communication the drum is Africa’s telegraph system (Bebey,1975). It is through the implementation of the drum via the beat that makes Hip Hop the CNN of Black community (Chuck D, 1997). The drum has allowed and continues to allow African peoples all over the world to communicate. In Hip Hop culture it’s called from ‘hood to hood’ (neighborhood) as the Ghetto Boys state, ‘the world is a ghetto’. Our ancestors used the drum to communicate from village to village across the savannahs, mountains, and deserts of Africa. Now the urban youth in the Diaspora use the beat to talk across the oceans, hills, prison bars, and urban concrete jungles throughout the world.

Works Cited

1. Ani, M. (1980). Let the Circle be Unbroken: The implications of African Spirituality in the Diaspora. New York: Nkonimfo Publications.

2. Bebey, F. (1975). African Music: A People’s Art. New York: Lawerence Hill Books.

3. Cullen-Rath, R. (2005). How Early America Sounded. New York: Cornell University Press.

4. Chuck D. with the assistance of Yusuf Jah. (1997). Fight the Power. New York: Delacorte Press.

5. Davis, S. (1992). Reggae Bloodlines: In search of the music and culture in Jamaica. New York: De Capo.

6. George, N. (1998). Hip Hop America. London: Penguin Books.

7. Greenwald, J. (2002). Hip Hop Drumming: The Rhyme may define, but the Groove makes you move. Black Music Research Journal. Vol. 22, No. 2. Autumn. pp. 259 – 271.

8. Hale-Benson, J. (1982). Black Children, Their Roots, Culture, and Learning Styles. Maryland: Brigham Young University Press.

9. Keyes, C. (1996). At the crossroads: Rap music and its African Nexus. Ethnomusicology, Vol. 40, No.2. Spring-Summer. pp. 223 – 248.

10. Sowande, F. (1969). The Role of Music in African Society. A speech given at Howard University in Washington, D.C.

JAM Aiwuyor Commentary, Race Ethnicity & Culture

How Gay is Your Black?

How Gay is Your Black?

By J.L. Glenn

Both before and after the shackles came off, African Americans have been fighting the battle to learn, love, and even drink water freely. The struggle for freedom through nonviolent protest continues on even today.  However, on this path to freedom, it seems as if some have forgotten what the Civil Rights Movement was all about and what the word equality really means. They have forgotten that discrimination does not just apply to race; it applies to all other human rights as well.

On Monday, March 8, 2010, Time Magazine Online published an article entitled, “Being Gay in Uganda: One Couple’s Story,” written by Glenna Gordon. The article is about one lesbian couple’s struggle to be themselves in Uganda, where the social and political climate is hostile towards its GLBT citizens.  Gordon writes, “Last year a member of Uganda’s Parliament, David Bahati, introduced a bill that, if it becomes law, will further criminalize homosexuality in Uganda. ‘Aggravated homosexuality,’ according to the bill, will become a capital offense and anyone who doesn’t report a known homosexual within 24 hours will be subject to punishment of up to seven years in jail.”

When did it become socially acceptable for us, as a people, to ignore injustice and allow discrimination?  When did it become tolerable for we who were drowned by the firefighter’s hoses, tackled by the bloodhounds, and hung from trees by bigoted men, to stand by and do nothing as others lose their birthright of freedom? At what point, after we gained our freedom, did we decide that it was all right for anyone outside of what we individually deem as “normal” to be subjected to mistreatment? We are all worthy of the same constitutional truths. When did love—the one thing that has brought this world together after war, slavery, genocide and terrorism—become so terribly immoral?  When did love become an insufficient fund?

Discrimination is Discrimination and it’s criminal.  So the question remains: How Gay is Your Black?

Works Cited

http://www.time.com/time/world/article/0,8599,1969667,00.html Monday March 8 2010, Glenna Gordon.

Time magazine in partnership with CNN.

J.L. Glenn is a poet and playwright living in Washington D.C.

guest contributor Commentary, Race Ethnicity & Culture

Is Cocolo the Dominican N-Word?

  Is Cocolo the Dominican N-Word?

From Dominican Chronicles Vol 12: “Cocolo By Claudio E. Cabrera

Two weeks ago, I was eating dinner with a group of neighborhood friends. One of my friends is Dominican and he was talking about the color issues amongst us.

