Haitian Oral History Initiative

Holding onto the History of a People through Intergenerational Multmedia

Modeled after Intergenerational Oral History programs in the U.S., this program will utilize schoolchildren, film/art schools , & elders.

All languages welcome, after all, this an Oral History Project about and for the Haitian people!

Toutes les langues sont bienvenues. Apres tout, cette Histoire Orale est celle du peuple Haitien!

Sou sist sa a, nou pale tout lang. Lodyans yo se pou tout moun!

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  • Melanie Saulnier
  • Garry Doxy
  • Sue
  • Michael Kutch
  • Anke Beckmann
  • Lee
  • Martin R. Figaro
  • Pascale Doxy

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The Significance of Oral History

No song lives until it is sung and heard
No story lives until it is told and heard.

—Ruth Tooze—

Language is the heart of a culture. By examining the ways individuals use language, a wide variety of information can be derived about a society and its way of doing things. Language includes not only words and the rules that help put those words together into meaningful patterns, language is also embodied in the subtle ways our faces move when speaking. It includes gesture and inflection as well. These forces move subtly, but powerfully, giving full meaning to the symbols we call words. Though the focus of oral history is to shed light on events and feelings from the past, its uniqueness lies in its ability to reveal language in its fullest sense, giving us a glimpse into the culture and personality of the teller.

Oral history reveals cultures and individuals by presenting oral commentary of events, situations, and feelings of individuals. Unfortunately, personal performance is a fleeting thing. Spoken words evaporate as instantly as they are spoken. The gesture is lost, the atmosphere in the performance space cannot be reincarnated, the subtle inflections so important to any meaningful communication vanish. The ethereal nature of oral history is also its strength and what makes it an art form if performed will skill. The performance of one’s life history is a wonderfully important and significant event for those present at that time.

We can also attempt to record our oral histories through sound and video technologies. Though it is merely an attempt, it is an important attempt, for it allows us to access the told information in an unadulterated way. Through recordings we can still have the words and much of the information; we can even capture inflection and perhaps even gesture and facial subtleties. These things are significant and vital. The performance of an oral history is raw and powerful commentary. All history is jaded by interpretation, but oral history makes no pretenses about being subjective. Its subjectivity is its strength.

Oral histories provide an effective tool that allows us to preserve oral traditions, skills and crafts. The full cultural or individual significance of quilting or the making of a musical instrument can only be obtained through the nuance and subtlety of oral language. Thus we can learn much from a personal history that we could never obtain from a textbook.

Oral histories have two important facets. They are referential and evaluative. The ways in which an oral history attempts to linguistically correspond to the chronology and details of actual events is its referential aspect. This gives the performance a sense of beginning, middle and end. The evaluative aspect manifests itself in the ways an oral history attempts to give meaning and significance to both the performer and the events of the story through the complete language of performance. Together, these two functions provide vital, personal interpretation of past events in a logical, meaningful way.

Oral histories allow the language of an individual and a culture to be manifest. They are engaging, significant commentaries about the past from a deeply individual perspective.

http://76.163.124.178/ohsignificance.html

Meet Famous Haitian Storyteller : Maurice Sixto



Maurice Sixto affectionately called Moy, was born in Gonaives, Haiti on May 23, 1919 and is one of the biggest names in Haitian literature. He is interchangeably called a raconteur, humorist, story teller, sociologist, revolutionary, and moralist. He is often compared to many other world class literary icons of different genres such as Bill Cosby, Moliere, Cervantes, and Shakespeare, Achebe, Victor Hugo or Dostoevsky. But Maurice Sixto is simply Maurice Sixto in Sixtoean terms.

He traded his athletic potential for literary pursuits. He went to primary school in a Catholic institution in his native city and after graduating in Saint-Louis Conzague High School of Port-au-Prince, he went to the Military Academy.

According to Frank Jean-Francois "After wrongly "present arm" , one of his instructors has derogatorily mentioned something about his mother. Instantly, Maurice Sixto has pulled his weapon on the instructor as he was asking him to repeat himself. Fearing for his life, this instructor did not say a word. After this incident, the recruit was kicked out of the Academy". He then embarked on a career in journalism. He worked for the "Matin" newspaper and the MBC, formerly known as HHBM. As a law school student, he worked in the tourism bureau to make ends meet.

At 42, like many other members of the Haitian intelligentsia, he migrated to the newly independent country of Congo, the former Zaire, as a teacher. After teaching English for 8 years in the new republic, he moved to Paris. Later on, he resided in Philadelphia, USA. From 1975, he has stormed our comfort zone with revolutionary pieces as "Lea Kokoye" (1975), "Ti Saintanize" (1978), "Maitre Zabelboc Berre-a-chatte"(1979), "Gwo Mosso" (1984), "Madan Saint Viluce" and "J'ai venge ma race"...

He painted with great clarity many of our vices and uncovered some of our colonial prejudices. He had the wit to ridicule a vice or a type of excess by describing a person who is its incarnation. Sixto stories simply exposed the basic elements of what it means to be a good human being in the original Christian sense and a good citizen. Our sociologist simply demonstrated the frailty aspect of our existence and his work touched upon most of the social issues of his time. Without dogmas, he left a body of work teaching us how to treat our fellow man and especially those less fortunate.

Maurice Sixto died in 1984, but his lessons will transcend time.

Source: facebook

Learn more in english and Listen in orignal languages: http://www.amtechdisc.com/jam/members/22/

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    Martin R. Figaro is now a member of Haitian Oral History Initiative Apr 13, 2010
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    AN INTERESTING WEBSITE W/AN OUTLINE OF HAITI: http://www.worldstatesmen.org/Haiti.htm
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    Haitian Genealogy

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    Your family tree can be both fascinating and surprising. Find out where your roots are in Haiti:http://www.rootsweb.ancestry.com/~htiwgw/familles-a.htmhttp://www.agh.qc.ca/index.htmlhttp://www.mygenealogist.com/haiti-genealogy.htm   See More
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    Creating the Connections between the generations - schools, childrens homes, nursing homes, hospitals, etc.
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    Journal of Haitian Studies

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    "The Journal of Haitian Studies is the official publication of the Haitian Studies Association. It is the only refereed scholarly journal dedicated solely to scholarship on Haiti and Haiti's relations with the international community. It is published through the Center for Black Studies Research at the University of California, Santa Barbara. The Journal's editorial board consists of leading national and international scholars specializing in a wide range of academic fields, including political…See More
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    WALKING ON FIRE Haitian Women's Stories of Survival and Resistance Winner of the 2006 Literature for Social Justice Book Award given by PEN New Mexico Haiti, long noted for poverty and repression, has a powerful and too-often-overlooked…
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    Creating connections with Art & Film schools in Haiti - as well abroad for the purposes of developing oral history documentary & authoring programs.See More
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