The dissertation that follows is an inter-disciplinary study of the ways in which a range of individuals with varying stakes and motivations have constructed a category called “Haitian Art” during a period beginning prior to World War II and extending to the present day. Haitian Art, like any cultural product ascribed to a group of people, is a taxonomic construction that subsumes a diverse and complex set of artistic and cultural practices under a limited and often questionable rubric
This thesis is an exploration of the transformation of body and mind through Haitian dance from depth and liberation psychological perspectives. More personally, it focuses on the author’s transformational experience while being part of a Haitian dance community in Brooklyn, New York.
This study will investigate the performance motivations of three Haitian musicians based in South Florida who use their artistic platforms to offer a version of their country omitted from dominant media projections of the country. This study focuses on narrative as a device that allows these musicians to offer counterstories against dominantly negative media projections that have real effects on Haitians.
In the southeastern Dominican Republic, a festive, carnivalesque Easter procession featuring music, dance and ritual is widely performed by small local troupes of mostly poor rural workers and working-class residents of local mill towns.