... engages Derek Walcott, so Looking and Waves draw inspiration from their poets, Langston Hughes and Wang Ping, respectively. Copyright © 2014 Nka: Journal of Contemporary African Art 2014 poetry in film texts and images verbal and visual interchange VISUALIZING CROSS-MEDIA ENCOUNTERS From...

... bounded by Europe, Africa, the Subsequently, the films Paradise Omeros (2002) Americas, and the Caribbean. As a political loca• and Encore: Paradise Omeros Redux (2003) follow tion, it marks the historical site of the Middle Derek Walcott back to Saint Lucia, which is also...

... generation must, out of relative obscurity, discover its mission, fulfill it, or betray it. Franz Fanon, The Wretched of the Earth The sea is history. Derek Walcott, The Sea Is History John Akomfrah s three-channel video installation Vertigo Sea (2015) de- buted at the 56th Venice Biennale as part...

.... But Ligon’s parodic emptying out of white tes - wall paintings. Ligon’s Black Like Me in the form of model envisions the interior of the quotation not passages from Derek Walcott’s “The Schooner timonial rhetoric reclaims his name and reasserts a title page achieves a critical perspective...

... can male athletes such as Sugar Ray “a displacement of linear narrative, and Los Angeles: University of California Press, Robinson and Jersey Joe Walcott. Ac- origins, and hierarchical structures.”4 2014), 49. Here Saggese mobilizes art historian cording to the author, blackness, or a The author...

... on the title page of the Erickson, “Visualizing Cross-Media Encounters: From Derek first chapter. Walcott’s Omeros to Isaac Julien’s Paradise Omeros,” Nka: Journal of 2 “Canary...

....” a joint enterprise of collective self-definition. 2 In Omeros (New York: Farrar, Straus and Giroux, 1990), Derek Walcott relocates Homer’s ancient tale...

...-Ratton, Ginette Ramassamy, Françoise Vergès, and Derek Walcott. Among those invited to The Art Historian: National Traditions and Institutional Practices were Mieke Bal, Stephen Bann, Horst Bredekamp, H. Perry Chapman, Georges Didi-Huberman, Eric Fernie, Françoise Forster-Hahn, Carlo Ginzburg, Charles...

.../john-akomfrah. Carr borrows here from the great Caribbean poet Derrick Walcott, whose 1980 The Sea Is History opened on to a new episteme: the ocean itself as the terrain (discur- sive, spatial, mnemonic) of diasporic history from the Romantic seascapes of J. M. W. Turner to the persistence...