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A Daughter’s Geography- A Call for Unity

The poem that stood out to me from the readings this week is Bocas: A Daughter’s Geography. Colonization and the struggle between the powerful and the powerless is something that I often think about and study in a lot of my classes. However, reading Shange’s poem gave me a new perspective on the matter. Amidst the horrors and aftermath of colonization, Shange finds a way to create unity and hope amongst all those who have suffered under imperialist powers:

 

“but I have a daughter/ la habana

i have a son/ guyana

our twins

santiago & brixton cannot speak

the same language

yet we fight the same old men” (A Daughter’s Geography).

 

Throughout her poem, Shange repeats these lines utilizing different cities and countries. She writes about how these geographic locations are different from each other, often speaking different languages. However, they are bonded by the same struggle against imperialist powers, or “the same old men,” as Shange puts it. While the struggle for liberation is an uphill battle, those who are suffering can draw strength from the knowledge that others across the globe are in the fight with them, which is an empowering and beautiful message.

When I first saw Brixton amongst the regions she was talking about, I was wondering why Shange would choose to put a district within the United Kingdom, an imperialist force, within the list. However, I learned that a large percentage of the population in Brixton is of Afro-Caribbean descent. Additionally, in 1981, Brixton was undergoing riots as a result of social and economic problems. This poem by Shange was published in 1983, meaning that the Brixton riots were most likely on her mind. The way that Shange weaves through the globe connecting places of struggle leads me to believe that liberation requires a united global effort.

I’m currently reading Freedom is a Constant Struggle: Ferguson, Palestine, and the Foundations of a Movement by Angela Davis. In her book, Davis talks about the “tweets of Palestinian activists used to provide advice for protestors in Ferguson, on how to deal with tear gas” (42). Palestinians and Black Americans “cannot speak the same language,” however their shared struggle allows them to be empowered by each other, which is the point that I believe Shange was trying to make in her poem.

The Collective Black Dance Was Alive (9/17/15)

by Yemi 0 Comments

 

In “Bocas: My Daughter’s Geography” Ntozake Shange addresses a question: what does it mean to have a shared history of colonization, but exist in different intersections of longitude and latitude (i have a daughter / mozambique, i have a son/ angola p. 21)?

Her work doesn’t hesitate to make different peoples a collective: “we fight the same old men… we have a daughter… we have a son… we embraced & made children of the new world.” In this way the persistence in which these individuals fought to make change for their children by feeding them the sun and encouraging their dreams constructs resistance as a global site. Resistance becomes “the same language” in Mozambique, Angola, Salvador, Johannesburg, La Habana, Guyana, Santiago, Brixton, Trinidad, San Juan, Cape town, and Palestine. Resistance is obvious in the words

 

“all the dark urchins

rounding out the globe/ primitively whispering

the earth is not flat old men.”

 

The situation Shange is narrating bases the resistance of colored peoples as an aftermath to the historical occurrences that stole away their location of origin. Furthermore, the end of this three-part poem, New World Core, elucidates the strong opposition of ethnic peoples to their colonization through the two new geographical sites they occupy: Luanda and Chicago.

 

In New World Core Shange writes

 

“or language is tactile

colored & wet

our tongues speak

these words

we dance

these words.”

 

The meaning of this excerpt is rooted in her piece “why i had to dance//”

Dance becomes the discriminate way memory utilizes movement to bring forth an understand of history. The flexibility of location, if it were described as a time and place, is expressed in phrase “a continuity of an aesthetic that is at the heart of blackness//”

Resistance is still a global site, but can instead be viewed through movement: “wherever the colored people were. There were dances i could do & claim as mine/ cause/ i was colored too (52).”

The collective “black dance was alive with the spirit of the caribbean and africa (55)” and subconsciously makes its way into the lives of those living outside of their origins.