In her essay “African Roots and Continuities: Race, Space and the
Poetics of Moving” Marlene Nourbese Philip portrays the Canadian Caribana
festival, first held in 1967 and framed by the Canadian Centennial celebrations,
and its prototype, Trinidadian Carnival. She mainly names two characters;
Maisie and Totoben. Both occur throughout the essay engaged in one thing: the
celebration of Carnival, or later then, Caribana in Toronto.
Philip writes in a “Caribbean demotic of English”, according to her own
words. 1 As she discusses the phenomena of Carnival, this demotic is more
suitable to give an accurate image of its origins. Especially the energy and the
dynamic embedded in Caribana, and earlier Carnival is transported more lively.
“Kinetic qualities” go with the language she calls a Caribbean demotic. These
display the fascination and attraction of the festival, and this first statement
might give a reason for her choice.
She has composed an essay, which also satisfies historical needs. As
she transports the knowledge of a single event’s origin and its transformation
throughout time, the question arises, why Philip did not choose Standard
English to make her argument. This might be expected rather from a political
and historical paper, than from one displaying only cultural aspects. Marlene
Nourbese Philip´s essay can be considered to be a historical essay, since she
connects several stations in ,space and time, in other words, in geography and
history. The connection is implied by her synonymous naming of the main
characters, Maisie and Totoben, who connect the slave-ships to the Carnival
parade in Toronto. 2 [...]
1Philip, Marlene Nourbese: “African Roots and Continuities: Race, Space and the Poetics of
Moving”. A Genealogy of Resistance and Other Essays. Ed. Marlene Nourbese Philip.
Toronto: The Mercury Press, 1997. 202.
2 cf. 207.
Table of Contents
1. Language as a Site of Resistance in Marlene Nourbese Philip’s “African Roots and Continuities: Race, Space and the Poetics of Moving”
Research Objectives and Themes
This paper examines how Marlene Nourbese Philip utilizes a specific linguistic style—a "Caribbean demotic"—as a form of political and cultural resistance within her essay "African Roots and Continuities: Race, Space and the Poetics of Moving." The study explores the intersection of language, historical trauma, and the performative nature of the Carnival festival as a site for expressing collective rage and agency against colonial structures.
- The function of "Caribbean demotic" as a medium for authentic historical expression.
- Language as a political tool to challenge the hegemony of Standard English.
- The relationship between colonial history, slave-ships, and the modern Caribana festival.
- "Kinopoesis" and the emotional mobilization of the reader.
- The connection between system-immanent racism and the expression of rage.
Excerpt from the Book
Language as a Site of Resistance in Marlene Nourbese Philip’s “African Roots and Continuities: Race, Space and the Poetics of Moving”
In her essay “African Roots and Continuities: Race, Space and the Poetics of Moving” Marlene Nourbese Philip portrays the Canadian Caribana festival, first held in 1967 and framed by the Canadian Centennial celebrations, and its prototype, Trinidadian Carnival. She mainly names two characters; Maisie and Totoben. Both occur throughout the essay engaged in one thing: the celebration of Carnival, or later then, Caribana in Toronto.
Philip writes in a “Caribbean demotic of English”, according to her own words. As she discusses the phenomena of Carnival, this demotic is more suitable to give an accurate image of its origins. Especially the energy and the dynamic embedded in Caribana, and earlier Carnival is transported more lively. “Kinetic qualities” go with the language she calls a Caribbean demotic. These display the fascination and attraction of the festival, and this first statement might give a reason for her choice.
She has composed an essay, which also satisfies historical needs. As she transports the knowledge of a single event’s origin and its transformation throughout time, the question arises, why Philip did not choose Standard English to make her argument. This might be expected rather from a political and historical paper, than from one displaying only cultural aspects. Marlene Nourbese Philip´s essay can be considered to be a historical essay, since she connects several stations in ,space and time, in other words, in geography and history. The connection is implied by her synonymous naming of the main characters, Maisie and Totoben, who connect the slave-ships to the Carnival parade in Toronto.
Summary of Chapters
1. Language as a Site of Resistance in Marlene Nourbese Philip’s “African Roots and Continuities: Race, Space and the Poetics of Moving”: The paper analyzes how the author uses a unique linguistic register to transcend standard academic constraints and provide a visceral, historical critique of colonial legacies through the lens of Carnival.
Keywords
Marlene Nourbese Philip, Caribbean demotic, Carnival, Caribana, Resistance, Post-colonialism, Kinopoesis, Language, Yoruba, Race, Maisie, Totoben, Rage, Cultural identity.
Frequently Asked Questions
What is the primary focus of this paper?
The paper focuses on Marlene Nourbese Philip’s essay "African Roots and Continuities" and how her specific choice of language functions as an act of resistance against colonial norms.
What are the central thematic areas?
The core themes include linguistic subversion, the historical connection between slave-ship legacies and modern Carnival, the expression of rage, and the canonization of language.
What is the primary goal of the author's argument?
The goal is to demonstrate that writing in a Caribbean demotic is not merely a stylistic choice but a necessary political act to convey the "kinetic" and historical reality of the post-colonial experience.
Which methodology is employed in this research?
The paper employs a literary and post-colonial analytical approach, contrasting Philip's prose with Standard English and other Caribbean narratives to evaluate its effectiveness and rhetorical power.
What does the main body of the work cover?
The main body explores the origins of Carnival, the manifestation of rage as a reaction to systemic oppression, and the way Philip’s "kinopoetic" language engages readers emotionally and intellectually.
Which keywords define the work?
Key terms include Caribbean demotic, resistance, Carnival, post-colonialism, and kinopoesis.
How does Philip connect different historical eras in her essay?
Philip uses characters like Maisie and Totoben as recurring symbols that bridge the gap between the historical horrors of the slave trade and the contemporary celebration of Caribana.
What is the significance of the term "kinopoesis" in the text?
"Kinopoesis" refers to the dynamic, moving quality of Philip's language that pulls the reader into the center of the action, effectively turning the text into a "picture in motion."
- Quote paper
- Alf-Christian Obermaier (Author), 2002, Language as a site of resistance, Munich, GRIN Verlag, https://www.grin.com/document/17931
