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Why Do Apologies for History Sometimes Work and Sometimes Don't?
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HNN Hot Topics: What Obama Should Do
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'Rap Music Invented in Scotland'? Nonsense! Rap Music Is American, of African Roots
pThis past week the news broke in many media, including thei New York Times/i, that
American rap music derives from Scotland's medieval pubs. The Britishi a href=http://www.telegraph.co.uk/culture/music/3998862/Rap-music-originated-in-medieval-Scottish-pubs-claims-American-professor.htmlTelegraph/a/i newspaper quoted an American professor who cited, quot;an American
civil war poem, printed in the New York Vanity magazine on November 9, 1861,
as the first recorded example of the verbal battles being used in the United
States.quot; He identified quot;flyting,quot; a medieval Scottish style of word duels
in pubs, between nasty-mouthed drunken poets as the roots of American rap
music. That's nonsense./p
pVerbal duels, especially between poets, existed in many of our ancient
cultures; they did not start in medieval days in a single culture. Specific
people's ancestors are at the roots of their cultural traditions. Others,
however, have tried to steal African American culture because they, and so
many African Americans, do not know the specific ancestors at the roots of
African American DNA. So let me, Speak girl, as my ancestors would say./p
pOne of the advantages of genealogical research is that the results uncovered
fill in the gaps, errors or misconceptions of history. An American history
professor who specializes in American and Scottish studies announced that
rap music, which was born in the Bronx, New York, has its roots in the
Scottish verbal dueling tradition called, quot;a href=http://en.wikipedia.org/wiki/Flytingflyting/a,quot; and the media does
not take him to task. As an American whose extensive genealogical research
resulted in a genuine, Queen of England granted Scottish coat of arms, I
challenge him. I comment by whispering in the wind -- Cease the nonsense!/p
pMy Scottish coat of arms, revealing ten generations of recovered ancestral
documents, based on ten years research into my ancestry, wasa href=http://www.clan-duncan.co.uk/duncan-armorial-arms.html granted/a in
2005. As a newly
discovered descendant of Scottish nobles, who were, -- and are --
relatives of the kings and queens of Scotland and England, I understand
blended history, and do not have to distort it./p
pAs a descendant of African ancestors who lived among the griots, who were
storytellers of Ancient Mali and Ancient Ghana, who sang of political and
communal events in medieval times, I know my ancestors' contributions to
world culture. I know their contributions have been overlooked./p
pAs a descendant of Jamaican ancestors, whose reggae music parodied
political, local and personal events, whose farmers sang competitive work
songs, whose market women, quot;higglersquot; sang competing songs to sell their
fruit and vegetables, I celebrate the complexity of our roots. /p
pAs a New Yorker, raised in Manhattan and the Bronx, where young musicians
were so creative and improvisational on their musical turntables, in their
angst, and in poetry, I say, Don't even think about distorting the roots of
this history./p
pAs an American, a student of pop culture, I say, Stop the nonsense! America
has grownup, and now accepts the blending of culture at its roots; it now
sees and accepts the contribution of black Americans to the Americas and the
world. Let's celebrate the richness at its roots, not muddy or distort its
heritage: America's blended heritage with African origins./p
pThe professor said Scottish slaveowners brought the verbal tradition to
America, taught it to the African slaves, African Americans, who, centuries
later, gave birth to rap music. He credits Scotland with the birth of
hip-hop rap music. So he's saying rap music, derived from anti-slavery fighting roots, was taught to the slaves by the slaveowners who enslaved them.