We spoke for a bit and it was an interesting conversation. But he used one word that has puzzled me forever: ‘Cocolo.’

He said: ‘I’m a Cocolo.’

I didn’t really know how to react to it because he embraced the word and saw no issue with it. Plus, it was the first time I heard someone of my complexion call himself that (he’s actually a few shades lighter).

Throughout life, friends, family members and my own ears told me that word is offensive. I hear it at restaurants, on trains, and in barber shops when talking about someone who is Black. I’m sure some of my readers have heard it and either cringed or wondered what it meant.

Here is one definition I found online:

COCOLO

Now, whenever I hear the word it’s in two contexts – a bad one and a harmless/proud one.

‘Maldito Cocolo’ (Damn Black)

‘Eso cocolos me tienen cansao’ (I’m tired of Blacks)

Then its used in a way that doesn’t sound so harmful.

Que eres tu? Yo soy un cocolo (I’m a Black)

Que era el hombre? Un Cocolo. (He was Black)

From the definitions and examples I provided you, you’ll see that it can be used as a prideful word or perceived as a hateful one. Thing is, I’ve only heard one person say it in a prideful way my whole life. Most of the time I hear it, it’s used in a negative sentence.

One day, I pressed one of my friends about it and he said: ‘It’s not the N word. It’s just a way of calling people who are your complexion. Sort of like Gringo.’

I’ve never said Cocolo in my life (not once), but I have said Morenito to describe someone of my skin color whether Spanish speaking or not. I shouldn’t be using that word because it’s offensive in nature as well.

But Moreno lost its negative connotation with me. I’ve been called a ‘Morenito’ by my Grandma and others close to me. I never looked at the word Moreno as an offensive word because I felt it described people of my complexion – and I guess when I heard it – I heard it from people close to me so never took offense (wasn’t said in an offensive manner either).

Whenever they say it it’s: “Mi Moreno tan bello o mi Moreno tan buen mozo.” (Handsome/Beautiful)

But I’m here to say that both Cocolo and Moreno are both negative to me. Whether they are to you, is on you. But I’ve had Black friends and other Latino friends of my complexion ask me what I thought about it. My dad said he doesn’t accept Moreno or Cocolo now or when he was growing up in DR. He says call me a Negro. My Uncle let’s people call him Moreno all the time and doesn’t have an issue.

I just think if you’re Latino, you should call people ‘Negro’ which is the equivalent of Black. I would say ‘Afro-Americano,’ but some people are too lazy to say so many words.

I know this was a bit confusing, but it’s because it’s almost like the N word. Some Blacks say it to each other, but aren’t too fond of other races saying it. In most cases, cocolo is used to describe American Blacks. But what makes it extra confusing is that it’s used by Dominicans to describe other Dominicans or any other Black who is Latino.

This stuff gives me a headache and I’m sure it provides you with one too.

*Pops an Advil*

Have a good weekend…

Source

About the Author:

Claudio E. Cabrera

is a 26 year-old award-winning writer based out of the Inwood (Northern Manhattan) section of New York City.

He’s a son of Dominican immigrants and graduate of Brooklyn College, which the Princeton Review recently coined “The Poor Man’s Harvard” in their 2008 Best Colleges Edition. Cabrera graduated in 2008 with a Bachelors Degree in Journalism.

In 2005, Cabrera began his journey in journalism. He’s written for community newspapers, daily’s, and magazines. He’s profiled the likes of Shaquille O’ Neal, Alonzo Mourning, Mayor Michael Bloomberg and Rev. Al Sharpton to name a few.

guest contributor Commentary, Race Ethnicity & Culture

History Pieces Us Together

History Pieces Us Together

C. Lionel Spencer  

Who are you? Who am I? As we grow and mature, we search for traits in our character that make us, us. We ask ourselves what is it that makes us unique and separates us from the rest. We realize that we are brilliant in mathematics, or that we have thing for humor, or that we are deeply connected to the earth.  Then we look around at our neighborhoods, or immediate families, and began to feel a sense of self.  We are like no other, right?

But the idea of being an individual, or breaking away from the norm is a very western idea. In most African cultures religion and professions, among many other things are passed down from generation to generation. As African Americans I believe we embrace being American all too easily, and forget the blood that still runs through our veins.  Even with all our changes, from slavery until now, we are still more African than we would like to admit. I believe we are still in many ways a reflection of our families past.  

