Roots and routes: tracking form and history in African diasporic narrative and performance

Abstract

Much Black diasporic scholarship is beholden to one or the other of these two claims: the first locates Africa as origin, by way of anthropological verification and corroboration, while the other tends to erase it in the name of an anti‐essentialist articulation of hybridity and creolisation. The consequence of their self‐representations within the binary discourse of essentialism and anti‐essentialism is that each portrays itself as being in conceptual opposition to the other. In this article, I suggest that this binarism is a false one and attempt to chart a path out of these two paradigms by destabilising and undermining their binary self‐positioning. I argue for a model that at once transcends this binarism and takes care of the ‘deficiency’ of each model; the model I propose simultaneously foregrounds Africa in a non‐essentialising manner and recognises the trajectories and transformations of history in the reading of African diasporic narrative and performance. I suggest that we deploy the concept of genre in the reading of these narratives because genre at once inscribes origin as discursive and thus erases the fixity and truth claims of singular origins, while simultaneously disclaiming and de‐authorising any notions of singular determinations. I consolidate this suggestion with a genre‐based reading of Derek Walcott's Dream on Monkey Mountain.

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