Reparations are due: Commodification of the African Diaspora

AnnaLiza Carey

In the beginning of this course,  I did not know the extent of how frequently the African diaspora had been disenfranchised of music, style, and creative content. I knew that White groups and performers often borrow from our music or cover songs, but the profit and notability they were able to reap from our culture in comparison to the profit earned by original creators is disheartening and frustrating. What I believe to be even more disheartening is where can we go from here to rectify this problem? How and in what form could we be repaid? Performers and their relatives have lived and died without their due, and it’s sad. Seeing the comparison of blues and rock groups in the film today was just another example of how our hurt has given others profit. Even through this, the African diaspora has remained resilient and productive which is the beauty of people who have experienced oppression. We remain not overwhelmingly defined by our hardships in a way that continues to be celebrated.

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The True Origin of Folk

by AnnaLiza Carey and Katie Eugene In our study of folk music, my partner and I focused on two artists: Elizabeth Cotton and Leadbelly, to

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