Right. His research is hollow. Shallow. Reports such as this one from
historians are ignorant of the tug-of-war and the subtle blending of
cultures in American colonial times. My research revealed that I am
descended from slaves and Free Colonial Americans, people who were
originally farmers and village leaders in medieval Ghana. I used family
nicknames, folk stories and DNA to locate and confirm these ancestors. I
found records of how they intermixed and blended with Scottish slaveowners
and abolitionists, some of whom were nobles./p
pMy genealogical research revealed how extensive the blending was, in a
variety of arenas, from slavery battlefields to wilderness churches. My
ancestors, Scots and Africans, met in bush wars and, in religious
fellowship. On my family tree in Jamaica, Ghanaians from West Africa were
mostly Akans, Fante and Akuapem people. They were first cousins of the
Ashante and other Akan people who settled in Suriname in the wilds on the
northern coasts of South America./p
pA Scottish commissioned officer, Captain John Stedman, who led the slavers'
militias against these Akans and also Congolese Angolans, described how the
African slaves who fled to the wilds and fought for their freedom
participated in verbal duels on the battlefields. These Africans were
called runaways, Maroons. They fought fiercely, including using verbal
warfare now called playing-the-dozens. So don't tell me about the roots of
African American music. It was not 1861 in Vanity Fair./p
pIn his iNarrative of a Five-Years' Expedition, Against the
Revolted Negroes of Surinam in Guiana from the Wild Coast of South America
from the Years 1772 to 1777/i, a 704-page colonial war journal, Captain Stedman described
the songs, chants, praise-poetry, verbal dueling, posturing and martial arts
quot;capoeira-stylequot; flying moves these African ancestors used in anti-slavery
warfare. Their dueling battled, characterized by a war of words, drumming,
dancing and singing, among English-speaking Maroons were called quot;plays,quot;
and among the Dutch-speaking Maroons, quot;baljarden.quot; The tradition was a
rendition of the remnants of medieval word-plays of young men who defended
their African villages against enemies and invasions in medieval Ghana. The
Fante and Ashante young men formed military organizations, quot;asafo,quot; in
which they wielded words, songs and dances, rivaling in verbal duels,
military dance duels, and anti-slavery village defenses./p
pSo don't tell me about the roots of this dueling verbal art form./p
pIn America in the 1770s, Captain Stedman described the verbal duels these
Ghanaians and Angolans who were Maroons threw at his militia soldiers on the
battlefields. quot;They told us . . . they scorned to expend much more of their
powder on such scarecrows; but should the planters and overseers dare enter
the woods, not a soul of them should ever return . . . .quot; The Maroons, in
graphic curse words, also hurled curses at the black soldiers the militias
recruited to combat Maroons in the American wilds. Stedman's 704-page war
journal said, these African American Maroons hurled words at them, calling
them, quot;poltrons [cowards, wretches] and traitors of their countrymen,
challenging them the next day to single combat; swearing they only wished to
lave [wash] their hands in the blood of such scoundrels, who had been the
principal agents in destroying their flourishing settlement.quot; The other
curse words were more graphic./p
pSo let's not steal this history from these ancestors./p
pIn my book-in-progress I describe how the spiritual traditions came
together, how the call-and-response form of church worship and musical
performances, ritual word plays, and sing-song music, which is now so
popular in our African American churches and in American and world music
concerts, blended. The oral styles of Scottish-Irish-English religious
worship and African charismatic spirituality and anti-slavery military
traditions came together, in America. In my book, I say, quot;We inherited the
DNA of blended cultures.quot; We are a people with the blended DNA of a
variety of ancestors./p
pThe capoeira-style verbal gymnastics of the Africans blended with the
quot;lining out,quot; the calling out of words the Scots brought. Scots added to
the African quot;griot,quot; style of storytelling, and quot;asafo,quot; defensive
verbal gymnastics, but the verbal style that gave rise to
charismatic-call-and-response music in American and Caribbean churches, to
reggae, soca jamback, and rap, were all African at the root of their
polyrhythms. The style is still heard today in Akan quot;asafoquot; festivals in
the Fante villages in Ghana, Africa, where I found my family's DNA marches.
Medieval military battles evolved into festive celebrations of cultural
contests./p
pThe quot;lining outquot; traditions, verbal call-and-response, my Scottish
ancestors brought to wilderness worship was added to the oral traditions and
musical styles my African ancestors brought to America. It did not give
rise to them. It was not at the root. The Africans arriving in the
Americas as slaves continued to practice their music, gathering in the
wilderness fields, around a griot, and responding to a single quot;griotquot;
speaker-singer, who sang, in a sing-song, telltale voice. They retained the
resistance, word-play, sing-song style of their medieval African ancestors.
Their descendants in the Bronx, New York, created rap music from African
ancestors'cultural DNA./p
-
HNN Hot Topics: Meltdown 2008
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a href= http://hnn.us/articles/57358.html Click here to see our earlier list of articles concerning the Meltdown.
