![]() ![]() These fluid energies animate Brathwaite’s poem “Caliban,” which first appeared in his 1968 volume Masks. The cover of then-Edward Brathwaite’s Masks (1968), later appearing in the collection The Arrivants: A New World Trilogy (1978). ![]() Brathwaite himself coined the phrase “tidalectics” to describe linguistic patterns in which different idioms, sounds, voices, rhythms, and moods flow, unite, disperse, and then reunite in new configurations. Yet Brathwaite’s poems are vibrant with life and hope as they embrace the possibilities of an ever-changing world. The poems themselves have been published in books whose titles- The Arrivants, Middle Passages, and Masks-retrace Afro-Caribbean histories of slavery and dislocation. Distinctive to Barbados and shaped by the embodied history of its people, the rhythms of these songs and movement patterns infuse Kamau Brathwaite’s poems. The uniquely fluid music and dance forms of the island grow out of those same traditions. The people of Bim speak a ‘creolized’ English that is richly mixed with the rhythms and vocabularies of the African cultures of their ancestors. The island’s original name in Arawakan is “Icirougandin,” meaning red land with white teeth today the people who live there simply call it Bim. Like many other Caribbean islands, Barbados has long had a large, poor population of African descent its own name means ‘bearded ones’ in Spanish and might refer to the hanging roots of trees or to the beards worn by the indigenous people encountered by the Spanish when they arrived in the fifteenth century. A similar journey was taken by Brathwaite’s native island Barbados, which gained independence from its 341-year-old identity as an English sugar colony in 1966. It was suggested to him by the grandmother of the Kenyan novelist and theorist Ngũgĩ wa Thiong’o, who currently teaches at UC Irvine! The name Kamau itself ultimately comes from the east African Kikuyu language and is said to mean “quiet warrior.”īrathwaite’s journey from a highly conventional English name to a subtle and empowering African one is a journey toward an ancestral identity that holds the possibility of self-determination. But whereas Césaire’s Caliban demands that Prospero “call me X” (20), Brathwaite chose the name Kamau. Someone called Edward Brathwaite makes a brief appearance in Roberto Fernández Retamar’s famous 1974 essay “Caliban: Notes toward a Discussion of Culture in Our America.” Like Caliban in Aimé Césaire’s play A Tempest, Edward Brathwaite later changed his name. Kamau Brathwaite, image from New Directions Books ![]()
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