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. dancetrans3.gif (1683 bytes) Chattel Dance
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Kamau Brathwaite, during his speech on the development of nation language in Anglophone Caribbean poetry, says: 

We in the Caribbean have a [. . .] kind of plurality:  we have English, which is the imposed language on much of the archipelago.  It is an imperial language, as are French, Dutch and Spanish.  We also have what we call creole English, which is a mixture of English and an adaptation that English took in the new environment of the Caribbean when it became mixed with the other imported languages.  We have also what is called nation language, which is the kind of English spoken by the people who were brought to the Caribbean, not the official English now, but the language of slaves and labourers, the servants who were brought in. (5-6)

Ashanti, Congo, Yoruba, all that mighty coast of western Africa was imported into the Caribbean.  And we had the arrival in our area of a new language structure.  It consisted of many languages but basically they had a common semantic and stylistic form.  What these languages had to do, however, was to submerge themselves, because officially the conquering peoples -- the Spaniards, the English, the French, and the Dutch -- insisted that the language of public discourse and conversation, of obedience, command and conception should be English, French, Spanish, or Dutch.  They did not wish to hear people speaking Ashanti or any of these Congolese languages.  Its status became one of inferiority.  Similarly, its speakers were slaves.  They were conceived of as inferiors -- non-human, in fact.  But this very submergence served an interesting interculturative purpose, because although people continued to speak English as it was spoken in Elizabethan times and on through the Romantic and Victorian ages, that English was, nonetheless, still being influenced by the underground language, the submerged language that the slaves had brought.  And that underground language was constantly transforming itself into new forms.  It was moving from a purely African form to a form which was African but which was adapted to the new environment and adapted to the cultural imperative of the European languages.  And it was influencing the way in which the English, French, Dutch, and Spaniards spoke their own languages.  So there was a very complex process taking place, which is now beginning to surface in our literature. (7-8)

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