Women read each other's continents in Port-au-Prince study clubs

The International Council of Women of the Darker Races ran study clubs in which members and outsiders read texts by people of African descent from anywhere in the world. The stated purpose was strengthening the darker races through familiarity with themselves and with one another. In practice this was an alternative curriculum, complete with research projects that placed Black women at the centre, at a time when no school in either country taught such a thing. Theodora Holly was the most requested speaker, lecturing girls and women in Haiti and in the United States on the history of Haitian women. Members also collected newspapers and photographs and mailed them across the water. Holly wrote to Margaret Washington describing a talk she gave to a girls' club in Port-au-Prince, where she held up Washington's photograph as an example of what a Black woman could be. A decade later in Paris, Jane and Paulette Nardal gathered a cercle d'amis on the same principle. An image travelling from Alabama to a schoolroom in Port-au-Prince was traffic the occupation had no method for reading.

Jean Price-Mars published Ainsi parla l'oncle in 1928. He had been born on 15 October 1876 at Grand-Riviere du Nord, had trained as a physician, and had spent his adult life watching the colour line inside Haitian society do damage that no foreign enemy had needed to inflict. The book's claim is short. The two things that most plainly mark Haitian life, the Vodou religion and the Kreyol language, come out of the African past by way of colonial slavery, they are a legitimate inheritance, and Haitians should hold them rather than hide them. That was written while marines occupied the country and while American racial contempt was busy confirming the light-skinned elite in its own contempt for black Haitian custom. Price-Mars also told his readers to take pride in the only slave revolt in the Americas that finished the job. A generation of black intellectuals took the book as a charter. One of them was Francois Duvalier, who turned it into a justification for dictatorship while its author was still alive to object.

The composer Clarence Cameron White and the librettist John Frederick Matheus travelled to Haiti for six weeks in search of musical materials for an opera. White completed the score in 1932 after a fellowship took him to Paris to study, and although it was performed in concert form in Chicago that year it was not staged until 1949. Jackson gathers the same year's other Haitian works to show how concentrated the moment was. Vandercook's life of Christophe appeared with drawings of the revolt that later fed Jacob Lawrence's paintings, and it moved Countee Cullen so deeply that he wrote the poem Black Majesty, published that May in the magazine of the National Urban League. The Haitian past had become working material for the Harlem Renaissance. Jackson treats the trip as the start of a sustained American musical engagement with Haiti.

Zora Neale Hurston took a degree in anthropology from Barnard in 1928 and went to New Orleans that August for six months of fieldwork. She studied with nine Vodou doctors and went through six initiations. The longest, under a priest called Samuel Thompson in one of her books and Luke Turner in the other, required nine nights of preparation and then three days lying face down and naked on a couch spread with a moccasin hide, silent, a pitcher of water set at her head so that her spirit would not go wandering after any. She reported five psychic experiences inside those sixty nine hours. At eleven on the morning of 19 March, the feast of Saint Joseph, she was raised, led through running water, painted with a lightning mark from her right shoulder to her left hip, given eyes on her cheeks and a sun on her forehead, and crowned. At midnight a black sheep was killed and buried under her written petition.