In this episode, Di Tree Of Wi tackles comedy.
The traditions of humour carried with enslaved people from Africa helped shape the comic sensibilities found in different forms across the diaspora cultures.
From the Chitlin' Circuit to Netflix, black comedians have always blended laughs with tragedy.
There is a long history of humour in the Caribbean, with numerous Raconteurs, Contrarians, Vulgarians, and social commentators.
With the abolition of slavery, a Jamaican theatrical style began to emerge with public performances that blended music, drama, and comedy.
It took several years; however, it was not until 1941 that Greta Fowler founded the Little Theatre Movement (LTM).
Many writers and actors graced the stage of the LTM with their creations and artistic abilities. One of the most outstanding among them is Miss Lou (Louise Bennett-Coverly), not Maas Ran (Randolph Samuel Williams), for they were a celebrated duo.
Trinidadian Paul Kenn-Douglas gave us Tantie Merle. The piece Tantie at de Oval’’ reflects Caribbean culture with the sport of cricket. It transcends age, gender, and race.
Black American humour began as a wrested freedom—the freedom to laugh at that which was unjust and cruel in order to create distance from what would otherwise obliterate a sense of self and community. —Glenda R. Carpio
Glenda R. Carpio, "Laughing Fit to Kill: Black Humour in the Fictions of Slavery."
We discuss the nature of our humour, its relevance in society—and why sometimes you just need a good joke to cleanse the palate!