Think about what you believe, why you believe it and how you came to believe it! Consider what drives you and what you are passionate about! Ask yourself, am I the only person in my entire family who’s ever thought like this? Some will justifiably say yes, given that they don’t know much about their family history. But before you once again default on being a unique American, let me first share with you some of my story. Afterward I challenge you to look through your own family history, dead or alive, and find out who you really are.

I am a 26 year old African American man who was raised in the South Bronx of New York. I am a writer and an artist who aspires to become a Creative Writing Professor, because I’m so unique right?  Well, about a year ago I found out that music runs through my family like the Nile River. My great grandfather, Henry Scott Sr, was a musician who owned a night club in Georgia, and was a professor at Savannah State University. He played various instruments including the guitar and the saxophone while teaching algebra.

Who would have known four generations before me stood a relative in my family who I share similar passions with. Many of our youth today pride themselves in being so different, that they turn their backs on their own families. Instead of searching and embracing the many similarities that will be found within their history, they remove themselves from it.

So who am I? I guess, Corey Lionel Spencer’s, a piece of Henry Scott in many ways. And I’m pretty sure after much more digging I will be a distant aunt or cousin or brother too.  

So let me ask, do you know the men and women that came generations before you? Speak to your mothers and fathers and aunts, because I’m pretty sure if and when you journey back you will find you, maybe a little less refined, but still you. 

C. Lionel Spencer is a New York resident and writer, who is devoted to using his talent of writing to move our world community forward.
Check out his blog, an allegory of life, at http://percepperspectnpeople.blogspot.com.

guest contributor Race Ethnicity & Culture, Super Hot Topics

The Beef Between Africans & African Americans: Why Can’t We Get Along?

us

By Guest Writer Tanikia Thompson

“You’re not African American, you’re American. You guys just say African American so you can have some relation to Africa.”

These are the words that were spoken to me from a Nigerian lady that I attended college with. It was hurtful to hear her say this. I have traveled to Zambia twice and the first time was challenging. In a debriefing session I explained to the white people on the trip, that my entire life I had been told that I am African American, and here I was in Africa and had no culture to call my own. When a man in the market realized that I couldn’t speak Bemba he told my Zambian host that I should be ashamed of myself for not knowing my language. He didn’t know that I wasn’t from Zambia, because everything about me along with the rest of the African American community screams Africa. While in Zambia, I noticed how the people looked just like African Americans back home. It was very evident that African Americans are from Africa.

There are two major problems at hand: not enough African Americans acknowledge that they are Africans and not enough Africans acknowledge that African Americans are African. I’m sure growing up we have all heard the “You look like you African” jokes. Well that cruel joke has followed us to adulthood. How can a Black person look like an African, when they are African? And why is that meant to be offensive? I will admit that it wasn’t until after my voyage to the Motherland, that I began to take ownership of my African roots. What’s weird is when I say that I’m African around African Americans that know me, they look at me like I’m crazy and question me. I respond by saying “You’re African too!”

On the other hand I have heard Africans speak like the Nigerian lady who told me that I wasn’t African. Is the history of slavery not enough explanation on how we separated from our homeland? That isn’t American history; it’s African and American history. There are African Americans like myself who have gone through major identity crisis’ and struggled over the fact that we have no knowledge of what country in Africa we came from. Just because we weren’t born in Africa, don’t strip us of our African identity and heritage.

What frustrates me is I can see how the media has played a crucial role in dividing us. In America they have presented Africa to us as the Dark Continent with uncivilized people. To an extent we have believed everything we’ve seen on television. I remember on my first trip to Africa I was scared that some random men were going to break into the house I was staying and rape me. How crazy is that? In Africa they have presented African Americans as all being uneducated, rappers, thugs, and hoes. It was very irritating when the Africans would try to use slang with me. The media alone has caused us to form stereotypes about each other.

This is an issue that frequently comes up in my diverse circle of friends, so I wanted to share it with you guys. I leave you with this question:

At what point did African Americans stop being African? When we got off the slave ship?

Yo I tell you the rest when I see you… Peace!

Nikki

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Check out my blog: www.nikkiandthecityadventures.blogspot.com