{"id":437,"date":"2015-10-29T19:08:37","date_gmt":"2015-10-29T19:08:37","guid":{"rendered":"http:\/\/bcrw.barnard.edu\/digitalshange\/blog\/?p=437"},"modified":"2015-10-30T22:22:00","modified_gmt":"2015-10-30T22:22:00","slug":"looking-further-into-felipe-lucianos-jibaro-my-pretty-nigger","status":"publish","type":"post","link":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/?p=437","title":{"rendered":"looking further into Felipe Luciano&#8217;s &#8220;J\u00edbaro, My Pretty Nigger&#8221;"},"content":{"rendered":"<blockquote><p>&#8220;There&#8217;s a move to divide us. It&#8217;s being done by Afro-saxons and coconuts. People who would have us believe that there&#8217;s a separate gulf between two nations: Black and Latino. This is not the poem, y&#8217;all. I&#8217;m telling you there&#8217;s no difference between Buford, South Carolina and Ponce, Puerto Rico&#8230;Mambo is Black, merengue is Black, R&amp;B is Black, joropo is Black, flamenco is Black,\u00a0guaguanco is Black, bomba is Black, be careful. They will come to you and say be careful with those hoards of Spanish people. Fuck them.&#8221;<\/p><\/blockquote>\n<p>Felipe Luciano opens his appearance on Def Jam in this way. Audience members cheer as though the poem has already begun before he tells them that he&#8217;s just going off. In &#8220;To Make a Poet Black,&#8221; Wilkinson concludes\u00a0that Luciano&#8217;s place in the Black Arts Movement &#8220;should serve less to conceal cultural nuances, but work more to convey a cultural milieu in which poetry by African Americans and Puerto Ricans shared a communal residence&#8221; (330). Whether or not\u00a0this statement applies to his self-image and artistic mission is obviously impossible to glean without consulting him, but judging by this performance, he seems to be acting first and apologizing later &#8211;making a radical point by saying that Black and Latino cultures ought not to be divided or even nuanced, but are one and the same.<\/p>\n<p>I\u00a0speak only intermediate-level Spanish, but for those who don&#8217;t at all, I&#8217;ve translated his first four lines:<\/p>\n<p>&#8220;J\u00edbaro, mi negro lindo<br \/>\nDe los bosques de ca\u00f1a<br \/>\nCaciques de luz<br \/>\nTiempo es una cosa c\u00f3mica.&#8221;<\/p>\n<p>J\u00edbaro, my pretty negro<br \/>\nFrom the cane forests<br \/>\nChiefs of light<br \/>\nTime is a funny thing<\/p>\n<p>Read about\u00a0the modern connotations of &#8220;j\u00edbaro&#8221; <a href=\"https:\/\/en.wikipedia.org\/wiki\/J%C3%ADbaro#Modern_usage_of_the_word\">here<\/a><\/p>\n<p><iframe loading=\"lazy\" width=\"1140\" height=\"641\" src=\"https:\/\/www.youtube.com\/embed\/LcvKQ4rtKpE?feature=oembed\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<p>As was\u00a0briefly discussed in &#8220;To Make a Poet Black,&#8221; the poem is about the Black\/Puerto Rican\/Nuyorican experience as single, fluid, and inclusive. The use of &#8220;j\u00edbaro&#8221; and &#8220;nigger&#8221; as relatively interchangeable or at least cohabitating terms suggests a cultural history and relationship so familial that each group is permitted to reappropriate the other&#8217;s slurs.<br \/>\nThe majority of the poem reminisces about a decolonized state, so outside the realm of present possibility that most of it takes place in the womb of a universal mother. The images he uses are commonly resonant: one set of &#8220;mother&#8221; and &#8220;father,&#8221; shared &#8220;ancient empires&#8221; that have since been lost, &#8220;thoughts of freedom,&#8221; interchangeable use of &#8220;black&#8221; and &#8220;brown,&#8221; &#8220;the foul bowels of the ship\/That vomited you up on the harbors of a cold metal city to die,&#8221; referencing both the colonization of Puerto Rico and The Middle Passage.<\/p>\n<p>It ends with an ardent\u00a0demand for community, addressing the division Luciano mentions in his preface to the reading, in which everyone ought to live in fear and division, being &#8220;careful&#8221; of each other &#8211;which really translates to &#8220;Fuck them.&#8221;<\/p>\n<blockquote><p>J\u00edbaro, did you know you my nigga?<br \/>\nI love the curve of your brow,<br \/>\nThe slant of your baby\u2019s eyes<br \/>\nThe calves of your woman dancing;<br \/>\nI dig you!<\/p>\n<p>You can\u2019t hide.<br \/>\nI ride with you on subways.<br \/>\nI touch shoulders with you in dances.<br \/>\nI make crazy love to your daughter.<br \/>\nyea, you my cold nigga man.<br \/>\nAnd I love you \u2019cause you\u2019re mine.<\/p>\n<p>And I\u2019ll never let you go.<br \/>\nAnd I\u2019ll never let you go.<br \/>\n(You mine, nigga!)<br \/>\nAnd I\u2019ll never let you go.<br \/>\nForget about self.<br \/>\nWe\u2019re together now.<br \/>\nAnd I\u2019ll never let you go!<br \/>\nUh\u2019uh<br \/>\nNever, Nigga.<\/p><\/blockquote>\n<p>The descriptions of collective love with terms typically reserved for romantic love are particularly effective. I love the use of &#8220;baby&#8217;s eyes,&#8221; as it could be interpreted to literally refer to the subject&#8217;s child as well as the image of the subject as pure love-object. The self\/other line becomes very blurred (very directly!), as Luciano begs the reader to &#8220;Forget about self.\/ We&#8217;re together now.&#8221;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;There&#8217;s a move to divide us. It&#8217;s being done by Afro-saxons and coconuts. People who would have us believe that there&#8217;s a separate gulf between two nations: Black and Latino. This is not the poem, y&#8217;all. I&#8217;m telling you there&#8217;s no difference between Buford, South Carolina and Ponce, Puerto Rico&#8230;Mambo is Black, merengue is Black, [&hellip;]<\/p>\n","protected":false},"author":16,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[57],"tags":[23,164,163,165,166,21,167],"class_list":["post-437","post","type-post","status-publish","format-standard","hentry","category-student-blogpost","tag-black-arts-movement","tag-def-jam","tag-felipe-luciano","tag-jibaro","tag-nuyorkian","tag-poetry","tag-puerto-rico"],"_links":{"self":[{"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=\/wp\/v2\/posts\/437","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=\/wp\/v2\/users\/16"}],"replies":[{"embeddable":true,"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=437"}],"version-history":[{"count":2,"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=\/wp\/v2\/posts\/437\/revisions"}],"predecessor-version":[{"id":463,"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=\/wp\/v2\/posts\/437\/revisions\/463"}],"wp:attachment":[{"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=437"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=437"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bcrw.barnard.edu\/digitalshange\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=437"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}