Refugee Blues by W.H Auden Essay - 878 Words

In “Disabled” Owens examines the intricacies of a more interior, personal and psychological torment felt by a veteran from WWI, whereas in “Refugee Blues” Auden stresses the plight and desperation of a group of people and their exteriorly imposed repression....

Many people are aware that the Cajun and Creole cultures have contributed Cajun dance music, with two-steps, waltzes, and haunting ballads; and Creole zydeco music, with its African influence. But more recently—in the early 1950s—this unique cultural mix also created "swamp pop", a regional variation of rhythm & blues music common throughout South Louisiana and into east Texas. Swamp pop combines rhythm & blues with Cajun and black Creole music and country and western. A strong horn section and honky-tonk piano characterizes this blend (Bernard 1995). The region also has a vital jazz community (Sonnier 1990). Cajuns and Creoles are as well known to outsiders for their special foods as for the distinctive music, and a delectable array of food dishes (crawfish étouffée, gumbo, bisque, sauce piquante, jambalaya) can be found in the region (Gutierrez 1992). Many restaurants and dance halls provide Cajun and Creole music for both tourists and locals. Saturdays often mean jam sessions, radio shows, or dances for Cajun music lovers. Outsiders seldom know about Cajun and Creole crafts, such as cowhide chair bottoms, wooden boats (skiffs, luggers, pirogues), Acadian brown cotton weaving, accordion building, fiddlemaking, and Job's Tears rosaries (Latimer and Vermillion 1988) or lesser known food delicacies such as langue boureé (stuffed beef tongue) or chaudin (sausage-stuffed pork stomach).

Refugee Blues Analysis Essay - 797 Words - StudyMode

After the Louisiana Purchase in 1803, Americans, referred to as Les Américains, arrived and settled upriver or uptown from the central Creole district, with Canal Street being the dividing line. Irish fleeing the potato famine of the 1840s settled in the area that became known as the Irish Channel between the Mississippi River and the Uptown Garden District. The 1850s saw an influx of Germans. After the Civil War, even more English-speaking African Americans arrived to join the population of freed slaves. The distinction between African Creoles and African Americans began to blur after 1918 (Reinecke 1985, 58-59), but still today Louisianans at times refer to people not descended from the French or Creole culture as Americans. Jazz played a role in this cultural fusion because ethnic groups that did not otherwise mingle were drawn together through jazz. African Americans, African Creoles, Italians, Germans, and Irish were all instrumental in the development of this new art form. In New Orleans, musical traditions range from brass jazz bands to African Creole and African-American Mardi Gras Indians chanting call-responses that have been called the most African of all musics found in North America. African-American Delta blues and Latin salsa are some of the most frequently heard musics today in local clubs, along with the distinctive New Orleans rhythm & blues made famous by the likes of Fats Domino, Professor Longhair, and the Neville Brothers (Smith 1990).

Many people think of South Louisiana as "Cajun," the term being a local version of "Acadian." Today's Cajun culture resulted from the blending of several groups, primarily the Acadians, the descendants of French Acadians who were expelled from Nova Scotia by the British in 1755 and who began arriving in Louisiana in 1765. Two primary cultural regions exist within South Louisiana. While still basically French, the area east of the Atchafalaya Swamp and along the Mississippi River and Bayou Lafourche between Baton Rouge and New Orleans received a significant influx of wealthy Lowland South planters of English descent. Those plantation owners influenced the area in many ways, particularly by teaching their slaves English rather than French. Also, being closer to New Orleans and on major transportation routes, the Germans, Spanish, French, English, and later the "Kaintucks" (Americans from up the Mississippi River) were more cosmopolitan than people in the swamps and on the prairies to the west. A large number of Germans arrived during the Spanish period, settled upriver from New Orleans along the German Coast, and provided most of the vegetable crops needed by New Orleans. These Germans are not as easily identified today, because they gradually assimilated into the dominant French culture, and many of their names were translated into French or English (Reinecke 1985).

Refugee Blues Essay - 1013 Words | Bartleby

In conclusion, Funeral Blues by W.H Auden was successful in creating a
very depressing mood that was full of despair and contained absolutely
no hope.

The massacre of refugees in Zaire stems from the Rwandan genocide of 1994 which witnessed the deaths of 200,000 to 1 million ethnic Tutsi and moderate Hutu.2 The conflict ended in the victory of the ethnic- Tutsi Rwandan Patriotic Front (RPF) and the defeat of the ethnic-Hutu Forces Armées Rwandaises (FAR)....

Refugee Blues - Ghost Writing Essays

Other music traditions shared by British Americans include old-time country and bluegrass. Weekly country music shows such as the Dixie Jamboree in Ruston and the former radio show in Shreveport reflect this heritage. Country music is also performed at benefits to raise funds to help families cover the costs of such emergencies as catastrophic illnesses and rebuilding fire-damaged houses. Benefits often include auctions of donated goods. Bluegrass festivals, which usually forbid alcohol, have been popular since the introduction of bluegrass in the 1940s. The region is also the home of a relatively new form of music that grew out of Ferriday in Concordia Parish-rockabilly. This regional, early form of rock & roll, blending country music with Mississippi Delta blues, was made famous by Ferriday's Jerry Lee Lewis and others (Tucker 1989, 1029).

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