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Should We Be Wary of Political Dynasties?
Stephen Hess began seriously studying American political dynasties while stationed in Frankfurt, Germany in the military. nbsp;Flipping through the pages of an extensive volume on American political history, he was struck by the frequency and size of the clusters of shared last names.nbsp; Of course, some werenrsquo;t so surprisingmdash;the Adamses, Roosevelts and other household namesmdash;but more local names, like the Frelinghuysens of New Jersey, prompted Hess to craft elaborate genealogies of Americarsquo;s political families/p
pSenior fellow emeritus at the Brookings Institution and Distinguished Research Professor at the George Washington University, Hess formerly served on the White House staffs of Dwight Eisenhower and Gerald Ford.nbsp;nbsp; He has become a foremost authority on media and government, and is author of ema href=http://www.amazon.com/Americas-Political-Dynasties-Stephen-Hess/dp/156000911X/ref=sr_1_11?ie=UTF8amp;s=booksamp;qid=1229529457amp;sr=8-11Americarsquo;s Political Dynasties/a /em(1966, Doubleday; 1997, Transaction). nbsp;nbsp;In a brief discussion with Hess, he raised a few issues to remember when thinking about America and its relationship to our political families. I here list a few of them:/p
pstrongI. Last name alone rarely guarantees political success. /strong/p
pBoth of Franklin D. Rooseveltrsquo;s children tried unsuccessfully to launch political careers. nbsp;Candidates, no matter what their last name, are held accountable by the voters and are judged largely on the quality of their service./p
pBut a famous last name can provide a stepping stone much the way other seemingly impertinent attributes can.nbsp; Abraham Lincolnrsquo;s early local political success owed much to his ldquo;rough-and-tumblerdquo; fighting prowess.nbsp; Others have relied on good looks, political machines and acting skills. nbsp;br /
br /
strongII. Political dynasties are not symptomatic of an unhealthy democracy./strong/p
pHessrsquo;s research suggests that public servants associated with political dynasties have served their constituencies just as well as individuals without that name recognition (he defines dynasty as a family with three generations of politicians).nbsp; It isnrsquo;t as though wersquo;ve been left with a collection of substandard politicians with recognizable last names.nbsp; /p
pMoreover, political dynasties are not indefinite.nbsp; New ones are constantly emerging, and others fading out.nbsp; Sometimes they happen by accident and sometimes they are deliberate and carefully planned.nbsp; Hess argues that Joe Kennedy groomed his children to become political leaders, while the Bushes largely stumbled upon the political scene. /p
pMore recently, women and minorities have entered the dynastic struggle for political power.nbsp; On the national level, Nancy Pelosirsquo;s family has all the characteristics of a political dynasty, and Jesse Jackson has started one of his own.nbsp;nbsp; Latinos around the country have political dynasties at a local level. /p
pstrongIII.nbsp; Theyrsquo;ve been here since the start. /strong/p
pDynasties are not always household names.nbsp; They generally operate on a very local level with power passed on in the same way as other family-run businesses.nbsp; A name becomes something of a brand that voters learn to trust.nbsp; When that trust is breached, or a new family challenges the old, then the dynasty is replaced. Tafts were elected for generations in Ohio, but that has changed recently./p
pStarting with the first congress in 1789, one finds the beginnings of several political dynasties.nbsp; Itrsquo;s hard to like political dynasties, but they are inevitable, and built into American democracy.nbsp; Some find the mythology of America's ruling families entertaining or intriguing, others are sickened by a system that has monarchical implications./p
pIn the unconventional case of appointments, itrsquo;s hard to say emwho/em deserves emwhat/em.nbsp; In a democracy, the person receiving the most votes (or electoral votes) deserves the position in question.nbsp; Political appointees unavoidably circumvent the voting process.nbsp; If chosen, Caroline Kennedy has two years to prove to the people of New York that she was a worthy choice, otherwise she will be replaced.nbsp; Thatrsquo;s the beauty of the system.nbsp; /p
blockquote PBRelated Links/bP
LI
a href=
http://hnn.us/roundup/entries/59276.html
Paul Jenkins: Along Came Caroline. And Andrew. And Beau./a
/blockquote
|