a1303: additions to a1296 (fwd)

[Bob Corbett <corbetre@webster.edu>]

From: Martha O'Brien <mmcpeob@earthlink.net>

In thinking some more about the questions surrounding the issues of treasuring,
preserving and sharing the cultural and artistic riches of Haiti, it occurred
to me that I failed to mention Angels in the Mirror and Rhythms of Rapture,
both of which certainly document, and in that way, preserve some very
interesting and authentic music, as do several other CDs and videos.  But it
seems to me that preserving examples of music, dance, whatever, in recordings
is akin to preserving works of visual art in museums--important and interesting
but not the whole story.

As serendipity would have it, I happened to come across an article by LeGrace
Benson, "Worthy Subjects," in the 1997-1998 volume of the Journal of Haitian
Studies.  The article brings to light some of problems and dangers of trying to
support and preserve folk arts and of what happens when we try to define who
"the folk" are and what constitutes "folk art".  Even before I reread this
article, I had some serious misgivings about the harm that could be caused by
interfering in any way with the natural progression of anything cultural--even
if that progression seems to be headed in the direction of extinction--and, I
must admit that now I have even stronger misgivings.  (For example, the article
discusses in some detail some very negative results of the success of the
Centre d'Art and the artists involved with it, if I am understanding it
correctly.)  On the other hand, the drumming and dancing, the complexity and
imagination of the paintings decorating "tap tap"s, the multi-sensory
experience which is "rara"--etc., etc.--these are certainly among the strongest
attractions for the visitor to Haiti.  And they are worth saving!  But I return
to my previous questions of "who" and "how"--and add a couple more--"how not to
do more harm than good" and "how to nurture without constraining or unduly
influencing."


-- Martha O'Brien
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