Avant-Garde Rasanblaj
(A Meditation on PÒTOPRENS)
(A Meditation on PÒTOPRENS)
To coincide with the release of the publication PÒTOPRENS: The Urban Artists of Port-au-Prince, which celebrates the titular 2018 Pioneer Works exhibition, Broadcast is publishing below the volume’s essay Avant-Garde Rasanblaj by Gina Athena Ulysse.
RASANBLAJ—assembly, compilation, enlisting, regrouping (of people, spirits, things, ideas). For example, fè yon rasanblaj: do a gathering, a ceremony, a protest.
1/ Genocide. MAGUA. MARIEN. XARAGUA. MAGUANA HYGUEY. 1492. Columbus landed. Annihilation of indigenous populations. Destructions of natural habitats. Species dominance. 1517. Slavery. Met Simitye, look at what the mortals have done! Colonialism. Humans as chattel. 1685 Code Noir. Brutal and horrific practices of exploitation and exchange. Genealogies of Othering. In Black Marxism, Cedric Robinson insists that, “As a material force … racialism would inevitably permeate the social structures emergent from capitalism … (‘Racial capitalism’) refer(s) to the subsequent structure of historical agency.”11. Cedric Robinson, Black Marxism: The Making of a Radical Black Tradition, (London: Zed Press, 1983), p. 2. Jodi Melamed, “Racial Capitalism,” Critical Ethnic Studies 1, no. 1 (2015): 77. Anténor Firmin, On the Equality of the Human Races, trans. Asselin Charles (Urbana: University of Illinois Press, 2002), p. 398.
2/ The chains of servitude may have broken, and still, freedom remained elusive for the majority. Hard work = Surplus value. For those without and who-will-never-own the means of production. Disposable, the proletariat will be eaten alive. Toiling the land. Since its emergence, this racial capitalism has always been gothic, cruel and monstrous, “constantly sucking in living labor as its soul, vampire-like.”44. Lena Wanggren, “Gothic Capitalism: Marx, Monsters and Buffy,” The Gothic Imagination, no 1, June (2013). Mark Steven, “Reading Marx on Halloween,” Jacobin, October 31, 2018, https://www.jacobinmag.com/2018/10/marx-gothic-halloween-horror-capitalism-zombiesvampires-frankenstein. See Fay V. Harrison, Outsider Within: Reworking Anthropology in the Global Age (Urbana: University of Illinois Press, 2008) 193.
These are les damnés de la terre, the masses left behind by a Revolution that worked but did not fix everything. IT could NOT fix everything. AYITI has been at the avant-garde. On a fast track. Manmade and natural disasters. During the last two centuries, the former Pearl of the Antilles has remained at the forefront of economic, political and social mechanics and machinations ushering in dystopic futurity. This contradiction was captured by André Eugène in conversation with literature scholar Sibylle Fischer. Commenting on Atis Rezistans’ sculpture “Freedom!” Eugène said “Haitians fought for their freedom many years ago, but that’s not freedom if you don’t have anything, no food, no electricity, no books and can’t send your children to school. People in my country are fighting for this everyday.”77. Sibylle Fischer, “Atlantic Ontologies: On Violence and Being Human” in emisférica, 12 no. 1 & 2 (2015). Ibid.

3/ Or are we? Are they the living dead? Is PÒTOPRENS not a visual requiem? Does pondering over Fred Moten’s question—“What is the relation between political despair and mourning?”99. Fred Moten, In the Break: The Aesthetics of a Black Radical Tradition (Minneapolis: University of Minnesota Press, 2003), p. 93. Trent Reznor, Pretty Hate Machine, with Nine Inch Nails, The Bicycle Music Company, 1989. See Michel-Rolph Trouillot, The Odd and the Ordinary: Haiti, the Caribbean and the World, Cimmaron: New Perspectives on the Caribbean, 2 no. 3 (1990), pp. 3-12. See Kolektif Anakawona, “Chase those Crazy Baldheads Out of Town: Resisting the Rise of Authoritarianism in Occupied Haiti,” June 7, 2019. http://www.criticatac.ro/lefteast/haiti-protests/.
This inequality, for those among us who inherited sacrifice, is not new. Being cheap labor demands an embrace of precarity as daily practice. Yet, in this land every breath still offers promise. Who gets to breathe? Who is suffocating because they must hide? Who is safe to walk alone? Who must walk together to survive? Manbo Madame Jacqueline told me, “When you do a rasanblaj, you have to gather EVERYTHING.” Nothing gets left behind. Needing to discern creative survival from artistic production, we struggle to make sense of what fuels expression, because the western modernist frame relies upon a racialized taxonomy that requires Black art to answer to Europe in order to be perceived as ART. U.S.-born artist Kerry James Marshall whose work sits in at the crossroads of the Black Atlantic espouses the notion of a “black aesthetics,” which he describes as “an atmosphere, a tone, a ‘vibe’… (I)t is glamorous and impoverished, structured and improvisational, naïve and sophisticated, brash and abject. Its first principle is a desire for self-representation.”1313. Mimi Sheller, “Resituating Kerry James Marshall in a Black Radical Tradition,” Hyperallergic, January 24, 2017. https://hyperallergic.com/353553/resituating-kerry- james-marshall-in-a-black-radical-tradition/. Patricia Marie-Emmanuelle Donatien, “The Vibratory Art of Haiti: A Yoruba Heritage Born by the Vodou Poetics” In Vodou in the Haitian Experience: A Black Atlantic Perspective, ed. by Ceculien Joseph and Nixon S. Cleophat (Lanham, Md.: Lexington Books, 2016), p. 156.
It is work imbued with the poetics and aesthetics of Vodou. Refusal. SELF rooted in the foundation of one’s being. As Amiri Baraka described it in his poem “Leadbelly Gives an Autograph”:
“Build me an equitable human assertion
One that looks like a jungle, or one that looks like the cities
of the West. But I provide the stock. The beasts
and myths.”

4/ For centuries Haitian artists have been naming the stocks, the beasts and myths. In the process, they have been actively undoing enlightened reason. Surfing rogue waves that separate the sacred from the profane. Prescient surrealists. Intertwining the material with the spiritual. Stripping what they can off imperial debris to reveal “trace elements” of Taíno memory.1515. LeGrace Benson, Arts and Religions of Haiti (Kingston: Ian Randle Publishers, 2015). See, M. Jacqui Alexander, Pedagogies of Crossing: Meditations on Feminism, Sexual Politics, Memory, and the Sacred, (Durham: Duke University Press, 2005) and Ivan Van Sertima, They Came Before Columbus: The African Presence in Ancient America, (New York: Random House, 1976). See Gina Athena Ulysse, Why Haiti Needs New Narratives: A Post Quake Chronicle. (Middletown, CT: Wesleyan University Press, 2015). 90.
“Alors, ils sont ou ces avant-gardes?
They were still learning just how to sear flesh
when WE had already MASTERED
the WAVES of the ATLANTIC.” ♦
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